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V4.1 ArZrtot y^Miaami \ L39 Siena °\tewwo j7 ron/mQ 1 Massa Maritlima q)\ v ^ (V^-^ Mrttepitlciano\' Perm ChoLsiS \ : :,;;A vMovtepescali \40 \r/'osseto forto dvitanava wforti S.fftorgto $ tambirwy 4 , w. Mna/idolayw:] Fohgno n-- \\| ' L3 AscoIiFiceno__tii/lia/wni. \Jrp ■ Tera mo %&xxUjUuiun Marsyas. The Idolino of Pesaro, now at Florence, is of his school. Phidias the Athenian is the sovereign genius of the Pe- riclean age. In his early youth he cultivated painting, but took to sculpture later, working impartially in marble, bronze, ivory, and gold; to him was entrusted the direction of the noblest buildings of Athens. Among his best works may be mentioned the Lemnian Athene, the Athene Promachos, a bronze colossus which stood before the Parthenon, the Athene Parthenos, a chryselephantine (gold and ivory) statue within the temple, the « plastic poem » of the pediments, the metopes, the frieze, and the cella of the same temple, and, greatest of all, the chryselephantine Zeus Olympios, splendidly ex- pressive of the might, the majesty, and the beneficence of the god. Of all these, only the pediments and metopes of the Parthenon are known to us by actual fragments; our know- ledge of the others comes from coins and from small-scale reproductions. Around Phidias arose a school of first class artists, in- cluding the Athenian Alcamenes, a sculptor of the greatest polish, Agoracritus of Paros, Praxias, Androsthenes, Cresilas, the sculptor of a well-known Wounded Amazon and of a figure of Pericles, Callimachus, the reputed inventor of the Corinthian capital, and Demetrius, famous for his portraits. The Peloponnesian war, though ending in the defeat of Athens (404), did not deprive her of intellectual supremacy, but the calm serenity of 5th cent, art was replaced by the preeminently thoughtful work of the second Attic school, whose protagonists are Scopas and Praxiteles. Scopas of Paros, schooling himself according to the master- pieces of Polycleitus, depicted by preference the myths of Aphrodite, Apollo, and Dionysus, with a tremendous inten- sity of life and dramatic passion. The pediment groups of the temple of Tegea (360 B. C.) are of his work; but of these only one or two heads remain; his also are the Apollo Citha- vcedus, Aphrodite Pandemius, and an Ares of which the Lu- dovisi Mars at Rome may be a copy. The Demeter of Cnidos, bxxxiv ANCIENT ART IN ITALY at the British Museum, is attributed either to Scopas or to Cephisodotus. The Athenian Praxiteles, pupil of Cephisodotus (sculptor of the celebrated Irene and Plutus, a copy of which is at Munich), was unsurpassed as the sculptor of youthful beauty and feminine grace. Two original works of his have survived, the Hermes & Dionysus, found at Olympia in 1877 on the spot described by Pausanias, and a bust of Aphrodite belonging to Lord Leconfield. The Olympian group is a work of unequalled grace and wonderful proportions, in a free style that marks a new departure. Through numerous Roman copies we have record also of a Silenus & Dionysus, an Ar- temis, a Zeus (?), the Apollo Sauroctonos, an Eros, and the well-known Cnidian Aphrodite. The celebrated Venus de Milo at the Louvre most likely belongs to this period. Critics, however, are not altogether in agreement on this point, some proclaiming it the work of Scopas or Alcamenes; others, believing the goddess re- presented to be Amphitrite, attribute it to the school of Phi- dias; others again believe it to be a work of later than 150 B. C. The Apollo Belvedere, the Diana of Versailles, two remarkably tasteful groups, and the Niobids, of which numerous repro- ductions exist, especially at Florence, are likewise without definite indication of authorship, but belong to this epoch. The last-named group has always been traditionally assigned to Scopas or Praxiteles, though many authorities declare it to be of later date. Towards 340, the sculptors Scopas, Bryaxis, Leochares, and Timotheus undertook the decoration of the Mausoleum of Halicarnassus, erected by Artemisia, queen of Caria, to the memory of her husband Mausolus. They depicted thereon a battle of Greeks and Amazons, fragments of which, together with the portait of Mausolus, among the earliest of Greek portrait-statues, may be seen at the British Museum. In the reign of Alexander the Great, in the second half of the 4th cent. B. C., the prolific Lysippus of Sicyon excelled, in bronze work especially. He studied directly from nature and lengthened the proportions of his figures, thus departing from the canons of Polycleitus. He devoted himself parti- cularly to two types — the supple athlete typified by the Apoxyomenos (copy at Rome) and the brawny hero, of which the Farnese Heracles (marble copy by Glycon at Naples) and the Belvedere Torso (copy by Apollonius at Rome) are examples. Other known works of his are several portraits of Alexander, many figures of Heracles, the statue of Chance,ANCIENT ART IN ITALY xxxv and probably a Mnemosyne. The superb Sarcophagus of Alexander at Constantinople belongs to his period. Of Greek painting in the age of Phidias, whose greatest exponents were Polygnotus, Pansenus, Apollodorus of Athens, Zeuxis, Parrhasius, Apelles, and Timanthes, no trace is left. A fresco at Pompeii, however, of the Recognition of Achilles, is believed to be a copy of a painting by Etion of the school of Apelles. Some idea of the painting of the succeeding period may be gathered from Roman reproductions. The Io, for example, in the House of Li via, on the Palatine, is a copy of a painting by Nicias; the Nozze Aldobrandini, at the Vatican, is the reproduction of a pre-Alexandrine work, and the celebrated Battle of Alexander, a Pompeian mosaic now at Naples, is an adaptation of a famous painting of Philoxenes. With the death of Alexander (323) and the division of his empire, Athens ceased to be the intellectual centre of Greece. Greek culture spread abroad and found new centres of development, but it lost in purity what it gained in extent. The period 323-146, down to the conquest of Greece by the Romans, is called the Hellenistic Age. Architecture, under Oriental influence, became more or- nate, adopting for certain structures the arch and the vaulted roof, and using by preference the Ionic order and its early 4th cent, development, the Corinthian order, interior orders being exclusively Corinthian. Sculpture devoted itself mainly to the representation of physical toil and even pain, and to the development of the portrait. The splendid Victory of Samothrace, now at the Louvre, an ex-voto for the victory of Demetrius Poliorcetes over the fleet of Ptolemy (306), and the Menelaus dv Pa- troclus at Florence were modelled in this period; the Syrian art of the Seleucids produced the Tyche of Antioch (copy at the Vatican) and numerous portraits. The palm of Hellenistic art is awarded to the Pergamene school, which produced two masterpieces. About 240 B. C. Attalus I, king of Pergamum, drove back the Gauls who had invaded Asia Minor, and to celebrate his victory com- missioned a, series of statues to commemorate not only his own victory, but also the Gigantomachia, the Amazonoma- chia, and the Graeco-Persian wars. In addition he had smaller reproductions of these works made for the Acropolis at Athens and for Delphi. Many excellent copies of these reductions remain, some of which may even, be originals, e. g.: at Naples, Rome, Venice, Aix, Paris, and Berlin. Ano-xxxvi ANCIENT ART IN ITALY thei* Pergamene king, Eumenes II, c. 166, set up a monu- mental altar to Zeus, the frieze of which, over 100 yds. long, has been collected and reconstructed at Berlin. This frieze, representing the Gigantomachia, is a decorative composition on the most complex and colossal scale ever conceived. To the Pergamene school belong also the Borghese Gladiator (copy by Agasias of Ephesus at the Louvre), and the Wrestlers, the Dying Alexander, and the Arrotino in the Uffizi. The Rhodian school received a powerful impulse when Chares of Rhodes, pupil of Lysippus, made the famous co- lossus, representing Helios, for the harbour. Other works of this school are the Laocoon of the Vatican, by three local artists: Agesandrus, Polydorus, and Athenodorus; and the Farnese Bull, at Naples, by Apollonius and Tauriscus of Tralles in Caria. The school of art of Alexandria, which had inherited the position of intellectual capital of the Greek world, lasted longer than its rivals, for it became insensibly mingled with the beginnings of Christian art. Of the numerous works of art due to Alexandria may be cited the Nile at the Va- tican, the Barberini Faun at Munich, the Farnese Flora, the Homer, the Dancing Faun, and the so-called Seneca at Naples, the Borghese Daphne, etc.; likewise several « genre» sculptures such as the Fisherman in the Palazzo dei Conser- vatori at Rome, and some bas-reliefs. Alexandrian painting is fairly well known, thanks to the reproductions of Scenes from the Odyssey found on the Esquiline and now at the Vatican; also to numerous paintings from Pompeii, Her- culaneum, and Boscoreale, and even to some original encaustic slabs found in Egypt. The marvellous development attained by the lesser arts in Greece is attested by the terracotta statuettes, the pride not only of Myrrhina and Tanagra, but also of Taranto, Girgenti, and Centuripe; and likewise by the Greek vases more nu- merous and of wider distribution than even the figurines. The vases reached an astonishing perfection of form and were produced in such quantities as to be exported to all parts of the civilised world. Four different types may be distin- guished: the archaic or Corinthian, with bands of ornament, and brownish or reddish-yellow in colour; the black-painted type with a red or yellowish ground; the most perfect red- painted type with a black ground; and finally the vases of elaborate shape and varying colour. Of metal work much that is precious has been left to us by Greek decorative art: the ornamental bronzes of the ships from the Lake of Nemi,ANCIENT ART IN ITALY xxxvii the silver ware of Boscoreale, and much precious metal-work. Their engraved gems and cameos are works of the highest art; and their coinage attained a wonderful perfection in the famous decadrachms of Syracuse. Etruscan Art. - While Southern Italy and Sicily were under the sway of Greek Art, there was developing in Central Italy the art of the Etruscans, a branch of the Mediterranean race which seems to have originated in Lydia and settled in the region called Etruria and later Tuscany. The Etruscans absorbed the older civilization of the Umbrians and extended later over a wider territory, reaching northward to the Alps and southward to the Bay of Naples. The arts which they pursued were founded upon an Oriental tradition, but showed distinct originality of their own. Architecturally they used the Tuscan order, a local de- velopment of the Doric, and adopted the Ionic column as a motive of decoration. A complete innovation of their own was the introduction of the arch and the vault (used later, in certain special cases, in Hellenistic art). Their temples were simpler and less perfect than the Greek temples, though recalling the latter in their general appearance. Their town walls and gates, built of rough-hewn rectangular blocks, were on a massive scale; excellent specimens of their marvellous drainage works may be seen in the theatres at Sutri and Ferentum. But the principal outlet for Etruscan art was the tomb, of which the classic type consisted of a subterranean chamber either natural (hypogeum) or artificial {tumulus), corresponding to the contemporary ritual of burial (tomb- cities at Cervetri, Veii, Vulci, Clusium, Tarquinii, Orvieto, etc.). As material for sculpture the Etruscans made use of marble, alabaster, bronze, and terracotta, and their portrait- figures, executed with conscientious realism, adorn the lids of their sarcophagi and their funerary urns. But large-scale statues were likewise cast in bronze; notable among these are the Orator of the Museum at Florence, and (possibly) the Wolf of the Capitol. The mural paintings on their tombs (especially at Tarquinii and Vulci; see above) and the painted designs on many of their urns are notably elaborate. The inspiration is always Greek, but both in these paintings and in bas-reliefs scenes of daily life, such as banquets, sports, hunting, etc., are represented with marked realism, as well as mythological and funerary scenes, e. g. the farewell of the departed to his family and the voyage beyond the tomb. Industrial art reached a high level, and many elaboratexxxviii ANCIENT ART IN ITALY articles in bronze have been found in Etruscan tombs along with objects imported from Greece, Phoenicia, and Egypt: - tripods, sacrificial vessels, domestic implements, weapons, and notably the famous bronze lamp of the Museum of Cor- tona. Gems were extensively engraved and a great quan- tity of earthenware vessels was produced (among them the so-called buccheri), some of which were profusely decorated. Roman Art sprang from the unison of the vigorous stock of Etruscan Art with the impulse to imitate the Greek and Hellenistic masterpieces. Its birth was governed by the in- fluence of the Greek works of art in Sicily and Southern Italy coupled with the systematic spoliation of Greece and Asia Minor by their Latin conquerors, and was further affected by the presence at Rome of Greek craftsmen who continued to copy or imitate the works of classic Hellas. Rome adopted from Etruria the Tuscan order, the use of the arch and the vault, and the realistic force of Etruscan sculpture; from Greece she inherited the Ionic and Corinthian orders, the domestic ground-plan, and the feeling for plastic beauty and grace. To the union of these elements she added her own sense of the magnificent and the peculiar Roman appreciation of the practical, and stamped all her art, espe- cially her architecture, with the powerful imprint of the Latin genius. Out of a fusion of the Corinthian and Ionic capitals she evolved the Composite capital, and while using the architrave in the Greek manner, she devoted herself specially to the construction-problems of soaring arches, wide vaults, and gigantic cupolas. The Roman temple has the Etruscan plan with Greek ornament. It consists of a columned atrium at the top of an imposing flight of steps, behind which is the simple or tripartite cell a with its plain exterior walls seldom decorated with more than a row of engaged columns. The Greek peripteral plan is rare. The circular temple, a very ancient Italian type, consists of a cylindrical cella surrounded by a porticus. The Basilica, an imitation of the Hellenistic basilica, is a rectangular building, normally of three aisles divided by two rows of columns, with one of the side-aisles ending commonly in a hemicycle (apse). Such buildings would be used as courts of law or exchanges. The Triumphal Arch, a Roman invention, is properly a colossal gateway of one or three arched openings, framed by columns and an entablature, and surmounted by an atticANCIENT ART IN ITALY xxxix with an inscription of dedication and by trophies and a bronze quadriga. Fine examples in Rome are the arches of Titus, Septimius Severus, and Constantine; elsewhere in Italy are those of Benevento, Ancona, Rimini, Aosta, and Susa, while other examples exist in France. The Triumphal Co- lumn is another Roman creation (Columns of Trajan and Antonine). From the Greek hippodrome, an elongated rectangle ending in a semicircle, the Romans evolved the Circus, de- corated with statues, obelisks, triumphal arches, and other small edifices. The Roman Theatre was a development of the Greek theatre with a more imposing stage; while the juxta- position of two theatres gave them the Amphitheatre, with a central arena which was used for the combats of gladiators and wild beasts, or, when flooded, for the naumachia. The Colosseum is the most famous of these, but the amphitheatres of Pompeii, Pozzuoli, Capua, Syracuse, Verona, and Pola are likewise remarkable. The Thermcz, or Baths, another Roman creation, marked the triumph of the arch and the vault. Usually constructed on a grand scale, they included galleries for taking the air, libraries, reading-rooms, galleries of painting and sculpture, wrestling-floors, and even shops. Among the largest are the Baths of Caracalla, Diocletian, and Titus at Rome. Other Roman constructions that should be noted are the Town Ramparts, such as the Aurelian Wall at Rome and the Wall of Augustus encircling Aosta; the monumental Towers and Gates usually with two openings; and the Roads paved with large polygonal slabs. These roads, radiating from Roma Urbs - the city itself - crossed plain, hill, and mountain, sometimes even by tunnels, and reached out to the most distant ends of the vast empire. They were flung across rivers on bridges of daring construction, some of which still remain as emblems of the Roman might (the .^Elian Bridge at Rome, and the bridges of Narni, Rimini, St-Vincent and many in France and Spain). The Aqueducts, often in the form of colossal bridges, carried spring water from distant hills to the great Roman towns and are still in use to a great extent for the wrater-supply of Rome. Roman Tombs are of several types: the Hypogeum, with one or more compartments to contain sarcophagi or cinerary urns; the Tumulus, an Etruscan type, often elaborated into the form of a temple or an altar; exceptional types are the Pyramid (tomb of Caius Cestius at Rome) or the Mausoleum (tomb of Diocletian at Spalato).XL ANCIENT ART IN ITALY In sculpture a reaction set in about 100 B. C. at Athens and Alexandria against the Hellenistic style, and a reversion was made towards the models of the 5th and 4th centuries. This impulse prevailed until the Augustan age, but later came a return to the more emotional dramatic style. To this latter we owe the reliefs on the Arch of Titus and Trajan's Column; and the old Etruscan tradition impelled the sculptors of the period towards the presentation of portrait statues, sometimes idealised, sometimes of an intense realism. Over and above these numerous and original works of Roman craft, there is the still greater production of the Greek sculptors at Rome who copied the masterpieces of the art of their country, most of which, indeed, are known to us through reproductions of the Roman period. The ordinary sarco- phagus of the period is often almost without artistic value; but the gracious ornamentation of the Ay a Pads is a notable exception to this generalisation. Interior painting and stucco work were excellent media for the decorative spirit of the age. The paintings have descended to us thanks to the numerous frescoes of Pompeii, and to the imitations by Signorelli, Pinturicchio, and Raphael of the grotesques found in the 15-16th cent, on certain houses of ancient Rome, which themselves have now entirely disap- peared. While keeping up the Hellenistic tradition, Roman painting expressed its own individuality by the invention of new effects of lighting and colour, which resemble to a great extent the effects of modern impressionism. The highly decorative mosaics, though mainly used for paving, served also to adorn walls, niches, ornamental buildings, and foun- tains. The lesser arts were likewise imbued with the Hel- lenistic spirit; but frequently, and especially in the figurines and bronzes, an imitation of the Etruscan is noticeable. Perhaps the highest perfection is attained in the celebrated vases of Arezzo.ITALIAN ART By Adolfo Venturi The art of Italy developed from that of Rome, to whose spirit it always remained faithful, and in its first period the temples, basilicas and baths of the peninsula were profusely enriched with examples of Hellenistic art. In the underground cemeteries, however, where the Christians met and worshipped in secret, the art which had adorned the empire with marbles and bronzes, and peopled it with statues, put on a humbler garb, subduing its tones, as it were, in those hidden places of prayer among the shadows of the catacombs, where the only lights were funeral torches. The sensuousness and vigour of the Roman world were sobered to the expression of solemn thoughts, dedications to God the deliverer from earthly cares, and Christian art was for a time content to mark the tombs of the martyrs with a sign or a symbol, a figure scarcely more than sketched in, a graffito, a dove, or the greeting«in pace» As the number of Christian brethren increased the art grew bolder, and the pomps and mysteries of the new religion, draped in the now tattered robes of classicism, were represented on sarcophagi and also in large wall-paintings; and when, finally, Christianity prevailed throughout the Roman Empire, and Constantine sealed its triumph by an apparent concession of liberty to all religions, Christian art became synonymous with art in general. When Christians began to worship above ground, archi- tecture, sculpture, and painting were called upon to unite in the creation of a style which should express the spirit of the new faith. The earliest churches were either basilicas, oblong in plan and divided by columns into nave and aisles, with a simple raftered roof, or were built on a plan radiating from a centre, with the vaulted construction borrowed from the eastern parts of the empire. Both forms correspond to earlier pagan types, the basilica being designed to afford room for a large number of worshippers, while the round or poly- gonal form, necessarily smaller on account of the constructive difficulties involved in the vault and dome, gave opportunity for more beautiful and varied effects of lighting. The Christians craved for light; the martyrs had dreamed of lands bathed in suftshine, of altars sparkling with precious b-axUi ITALIAN ART stones. The mosaics of Santa Sophia at Constantinople are described as being like the midday sun when it gilds the mountains, and those in the apse of Sant'Agnese at Rome as a painting in pure gold whose particles imprison the light of day. It followed that truth and precision of form ceased to be sought for, and the representation of the human figure gradually became subordinated to the richness and brilliancy of the general effect. Thousands of glass tesserae, gilt and coloured, altars cased in gold and precious stones, velaria thick with gold and silver embroidery, gave a splendour of light to the house of God. Passing from the Roman basilica of the 4th century to the 6th century churches of Ravenna, we discern no entirely new feature, but the latter buildings show the ultimate devel- opment of ideas which already existed or were hinted at in the earlier period. The mosaics at Ravenna attained to a glory of colour and luminousness unsurpassed in any before or after them. Sculpture, losing its relief, became mere stone-engraving or even fretwork, and pictorial effect was sought for in the capital and architrave. This conception of art found, as a whole, its highest expression in the octagonal church of San Vitale at Ravenna. Meanwhile vaulted con- struction, which was more general in the East than in the West, reached its climax in Santa Sophia at Byzantium, built in the reign of the emperor Julian, whose portrait is in San Vitale. The passion for oriental colouring, in which Pliny had already discerned a danger to classic art, became in fact the inspiration of the masterpieces of the 11th century. The barbarian invaders of Italy, loaded with bosses, brooches, collars and weapons of jewel-incrusted metal, contributed nothing new to art. Their gorgeous jewellery- work was entirely in keeping with the Christian art of the day, in which the human figure was constantly diminishing in importance while its form was less truthfully rendered. In Byzantium the iconoclastic tendency showed itself literally, in the destruction of images; in Italy where, owing to religious sentiment and racial tradition, there was no hostility to representative art, it was expressed in an increasing subor- dination of the human figure to floral and geometric de- coration. It is commonly supposed that before Dante, Giotto, and Giovanni Pisano, Italy was sunk in depths of barbarism; but the notion arose from a thoughtless identification of art with form, and especially with the human form. At all events, if by this criterion we consider the middle agesITALIAN ART xliii as barbaric, we must admit them to be civilized from the standpoint of colour and pure decoration. When Byzantium emerged from the long iconoclastic winter her art, although it had developed to some extent, had become more or less stereotyped in the forms of the Oth century. In her second golden age (the 9th and 11th centuries) Byzantine art was in great repute in the West, and, though far less advanced than that of Justinian's time, exercised a wider and deeper influence. Italy, which was in constant communication with Byzantium, covered herself with Byzantine buildings, of which the finest were in Venice and Sicily; and until the end of the 13th century Greek ideas dominated her painting, though not her architecture and sculpture. The 11th century saw the birth of the Ro- manesque style which may truly be called the art of Italy. Romanesque art was supreme wherever the eagles of the legions had spread their wings. It was as though the leaven of memory was at work in the world from Campania to Lombardy and from the banks of the Rhine to those of the Danube. Everywhere the old Roman roots were putting forth new branches, and once more the unity of the Italian peoples was made manifest, from Aosta to Monreale, in the unity of the revived art. Towers sprang up in the valleys to protect the houses of the people, fortresses were built, cities surrounded themselves with crenellated walls, and in the midst of the towers and fortresses rose the cathedrals, ramparts of religion and patriotism. At first the art spoke in broken language. The tools which sought to give expression to life were as yet rough and untempered; but day by day they grew finer, as they worked on the stone and marble quarried from the classic ruins of Luni and Lombardy, Verona and Istria, At that time few examples remained which could bring back the in- spiration of the old native art, but in the ruins were found statues, nude and superbly executed, and these were no longer looked upon as unholy idols. In Etruria, the Aretine vases seemed to Ristoro d'Arezzo to have come down from heaven; in Emilia, Wiligelmo and Nicolao decorated the cathedrals in imitation of Roman sarcophagi and archaic Greek marbles; in Apulia the Italo-Greek vases brought to light by the plough gave Nicola the ideas he turned to im- mortal use. By the 11th century Romanesque art had been born in Italy, where it exhibited local and original characteristics. This was no sudden birth, for the main features of the stylexliv ITALIAN ART can be traced in the 6th century buildings at Ravenna. Moreover, the secret of so complex a phenomenon as Ro- manesque art is not to be found in details such as the in- terlaced ornament or the cross-vaulting supported on clustered columns. The chief and essential manifestation of the Christian spirit in architecture was in the subordination of the whole treatment to the effect of light. This was at first attained, as we have seen, by the use of brilliantly coloured glass, precious metals, and jewels, brought from Byzantium and the East, to the seaport towns. The interior regions of Italy, however, possessed neither sufficient wealth nor facilities of transport to enable them to acquire such treasure, and Lombardy was the first among them to utilise her own re- sources in the organisation of communal government and the development of the Romanesque cathedral. Marble- workers and master-masons came in troops from Campione, from Como, and from Mendrisio, and in laying their stones and bricks upon one another, endeavoured to produce, by the use of arcades for instance, an effect of light formerly obtained by means of luminous materials, metals, and stained glass windows. They doubtless perceived that the result was more artistic than that of their predecessors, since it de- pended more upon skill and intelligence and less upon mere material. In truth, when many experiments culminated in the church of Sant'Ambrogio at Milan, the builders had discovered how to create effects of light and colour by a skilled application of sculptural and architectural technique; and this achievement had incalculable consequences. Here it need only be said that it led to the fusion of the longitudinal and circular systems in the cruciform plan, thus solving a problem which had seemed insoluble from the 4th century onwards, and rendering it possible to obtain variety of light and shade, not only within the building as heretofore, but also on the exterior, by the alternation of recesses and pro- jecting members. The continuous work accomplished between the 6th and 11th centuries in the regions where Byzantine influence had least penetrated, had not been valueless for the progress of art. The work was slow, hidden, and continuous, like that which proceeds deep down in the earth among the debris of ancient civilisations, through layers of volcanic scoriae; but art reached its goal, through the darkness and silence, only when, becoming spiritualised, it cast aside its precious materials and began to weave airy patterns of light andITALIAN ART xlv shade. Thus the Romanesque cathedral became the foun- dation of modern art. Gothic architecture, which was brought from France by- Carthusian monks in the 12th century, never entirely- supplanted the Romanesque style in Italy, even in the 14th century, when both sculpture and painting had become definitely Gothic. Italian Gothic is a modified form com- pared with French and all northern Gothic. These are characterised by soaring vertical lines, the symbolical aspira- tion toward heaven of the pointed spires. The Italian examples, on the contrary, seem deliberately to shun the effect of lightness given to the exterior by a number of open- ings and by the multiplication of points and pinnacles. The native preference for rectangularity was never overcome, so that the Gothic spirit in Italian architecture was manifested rather in the wealth and fancy of the decoration than in the architectural construction. The fagade of the cathedral of Siena is covered with a rather pompous and heavy lace-work of marble, the gables are flanked by pinnacles, and the arcades and open galleries are reminiscent of the Romanesque churches; yet the style is unmistakably Italian, and Tuscan, and its construction was copied in the cathedral of Orvieto. The statues on the French cathedrals are sheathed in stiff folds, and stand in niches set in rows one above another, so as to emphasize the symbolic vertical lines; at Siena, on the contrary, the figures seem almost to leap from their frames, and give to the whole surface that variety in the form of the shadows which is so dear to the Italians. These shadows are cast by the violent gestures of the figures, which echo the lines of the foliage that curls and twists about their framing. This freedom of line, which is characteristic of Giovanni Pisano's work, is not to be found in the Orvieto cathedral. This follows the main lines of its Sienese prototype, but the large flat surfaces are decorated with a light embroidery of marble arabesque, of miniature fineness, which does not interfere with the architectural design. The pinnacles, slender and closely set, are not disturbed by the lights and shadows of many niches, but spring up like reeded shafts. It is as though Arnolfo's love of rounded surfaces and polished marble shows itself a little timidly in conjunction with the Gothic forms of the Sienese cathedral. As always in Italian archi- tecture, the Gothic upspringing of the pinnacles and vertical lines is modified by a counterbalancing insistence on the horizontal,xlvi ITALIAN ART The essentially classic character of Arnolfo's building is even more evident, in spite of pointed arches and Gothic pinnacles, in the symmetry which results from his perfect feeling for proportion, the highly polished marble surfaces, the logical arrangement of the statues in their delicate framing, and, especially, from the geometric decoration in the Cosmati style. The cathedral of Milan, which is entirely foreign in style - German, to be precise - stands out as an exception, not only in design, but also in date, for it is a Gothic edifice begun late in the 14th century, just at the time when Re- naissance architecture had its birth in Tuscany. The various Town Halls in the more important cities, such as the Palazzo Vecchio at Florence, the Palazzo della Signoria at Siena, the Ducal Palace at Venice, and the Loggia de' Mercanti at Verona, are Gothic, but Gothic of a purely Italian kind. The method of imposing a Gothic outline on a structure planned on the square and thus fundamentally opposed to the spirit of Gothic architecture, was largely employed for civil buildings, especially at Venice, until the end of the 15th century. In Venice it led to the development of the beautiful and characteristic Gothic known as « Ve- netian », which is still the chief architectural charm of her canals, and of which the finest example is the palace known as the Ca' d'Oro. Pisa was supreme in sculpture. This art was conspicuous in the Baptistery, rich in statues and pinnacle-work of marble; in the Campo Santo, where the bones of her citizens were laid in earth brought from Mount Calvary: and in the magni- ficent Cathedral, with its Leaning Tower. Pisan sculptors journeyed to Lucca, to decorate the church of San Martino; to Perugia, to carve the fountain where the Virtues, the liberal Arts, the Bible, and History make their appeal to men amid the curving jets of water; and to Siena, where they enriched the facade of the cathedral with figures of Prophets and Sibyls, Plato and Aristotle, who, in an ecstasy of inspiration, proclaim the coming of the Word or Eternal Truth. Nicola d'Apulia, called also Nicola Pisano, and his school conquered all Italy with their chisels. Nicola (c. 1200-1280) marks the transition from the Romanesque to the mediaeval period. Taught by the artists who worked for the emperor Frederick II in Apulia, he brought to Lucca, Prato, and Siena in Tuscany, and to Perugia in Unibria, the great classic tradition seen in the ambones and the castles of his nativeITALIAN ART xlvii province, and used it in the representation of whole cycles of Christian history and legend. His art can best be studied in the pulpit of the Pisan Baptistery, for there the share of his pupils was less than in most of his sculptures. The work is Roman in the amplitude of the forms, in their dignity and repose, the classic draperies, the simple masses of the composition, and in the subordination of the sculpture to the general design. In the work of Nicola's son, Giovanni (1250-C.1328) repose has given place to movement, and sculpture has begun to free itself from the bondage of architectural design; the Gothic spirit has breathed a restless life into the crowd of statues. In truth, the new era of Italian sculpture began with Giovanni, not with Nicola. The father's art had already shown a tendency toward greater richness of sculptural effect, but, as has been said, in his Pisan pulpit the decoration is entirely subservient to the architectonic design; despite the rugged strength of the forms, the level masses of the reliefs are deliberately confined within the square panels of the hexagonal parapet; small triple columns emphasize the angles; beneath them, majestic figures of the Virtues crown the supporting pillars; and the three-lobed arches are still semi- circular. The pointed arch makes its first appearance in the pulpit at Siena, where Giovanni worked with his father on three of the bas-reliefs - the Crucifixion and two panels representing the Last Judgment - in which the new spirit has plainly broken through the old tradition. In a corner of -the pulpit, Giovanni's tempestuous angels, with cheeks puffed out like those of the winds, unmistakably announce the coming of the new art. There is, in fact, a great differ- ence of style between the two masters, as is even more evident in the fountain at Perugia, where from the simple mass of Nicola's smooth and compact polygonal basin of marble, with its formal clustered columns at the angles, springs a second one of varied and elegant outline, and from this again a graceful calyx of bronze, into which plunges a group of nymphs and dragons. Nothing of Nicola's grave art remains in this charming flower of Giovanni's fancy. The triumph of Gothic is emphasized in the pulpit at Pistoia by the extreme height of the lanceolate arches and the insistence of the statues, which are no longer sedately enthroned on the capitals of the columns, nor formally set in the spandrels; viewed from beneath, they almost suggest a myriad waving torches, with their effect of impetuous motion, the quick turn of the heads, and the long streamingxlviii ITALIAN ART folds of the draperies. Finally, in the pulpit of Pisa ca- thedral, which was destroyed by fire and reconstructed from wooden models and some remaining fragments, the sculp- tured vegetation meanders about the marble sides, no longer filling an allotted space, but disguising the structural lines with its varying curves. Giovanni was not the only disciple of Nicola. Without reckoning Fra Guglielmo of Pisa, an indifferent sculptor who executed the shrine of San Domenico at Bologna and a pulpit at Pistoia, Nicola's style was continued by Arnolfo di Cambio (1237-1301) who carried it to Rome, Perugia and Florence. More faithful than Giovanni to their master's teaching, he resisted the lure of the Gothic, tempering Nicola's rude strength, however, with Tuscan grace and refinement. He enriched his works with the mosaic decoration originated by the Cosmati of Rome; and his art shows a characteristically Tuscan instinct for proportion, a geometric regularity of form, though he worked at the height of the Gothic period, great technical skill, minute care in the minor parts of the design, extreme precision, and great delicacy of finish. His designs were slavishly repeated by his many admirers among the Roman Cosmati; whereas Giovanni Pisano had a number of followers in Pisa itself and also at Florence and Siena, who developed their art in a free and individual manner along the lines he laid down. One of these, Andrea Pisano, was an obscure goldsmith who suddenly rose to fame in 1330, when, though no longer young, he received the commission for the first door of the Florentine Baptistery. The bronze bas-reliefs of this door, which represent the history of St. John the Baptist, show that he had completely assimilated the Gothic style, that he was a master of movement, and that he tended to simplify and also to give clearness to his compositions by reducing the crowd of figures which had filled the restless and com- plicated bas-reliefs of Giovanni to a few clearly defined groups, and by seeking, more than did his predecessors, jto give unity and connection to the different scenes. His figures are well proportioned to and well placed in the panels, which have the favourite Florentine shape of a quatrefoil intersected with a diamond; and while the forms are large in feeling the delicacy of the modelling bespeaks the goldsmith's hand. No sculptor before Andrea Pisano had attempted this fundamental reform of composition. His only precursor was a painter, Giotto. The proof of this is visible in the marble bas-reliefs of the Florentine campanile, which wereITALIAN ART xlix begun by Giotto himself and completed after his death by Andrea Pisano. It was thus Andrea who made the next advance after Giovanni Pisano in the revival of sculpture; and his work was continued by a Florentine, Andrea di Cione or Orcagna (1328-68) who was at once architect, sculptor, painter, and poet. In his tabernacle in the church of Or San Michele at Florence, the forms show more profound thought, better construction, and more depth of relief than those of Andrea Pisano, and thus they foreshadow the realism of the next century. Orcagna does not mass his figures, but rather fears to crowd the narrow spaces of the design; and his tendency is always towards simpler composition, bolder forms, rounder faces, and ampler draperies. He was no restless spirit, always seeking a new thing, but a laborious and serious craftsman. In the representation of so solemn a subject as the Assumption, he shows himself to be not merely a sculptor but an expert worker in mosaic, so brilliant is the effect achieved with the star-sprinkled background of sapphire blue enamel; while the bas-reliefs and mosaics are fitted into the design with the skill of an architect. The harmony of all the parts and the richness of the whole effect make this shrine a marvel of Gothic art. Outside Florence sculpture continued to be Gothic, but the exuberances of Giovanni Pisano's style were gradually modified. Nino Pisano, the son of Andrea, confined himself in general to smiling Madonnas, but, owing to the wide diffusion of his statuettes and to his tomb of the Doge Marco Cornaro at Venice, his art was the means of spreading the Pisan style through Italy. Giovanni di Balduccio, another Pisan, was the sculptor of the Sarzana tombs at Genoa and the shrines of Sant'Eu- storgio at Milan and Sant'Agostino at Pavia, which served as models for the masters of Campione and Como. While the Pisan followers of Giovanni were leading the north, his Sienese pupils conquered the south of Italy. Tino di Camaino Senese worked at Pisa, Siena, Florence, and Na- ples; Lorenzo Maitani carved the delicate bas-reliefs of scenes from the Old and New Testaments set in a lace-work of vine leaves and tendrils, on the facade of Orvieto cathedral; Goro di Gregorio worked at Messina; while Agostino and Agnolo di Ventura, with Gano and others, carried the Pisan style, in its refined Florentine form, all over Italy. In the second half of the 14th century, the work of the Veronese marble-sculptors and, especially, of the two Venet-I ITALIAN ART ians, Iacobello and Pier Paolo dalle Masegne, exhibited a new tendency, a sincere if somewhat crude effort towards realism. In Lombardy this tendency was more strongly manifested, and, especially in the work of Giovannino de' Grassi, the tortuousness of Gothic ornamentation is exagger- ated to an extreme degree. In the early years of the 15th century, much of the sculpture still clung to the forms of the 14th, as may be seen in San Petronio, Bologna, the Ducal Palace at Venice, the Duomo of Milan, the Baboccio at Naples, and even at Florence in the wrork of reactionary artists like Niccolo di Pietro Lamberti, sculptor of the Porta della Mandorla of the cathedral of Santa Maria del Fiore. * * # The revival of Italian painting began in Koine in the 13th century, with the Cosmati, Cavallini and Torriti. The art of Pietro Cavallini is characterized by a Roman amplitude of form and by an endeavour to represent relief. His mosaics in Santa Maria di Trastevere are brilliant in their effect of light, and the monumental forms of the design are seen against a bright chequered background of Cosmati work. In his fresco in the church of Santa Cecilia, however, the fig- ures of Christ, the Virgin, and the Apostles are Romanesque in feeling; a new depth is given to the forms by the use of clear white and dark brown shading; the features are strong and well defined, and the eyes, which are large and painted flat on the face, seem almost to flash in their contrasting blacks and whites. Pietro Cavallini's fresco is thus in advance of his mosaic. In his altarpieces Cimabue is a more conventional designer, and nearer the Florentine tradition; but in the frescoes at Assisi his art has become more personal and the angels sweep down like storm-driven clouds to lament around the Cross, and the impassive Christ of the Byzantines is now distorted with agony. It was only in the art of Giotto di Bon done, the greatest genius of 14th century painting and the first modern painter, that painting completely freed itself from its subservience to architecture, and the forms began to have relief, solidity, and natural movement. In the works of Giotto and his followers Italian painting was reborn and unified, achieving self- consciousness at the very time that Dante was writing the Divina Commedia. Giotto cast aside the royal robes and gorgeous accessories of Byzantine art; his figures arc clothe4 inITALIAN ART li the straight-lined simple garments of the common people, and his colouring is that of nature: rosy flesh and bright-hued dresses. There is as yet no attempt to render depth of space, but the figures are shown in natural surroundings, of vari- coloured architecture or bare rocks with the structure care- fully mapped out, and these are treated with the same degree of realism as the human form. The figures, no longer arranged in rows, according to Byzantine tradition, but singly or in groups, are given their appropriate places in the composition, and stand out in bold relief; the gestures are life-like and very expressive, yet they never disturb the calm dignity of the general effect. Like Michael Angelo at a later date, Giotto invests the human form with something of dignity; the impassive hieratic images of the Byzantines are endued with terrestrial beauty, corporeal solidity, and moral grandeur. The God-man is depicted for the first time in the works of Giotto; the figures have plastic strength, rhythmic proportions, and a monumental aspect. Tradition and remembrance, echoes of biblical pro- phecy and saintly legend, all find expression in his art, which, discarding the old ideal of an incorporeal beauty, an illimitable grandeur, and a naked savage realism in the. portrayal of disease and death, has discovered a new beauty of youth, ardent, balanced, and serene. His ideal, which is placed neither too high, in the world of dreams, nor too low, in the materialism of the senses, is inspired by a just and healthy conception of life; the saints are no longer citizens of heaven, standing motionless on the golden brocade of apse or vault, but citizens of the world; heaven is now resplendent with the beauty of earth. Giotto proclaimed a new Word in art, and during the whole of the 14th century, all the representational arts continued to advance under his banner. In Giotto's day, and almost until he was at the height of his fame, Siena was still working in the Hellenistic tra- dition. Duccio di Buoninsegna, the direct and faithful representative of that tradition, was the founder of the Sienese school. The ornate surfaces and incised lines of the lightly gilded borders, the multitudinous blade-like pleats of the draperies, and the delicate twisted curls in which each hair is separately traced, still survived in their works. The aureoles were patterned with arabesques like gold lace; sometimes the robes were adorned, in a manner reminiscent of the Byzantines, with herring-bone decoration in gold; the wings were bright with gold spirals. In Duccio's figureslii ITALIAN ART there is no sign of the life that animates those of Giotto; sombre and severe, with large almond eyes and rigid oriental features, they bear the hieratic stamp of Byzantium. Here is no attempt to convey the idea of relief or movement, but a subtle Byzantine harmony of sinuous lines, combined with a facility of narrative, and an organic unity of design which is sometimes very remarkable. Duccio's pupil Simone Martini (1283-1344) brought into painting a new splendour of colour, a suave grace of form, and a larger sense of design expressed in greater freedom of gesture and more flowing lines. His solemn series of saints and angels surrounding the Virgin in the Palazzo Pubblico of Siena is like a gold brocade with embroidered figures, stretched across the end of the hall, which vies with the splendour of the heavenly company in the iridescent glass of its windows, its columns of precious marbles, slender as Giovanni Pisano's in the Campo Santo at Pisa. The Royal Child is clothed in purple and gold; the Virgin, though her form is still rigid, turns her head slightly towards her shoulder, with the sweet gesture characteristic of Simone's Madonnas. Rose-crowned angels offer her baskets of flowers; bathed in a golden glory the saints gaze at her in a new beauty of ecstasy; the aureoles are wreathed with roses, and a golden canopy is spread over the royal assemblage. In the same hall, facing this vision of imperial splendour, this dazzling tissue of gold, purple, and precious stones, is the night-blue sky of Guidoriccio, with his gaily-coloured figures and the quaint outlines of his fairy-tale castles. Along the interior walls of the basilican church of Assisi, between the slender pointed arches and the open galleries defiles another fantastic procession by Simone, a strange exotic bevy of female saints with elongated faces, pale as ivory, whence look golden half-shut eyes. The art of this painter is, however, best displayed not in his larger works but in the small panels, scattered in many places, in which the long figures swathed in clinging draperies have the flowing lines and languorous lily-like grace of Japanese art. Lippo Memmi, who was associated with Simone Martini in his work, displays some of the same characteristics in numerous small and well-executed altarpieces, and also in his large frescoed Majesty at San Gimignano. He differs from Simone, however, in that his forms are somewhat weak, in a preference for upright and symmetrical poses, in a tendency towards the gradual substitution of vigorous Gothic curves for the suave Byzantine outlines, and more especiallyITALIAN ART liii in his colouring which, with its notes of bright orange in juxtaposition to pure whites and leaf greens, suggests that of an illuminated manuscript. The Gothic feeling also shows itself, but less definitely, and as it were in a spiritualised form, in the full contours of the figures painted by the Sienese brothers, Pietro and Ambrogio Lorenzetti, whose art, though akin to that of Duccio and Simone, is nevertheless intensely individual, especially Ambrogio's. Duccio's angels approach the throne in a familiar manner and regard the divine group with a curiosity new in painting; but the intimate affection of the Mother and Son, already expressed by Giovanni Pisano in his sculpture, makes its appearance in the paintings both of Pietro, whose Madonna and Child hold animated converse, and of Ambrogio, who depicts them cheek to cheek, in the loving attitude to be seen again later in Donatello's bas- reliefs. Antonio groups his figures majestically, in a de- liberately composed scheme, a method till then unknown to Sienese art and only adumbrated in Pietro's altarpiece, now in the Uffizi. In the polyptych of the Sienese gallery Am- brogio has achieved a rhythmic balance between the flow of a curve and its sudden arrest, between upward sweep and swift descent, between the sinuous line and the straight; and he accentuates, it may be, the curve of a rounded bosom by the contrast of a thin red or gold border. At Florence the influence of Giotto continued to dominate painting, although his followers never attained his noble simplicity of form and expression. His pupils for the most part merely repeated the types he created; they still endea- voured to represent sacred events in a naturalistic manner based on observation, but their works are confused by the number of subordinate figures and details. This is why, after Giotto's death, Florentine painting became a blend of Giotto's style and that of the Sienese artists, which latter being more faithful to tradition, was more intelligible to the people than the revolutionary and intellectual art of Giotto. Stefano, Maso di Banco, Pacino di Bonaguida, Bernardo Daddi, Taddeo Gaddi, Andrea Orcagna, and Andrea da Fi- renze were the chief representatives of this hybrid school. The Sienese style became diffused throughout Umbria and the Marches, the chief centre being at Fabriano, whence came a numerous band of painters, beginning with Allegretto Nuzi and continuing into the next century with Gentile. Towards the end of the 14th century Sienese art predominated at Florence in the persons of Stamina and Lorenzo Monaco.liv ITALIAN ART Spinello Aretino was more faithful to the principles of Giotto, but produced no really great results. In Northern Italy a new naturalism was infused into the Giottesque forms by Giovanni da Milano, with his bright pore colour; by Altichieri and Avanzo in the churches of Verona and Padua; and by Tommaso da Modena, a capable portrayer of facial character. In Romagna some humbler artists worked on similar lines and unconsciously transformed the style of Giotto into one which became more and more concerned with the details of a composition than with its significant lines and general effect. The great triumphs achieved in the 15th century by Masaccio in painting and by Donatello in sculpture were made possible by the genius of Filippo Brunelleschi, the pioneer of architectural perspective. While the florid style of Gothic still held sway at Venice, Florentine architecture had, in Brunelleschi's works, already accomplished the transition from the flexibility of Gothic to the regularity of square forms, the repose of horizontal lines, and the classic semicircular arch; he brought about the simplification of the structure which was characteristic of the new style in sculp- ture and painting. At the beginning of the 15th century secular was in advance of religious architecture. The Florentine palaces are typical of the new style. They consist of a massive building surrounding a square courtyard bordered by arcades carried on columns; the exterior, with its comparatively small and unimportant windows still preserved the character of a mediaeval fortress, while the decoration of the interior was essentially classic. The construction of the churches, which were now crowned by a dome on a square base, was correspondingly transformed. The slender clustered columns gave place to single pillars and great piers, and the cross vaulting to a barrel-vault or a flat coffered ceiling. On the exterior were columns, pediments, and niches; in fact, the characteristic features of Romanesque architecture now returned. Filippo Brunelleschi (1377-1446) inaugurated this great revolution with the dome of Santa Maria del Fiore, in which he was inspired by antique models, the fa9ade of the Pitti Palace, the Cappella de' Pazzi at Santa Groce, and the churches of San Lorenzo and Santo Spirito, all at Florence.ITALIAN ART lv In these works nothing remains of the ubiquitous decoration of the 14th century, although the importance given to the openings, the lightness of the arcades, and the slenderness of the framework with its finely-worked mouldings are still reminiscent of Gothic taste. The Cappella d.e' Pazzi, a very elegant classic structure, is one of the most remarkable production of Brunei! eschi's genius. On the outside, above the graceful arcades, we iirid a barrel-vault, coffered, with rosette ornaments, and a frieze of cherubs; within, a rectan- gular hall surmounted by a shallow umbrella-shaped cupola; no projections, no shadows disturb the geometric arrangement of the parts, nor mar the regularity of the white walls with their quiet grey pattern of pilasters and arches in low relief. In reconstructing the church of San Lorenzo, Brunelleschi, faithful to his principles of squareness and symmetry, reverted to the type of the Christian basilica, flat-ceilinged and divided by colonnades. But here again the classic model was trans- lated into the Florentine idiom; the former massiveness of effect was lightened by the introduction of openings and by a new grace of outline; the decoration wras so placed as to accentuate the structural design; fillets, small spiral motives, and interfacings of the cross arches emphasized, by' multi- plying, the flowing lines of the arcades. Under the influence of Brunelleschi, many works were designed in this new manner; and his followers, like those of Donatello a generation later, employed his system and ideas, in the production of more graceful and delicate elfects. Of all the Tuscan imitators of Brunelleschi, only one, Leon Battista Albert! (1404-72), succedeed in creating a style of his own, differing essentially from that of his master, while based upon his principles. Brunelleschi effected his reform by a return to the rectangularity of classic architecture, and to the ordered construction arising from the use of the semicircular arch and the emphasis of horizontal lines. His curves, however, are vigorous, and the lines of his arches graceful. The openings are large in proportion to the solid parts of the structure, the whole effect of which has a lightness unknown in Roman architecture. Only with Leon Battista Alberti did 15th century building begin to acquire massiveness and solidity of appearance. The chapels of Sant'Andrea at Mantua are divided by thick walls; on the sides of the Mala- testa temple at Rimini an imposing effect is obtained by the use of huge plain blocks of stone cut geometrically. A corresponding change, which took place at the same time, in the form of the dome illustrates the new architecturalIvi ITALIAN ART tendencies. Brunelleschi's cupola springs gracefully, is high in proportion to the diameter, and gives the effect of lightness; Alberti's is heavy, windowless, and hemispherical. The exterior of Brunelleschi's churches is of the same type as the interior, possessing no special features; in Alberti's, however, the exterior acquires a clearly defined and magnificent character of its own. In the Malatesta temple an imposing effect is obtained by a unified treatment of the sides and fagade, the repose of broad surfaces, the classic restraint of the decoration and the massive sobriety of the whole. In Brunelleschi we admire the constructive genius, the careless Florentine elegance, the vitality of the lines; in Alberti, the ardent imagination and the exaltation of the mass. Brunelleschi's buildings all repeat, with little var- iation, a single scheme of design, though in Santo Spirito, Florence, the fantastic and illusory crossing of the colonnades under the trellis of vaulting is a proof that the great reformer could use his imagination. Alberti's edifices, on the contrary, show an astonishing variety of design, ranging from the heroic style of the Malatesta temple, a hymn of glory com- posed of great domes and triumphal arches, to the Attic elegance of the little church of San Pancrazio at Florence. A distinguished theorist and a true mind of the Renaissance, Alberti showed himself even greater in various plans, not merely for buildings, but for entire cities, which were im- possible of execution, than in the works he actually carried out. His designs always embodied the idea of rhythm as the foundation of beauty: «the vibrations which make the sound of voices agreeable to men's ears are the same as those which fill their eyes and minds with a marvellous pleasure». Leon Battista brings to the design of a building a feeling for romance unknown to Filippo; there is mystery in the shadows of his temples, in their fires, their great lights, and the gleaming lamps around their altars. Filippo Brunelleschi initiated the reform, Leon Battista Alberti developed it; the lines of their art moved parallel to one another, remaining distinct. Even when the disciples of the one followed the principles of the other they departed from them in spirit. Michelozzo Michelozzi (1396-1473) and Benedetto da Maiano (1442-97), while deriving their inspiration from the Florentine palace-type created by Alberti, remained faithful followers of Brunelleschi. Alberti's predilection for thick and massive walls reappeared under a new form in the geometric architecture of Luciano da Zara. The lightness and strength of the curves and the important part playedITALIAN ART lvii by the openings in Brunelleschi's work developed into the reformed classicism of the Tuscan school, which concerned itself with the geometrical definition of the structural form rather than with the effect of the mass. Of this kind are the light and graceful buildings of Cronaca and Giuliano da Sangallo. The Palazzo Riccardi of Michelozzo, the Palazzo Strozzi of Benedetto da Maiano, with the Palazzo Rucellai, are the most perfect examples of the 15th century private palace, which was originated by Brunelleschi in the Palazzo Pitti and developed by his successors until it achieved a rare combination of strength and elegance. Luciano Laurana da Zara, who built the shrine of Alfonso of Aragon at Naples and the ducal palace of Urbino, and collaborated with Leon Battista Alberti at Mantua, had neither Brunelleschi's vigorous grace nor Alberti's sense of the monumental. Instead, we find great care for proportion, large extents of plain surface, and little ornamentation; in fine, he sought after pure form. In the buildings of Alberti the deliberately harmonious effect obtained by numerically calculated proportions seems at times almost over-emphas- ized. Laurana, on the other hand, achieves a tranquillity of rhythm, with pauses of cadenced regularity. In the palace at Urbino all richness of ornament has been eschewed, so that no broken shadows may disturb the polished surfaces nor detract from the crystal clarity of the main forms. The architect has permitted himself only one kind of ornamental effect: a colour alternation of pure white on roseate walls, obtained by white pilaster-strips, white framing of doors and windows, and well-defined bands of entablature which encircle the whole of the square building. Between the arches are gilded discs, slightly concave, each surrounded by a close wreath; the entablature has no frieze, only an inscribed dedication to Federigo da Montefeltro, the letters of which are set like jewels, and are as pure in form as the architectural members, seeming, indeed, as essentially parts of the edifice. The plain spaces between the arcading, between windows and doors, and between the letters of the inscription, all repeat the same rhythms, so that the whole is a complete poem. Alberti's taste was for sobriety in decoration, but his humanistic leanings and his fondness for all that was Roman, led him to like massive ornamentation. Laurana stood alone in his love of synthesis and that absolute sim- plification which enables his main design to be seen in all its intrinsic beauty. There is a feeling of serenity and reposeIviii ITALIAN ART in the pure geometry of the forms, the ordered proportions, and the smooth whiteness of his facades, unbroken by any shadow. While these results were being achieved in Florence and Central Italy, the Tuscan style, spreading into Lombardy and Venetia, there became modified by certain Gothic ele- ments. The rigid principles of Florentine construction were gradually relaxed, and by degrees a style was evolved which had nothing in common with the Tuscan except its main proportions and fundamental lines. In Venetian buildings moreover, these were always disguised by sculptured ornament and polychrome decoration, and, in general, picturesqueness of effect was substituted for fine design. The Colleoni chapel at Bergamo, the Certosa of Pavia, the Scuola di San Marco and the Palazzo Vendramin-Calergi at Venice are the most typical, perfect, and celebrated works in this new Northern Italian style. Meanwhile at Florence the art of Brunelleschi was as- suming a monumental aspect in the work of Giuliano da Sangallo (1445-1516); his principal building, the Madonna delle Carceri at Prato, already anticipated the majestic character of 16th century architecture. The Pisan supremacy in sculpture passed to Florence during the 14th century. The moment of transition from Gothic to Renaissance art is represented by the work of Lorenzo Ghiberti, who won the commission for the second door of the Florentine Baptistery, his rival being Brunel- leschi. In this door the serpentine curves of the figures, the floating draperies, the concavity of the angels' wings are all Gothic in their vigorous lines; the graceful elongated forms have a supple slenderness; on the other hand the flowers and fruits are roundly and realistically modelled, and the sculptor delights in giving his bas-reliefs a background of Roman architecture. Ghiberti was, in fact, a very versatile artist, who, balancing between two generations and two opposing ideals, produced works in very diverse styles, as is seen in the reliefs of the baptismal font at Siena. The Sienese Iacopo della Quercia (1374-1438) was a much bolder innovator than Ghiberti, although nearly his contemporary. In his works the spirit of Etruscan art was revived, the love of strong relief, fullness, and force. In 1406 he executed the tomb of Ilaria del Carretto in San Mar-ITALIAN ART lix tino at Lucca; the form of the monument, and its decoration of children and garlands, are Etruscan and Roman in type; there is strength alike in the small features of Ilaria and in the sturdy limbs and round leonine heads of the children who, in varying attitudes, hold up the heavy tendrils of the vine. The full forms soon became monumental, as at San Petronio in Bologna and the Fonte Gaia at Siena, where Iacopo's art wears a heroic and imposing aspect. He is in the front rank of the great Tuscan sculptors of the 15th century, and gives movement to his forms by an emphasis of the line; the well-defined features of his personages are carved out with Miciielangelesque vigour; the eyes under the mobile arched brows are alive and stand out level with the face, like those of Giovanni Pisano's statues. The greatness of Iacopo is most evident in his bas-reliefs, in which a remarkable effect is obtained by the varying degrees of projection, ranging from the slight relief seen in a medallion to the solid mo- delling of forms which are almost detached from the back- ground. Michael Angelo must surely have recognised in the art of this great Sienese the genius most akin to his own in its revival of the old Etruscan spirit, and the most powerful exponent of the new idea in sculpture. It was Donatello (1386-1466) who destroyed what remained of the Gothic tradition in sculpture. For 50 years his art was the national art of Italy. In his earliest works at Florence, the St. John the Evangelist in the cathedral and the David in the Museo Nazionale, although he had not entirely freed himself from memories of Gothic, he had attained to a plastic energy and grandeur of another kind. His figures of old men, such as the « Zuccone» or « baldhead » on the Florentine Campanile, show a profound knowledge of anatomy and are characterized by the strong relief given by the shadows and by the powerful muscles. He went to Rome with his comrade, Brunellesclii, to study classical sculpture and architecture, and the result of this experience is seen in the squareness of his forms, his mastery of the straight line, and his abandonment of all the traditional Gothic conventions. At Rome Donatello became filled with enthusiasm for antique art, the spirit of which was made known to Florence and Padua through the works executed in their principal churches by himself and by all the artists who came under his influence, Andrea Mantegna among others. Donatello was the first to introduce the pictorial treatment of bas-relief. This is especially noticeable in his bronze reliefs, which are bold in effect, as for example, thoselx ITALIAN ART of the Sienese font, the altar of Sant'Antonio at Padua, and the two pulpits of San Lorenzo at Florence. The projection of the forms is gradually lessened as they recede in space, the depth and limits of which are generally defined by perspec- tives of architecture. In fact, in his bas-reliefs Donatello produced almost impressionistic effects of movement. This movement is bold and unrestrained, sudden and rapturous in the boys who dance between arcades in the reliefs of the Florentine choir-gallery, and in the little wild player of cymbals in Sant'Antonio at Padua. Securing unity of effect by treating the composition from a single view-point, Donatello was able to represent the drama of human life with an intensity and a grandeur till then unknown in Flo- rentine sculpture. These victories made his immediate Flo- rentine successors realise that they must tread the same path or perish. The majority of them possessed neither Donatello's bold spirit nor his indomitable strength; their works were simple, refined, and delicate, and they took advantage of the master's methods to express their own much smaller ideas. Some of them had enough individuality to avoid being enslaved by his powerful personality. Luca della Robbia (1400-82), the most delicate and gifted of these Tuscan sculptors, was almost Donatello's contem- porary, and executed the reliefs of the second choir gallery at Florence. He expresses himself with Tuscan charm, placing his sweet and serious personages among wreaths of flowers, festoons of lilies and pomegranates, or beneath a pergola of smiling fruits against an azure ground. A calm and gentle lover of nature, a serene and simple soul, Luca does not aim at subtlety, but is content to model his strong and beautiful Madonnas and Children over and over again. In 1441 he introduced colour into sculpture with his glazed terracottas, and thus achieved his greatest fame. Many of Donatello's contemporaries, such as Michelozzo Michelozzi, Pagno di Lapo Portigiani, Maso di Bartolomeo, were only pale shadows of the master; Antonio Averulino, called il Filarete, was, on the contrary, his academic opponent. The younger generation were more admiring of the master's grace than of his energy; nevertheless it was his art that inspired Simone, Isaia da Pisa, Andrea dell'Aquila, Urbano da Cortona, Niccolo Coccari, Giovanni da Pisa, Antonio di Chelino, Francesco del Valenti, Pietro di Martino da Milano, Paolo da Ragusa, Domenico di Paris, Antonio Federighi, Vecchietta, and Bellano. Their share in the work was to spread Donatello's art all over Italy.ITALIAN ART Ixi On the other hand, a place apart must be accorded to two among his disciples, namely, Agostino di Duccio and Desiderio da Settignano. The name of Agostino di Duccio (1418-81) is perpetuated in the decoration of the Malatesta temple at Rimini and the fagade of San Bernardino at Perugia. He delighted in undulating relief, in fantastic design of curve on curve. His figures are swathed in thin folds of veiling; they sway like reeds; their eyes are half-closed, the features are delicately sensitive, the strands of hair are like twisted ribbons and, on the round heads of his infants, vibrate like tongues of flame. The bodies bend, the draperies float, the hollows of the niches open out into aureoles. A gentle joyous rhythm pervades the whole design. Desiderio (1428-64) approaches more nearly to Donatello. Like the latter, he seems to make his material vibrate. All the master's exuberance, however, has disappeared; there remain the marvellous command over both high and low relief, and a rare faculty of creating forms which have distinc- tion, grace, and feeling. In the Marsuppini monument in Santa Croce at Florence, he shows himself master of a noble and supple architectonic style; he was unsurpassed among Tuscan artists of the 15th century in the rendering of in- fantine grace, and in his many busts of Florentine women he conveys an exquisite impression of sensitiveness, intel- ligence, and nobility. The generation which succeded Donatello seems to have found in Desiderio da Settignano its highest expression of spiritual grace and of skill in the working of marble. Luca della Robbia, and, in a lesser degree, Bernardo Rossellino (1409-64) were the first to show signs of this new feeling for grace, while Donatello, whose aim was entirely different, led the way in the development of technical skill and in the science of modelling. Andrea della Robbia (1435-1525), the nephew and successor of Luca, is chiefly known for his small altarpieces with glazed figures against a blue ground. His Madonnas hold the Child in a close and tender embrace. Antonio Rossellino (1427-78) in his works at Santa Groce and San Miniato at Florence, and Monte Oliveto at Naples, has combined something of Donatello's science with the simple and ingenuous art of his brother Bernardo. The finished and joyous though mediocre art of Benedetto da Maiano (1442-97), Matteo Ci- vitali, and Silvestro dell'Aquila, was derived chiefly from Antonio Rossellino, but also owed something to DonatelloIxii ITALIAN ART and Desiderio; in the works of Mino da Fiesole the gradations of surface are as delicate as those of Desiderio, but there is little else than surface; the marble is exquisitely handled, but the figures are often poorly constructed. This art was duly reflected in the works of sculptors beyond the limits of Tuscany: in Emilia were Sperandio Mantovano and Vincenzo Onofri; in Liguria, Domenico Ga- gini; in Lombardy, Pietro da Milano and, more especially, Giovanni Antonio Amadeo (c. 1477-1522), Pietro da Rho, Andrea Bregno, and Luigi Capponi; at Rome, Paolo di Mariano and Gian Cristoforo Romano. In Lombardy the style was very finely expressed by Cristoforo Foppa (1452-1526) who may almost be regarded as a precursor of the 16th century. But among these more or less distant echoes of the Tuscan manner, a louder and more individual voice was heard in Dal- matia - not in the works of Giovanni da Trau, fine though these were, but in those of Francesco Laurana da Zara, famous throughout Italy and France. He derived perhaps rather from the elder Gagini than from Donatello and his school, and his place in sculpture corresponds to that of Piero della Francesca in painting. That is, he was a master of metrical proportion and architectonic design, and was opposed to the pictorial treatment of bas-relief introduced by Don- atello. In his marbles Francesco Laurana rejected alike the passionate emotion expressed in Donatello's figures and the refined sensitiveness of Desiderio's female portraits, confining himself to the rendering of plastic form and to deliberately formal design. The Sienese sculptors Francesco di Giorgio (1439-1502), Neroccio di Bartolomeo (1447-1500), and Giacomo Cozzarelli did not stray very far from the Florentine style of ithe gen- eration after Donatello. This art seems to be almost afraid of the master's boldness and of filling his large spaces, and rather followed Desiderio in his search after ideal grace. Giacomo Cozzarelli's coloured terracottas • are exquisite in Reeling; the long refined faces and the rippling folds, which fall in soft curves, are modelled with Sienese tenderness. The. St. John the Evangelist in the Museo dell'Opera, Siena, is the typical example of this polychrome sculpture. It is as finely and delicately modelled as a 17th century marble, and delightfully pictorial. Three Florentine sculptors always kept Donatello's example before their eyes; not, in their case, to use his victories in pursuit of calmer ideals, but, on the contrary, to develop the vital energy shown in his work to a still higher degree. TheseITALIAN ART Ixiii were Bertoldo (P-1491), Antonio Poilaiolo (1432-98), and Andrea Verrocchio (1435-88). The works of these masters show an accentuation of Donatella's movement and of the nervous strength of his forms. Verrocchio's rhythms have great variety; sometimes they are smooth and light, as in the gay little elf who hovers, butterfly-like, over the fountain of the Palazzo Vecchio; some- times slow and calm, as in his ample Madonnas with the large serious faces, who no longer possess the feminine grace of Desiderio's Virgins; the heavy folds of their robes have a peculiar softness, the hands are sensitive and beautifully modelled. Between the two famous equestrian statues, the Gattamelata of Donatello at Padua and the Colleoni of Ver- rocchio at Venice, there is a great gulf. Donatello's is calm, serious, and purely constructive in design, while Verrocchio's is a dramatic representation of the great condottiere riding out to conquer. Antonio Poilaiolo and Bertoldo were only marvellous heralds of the soaring achievements of the succeeding century. The former carried Donatello's vigour to passionate extremes, stressed the rmovement of the forms and carved his bony heads with bold carelessness; the angular and broken lines of his draperies accentuate the muscular relief of his lean and agile figures. Bertoldo also sought to achieve movement, dramatic force, and the tumultuous effect of crowds, but remained more faithful to Donatello. Bertoldo was the master of Michael Angelo, Verrocchio of Leonardo. In the generation which arose in the 16th century, the graces of Desiderio da Settignano and his less gifted contemporaries were cultivated only in the provinces by the lesser artists. People demanded energy, movement, and impetuosity, and were given them in the works of Verrocchio, and still more in those of Bertoldo and Poilaiolo. Outside Tuscany the sculpture of the 15th century exhibited less vigour, though some masterpieces were produced. In Emilia, Niccol6 da Bari, surnamed dell'Area, carved in the rather tragic and theatrical manner of Borgogna, as may be seen at Bologna in the shrine of San Domenico and the Pieta of Santa Maria della Vita. Guido Mazzoni of Modena repeated at Modena, Venice, and Naples his groups of sacred figures, which the sun is completely destroying; they are extraordi- narily realistic, especially in the details, but display little dignity or imagination. In Lombardy, Matteo Raverti and Iacopino da Tradate, and at Venice Bartolomeo Bon, continued in the florid GothicIxiv ITALIAN ART style, which received its fullest expression in Venetia through the work of the Dalmatians Giorgio da Sebenico and Andrea Alessi, and the Veronese Antonio Rizzo. In the Flagellation of Christ at Spalato Giorgio seems to approach the vigour of Donatello, but Antonio Rizzo, notwithstanding certain reminiscences of the Gothic manner, belongs to the new movement represented by the great plastic rhythms of the elder Gagini and Francesco Laurana. The almost exaggerated vigour of the sculptural lines, the square handling of the features, and the architectonic qualities of the design were what resulted from the last remnant of Gothic tradition in the hands of a man of genius swept into the new artistic current brought to Venice by Donatello. At the beginning of the 15th century Italy had no school of painting of her own unaffected by transalpine influence. Beyond the Alps, and especially in Burgundy, since Simone Martini painted at Avignon in the middle of the preceding" century, a style had developed in which the native realism was combined with the decorative line of late Gothic art. Owing to the contact brought about by political circum- stances, or, possibly, to a common origin, early in the 15th century a similar style became widely spread in Italy itself. Giovanni de' Grassi and his followers in Lombardy, Pisanello and Stefano da Zevio at Verona, Iacobello del Fiore and Michele Giambono at Venice, Antonio Alberti at Ferrara, Gentile da Fabriano, Lorenzo and Iacopo Salimbeni da Sanseverino in the Marches, Fra Angelico and Masolino at Florence, all reflected, each in his own way, the character of the florid Gothic style which then prevailed. The genius of some among them was made manifest, despite the narrow- ness of this school. Gentile da Fabriano (fl. 1409-27) represented the courtly art of his time in the harmony of his colours and the peculiar grace of his personages. His most famous work is the Adoration of the Magi in the Uffizi Gallery; here this magnificently decorative artist scatters flowers among his Gothic canopies, enlivens the foreground with animals, and makes the whole glow with the iridescent colour of damask and brocade dresses, gemmed girdles, gilded cufic inscriptions, and sumptuously caparisoned horses. In all these elaborate and resplendent forms he shows himself a 14th century painter of courts and pageants.ITALIAN ART 1XV Antonio Pisano, called also Pisanello (1397 or 1398-1450), the greatest genius of this particular artistic phase, refined the sinuousness of the Gothic line and arrived by degrees at a balance and precision unparalleled in Gothic art. After painting the Annunciation in San Fermo at Verona, with its splendour of cool lights and rainbow-like curves, he executed the Saint Eustace in the London National Gallery with the brush of a miniaturist. His fresco in Sant'Anastasia at Verona is a complete picture of contemporary life, and the head of the princess, which has the delicacy of a painting on vellum, is an exquisite piece of portraiture. These qual- ities appear again in the portraits of an Este princess in the Louvre and of Lionello d'Este at Bergamo, in which the execution is of extreme fineness and the heads, with their subtly rendered character, are delicately relieved against dark grounds in which columbines, pinks, and roses glimmer like faint stars. Pisanello's studies of flowers and animals form a rich series of drawings bearing witness to his profound and interested observation of the inexhaustible variety of natural forms, including life's humblest manifesta- tions. Flowers, birds, apes, horses, dogs, and even insects, are depicted with a perfect mingling of realism and fantasy a,nd an elegant precision of line. Portraits and numerous studies of costume complete this delightful series. The same qualities of precision and imagination are displayed in his medals; he was indeed called the «prince of medallists». Pisanello was the greatest of the artists of the late Gothic phase, and, more than any other Italian, transformed the style by the application of the principles of balance and rhythm, so that in some respects his art anticipates the qualities of the Renaissance. The moment of transition between the Sienese-Florentine style and the late Gothic was represented at Florence by Lorenzo Monaco, whose paintings seem monkish and austere beside the magnificence of detail found in all the lay art of the period. He inclined to large and somewhat weak curves and well-defined outlines. The style found a gentler, sweeter expression in the art of Fra Giovanni da Fi^sole, called il Beato Angelico (became a Dominican 1407, d. at Rome 1455). He employed the Gothic mode of his time for the utterance of his own religious aspirations, and became the greatest exponent of pictorial mysticism in Italy. Fra Angelico had neither the boldness of an innovator nor the soaring imagin- ation of a great genius, but his pictures of Madonnas and angels were made beautiful with the loving care of a priestlxvi ITALIAN ART adorning the altar of his little chapel; he worshipped while he painted, and wrested from art the secret of pure bright colour, with which he clothed the beings of his celestial visions. The ladder seen by Jacob in a dream, with white- robed angels passing to and fro was, undoubtedly, a reality to this painter whom posterity called Beato or Blessed. Masolino da Panicale (fl. c. 1418-1440) was far less ab- sorbed in religious ideas than Fra Angelico, and was a more acute observer of life, with the especial gift of telling a story simply and clearly. His task was to recall Tuscan paint- ing to the pursuit of realism, which had been checked by the strong influence of Gothic decoration on the minds of artists. Masaccio, who took up the naturalistic ideal where Giotto had left it, and adapted it to the circumstances of his own day, was the creator of the «new style», and initiated the first Tuscan Renaissance. It was his genius which restored balance to the forms and dignity to the attitudes, and caused the subject to be treated again as a whole rather than an assemblage of separate details. Brunelleschi's conquest of perspective taught him how to bring his figures into strong relief by deepening the background, so that Giotto's plastic forms were strengthened by being set against an open landscape which receded into the distance. Here and there a touch of Michael Angelo's tragic humanity appears in the grave figures built up by Masaccio into compositions in which, doing violence to his natural inclination for Gothic ornateness, he neglects all detail for the sake of the general effect. Paolo Uccello (1396-1476) continued Masaccio's effort to render cubic space by the application to the problem of Brunelleschi's discoveries in perspective, and at the same time sought to enhance the appearance of relief. His pic- tures, which are unlike any previous work of the 15th century, have a curious effect as of coloured inlay. Andrea del Castagno (c. 1390-1457) was a bolder, more energetic spirit and strove to render the plasticity of form. His figures are blocked in squarely, as if they were hewn from the trunks of trees; the clear-cut outlines seem as though traced with a pointed wire, and the pleats of the robes often look like folded paper. Donatello's influence is evident, not only in the decoration of the architectural backgrounds, but also in the method of composition and the inter-relation of the various planes. Piero della Francesca (c. 1416-1492) outdistanced them all in the representation of Terminus, R. 10, D. 201.; Europe, R. 10, D. 14, pens. 25 1.; Maison Doree; Tornaghi; Francia, pens. 20 1.), with the Italian and French custom- houses, is separated by the Roja into the old town (W.) and the new town (E.). It is famous for its flower market. The old town occupies the site of the Roman Albium Intemelium. The restored Romanesque Cathedral has an ancient baptistery; the adjoining square commands a fine view. The church of San Michele is an interesting building witlh a Byzantine choir and crypt, and old frescoes. Above the old town rises the Fort of San Paolo (25 min.), a fine view point. Another attractive walk or drive leads W. along the coast to (3£ pi.) the Giardini Hanbury (open Mon. & Fri. aft., 11.), one of the best botanical gardens in the world, founded in 1867 by the English family after whom it is called. - An electric tramway runs to Bordighera. From Ventimiglia to Turin, see Rte. 8. The railway crosses the Nervia and Vallecr6sia torrents, among olive-groves and flower-gardens. 10 m. (16 km.) BORDIGHERA (5751 inhab.), an important winter resort with a large English colony, is noted for its export of flowers and young palm-trees. Hotels, *Capo Amp£glio (PI. a; A 6), 125 beds, open Oct.-May, R. 15, B. 5, L. 15, D. 18, pens. 401., in a fine situation with a garden and a hydropathic establishment; * Angst (PI. b; A 4), 180 beds, Nov.-May, R. 10, B. 5, L. 16, D. 20, pens. 401., with a beautiful garden; * Royal (PI. c; A 5), 100 beds, open always, R, 10, B, 5, L, 15, D. 18, pens. 30 L;Jerinaldi 'Cnariizzcb (C/wrazeJ i J KLorenxt tfoarehsas flolcnacdjia -as.CastellaS^ Calanat MG^ffo'ndo Ibn-idr LJTL )\Jyla(twt,»,« - \>) /Cm^ c^QfSoIra IGS* [^( V1''5 A fyrh'tllT \^ca^udram ■gr" t j "t a$$r fMtti ¥^S) lr7imkML^^4^ n™ nitq laraccom ) "5tt tfiak ^anfjeQa ■vlWanrnixtn Ctrimo. •sAlppsT^^ , leViqiutli A IrSr/Tt- Vv/inurinn, M'hiovt faslelriomm W Mteau/ieafrvt \fl "P7r. ti i(( M.Cima X \l JLeJ'/ni I . ; ***% Asjirpno/iki : [ffll M.Calyodi fflureccftm neVfdllm Sk£f£bIor/t, f ffl€l (ecrox \ 4 Veiuntiielia Joraigiiera Qnftola SXuigi lontoni1 U&eiUa PdiAWtfi WCaivi '(uriioles \1Cott« V'Wmhn'" ICandtutdna ^MONACO C.d.Aglio ^Sfov^fSWsS55?*f xu**a' S.08\uz\o ■®CTf^V5H|IHiiica i!* \§Jpb*>n T-iitaSewiw' \rnP^v^6-diS.0xpmo l&dMtaacasse) 1fjjnl7"y 1'. MuluyliJi;)Wii PROPR. DEL T.C.I - Rl PROD. VI FT.to Genoa BORDIGHERA 1 Rte. 3 IHesperia (PI. d; A 5), 100 beds, B — Mercato (Nuova) 5B — San Siro 4B — Sardi* o-6C Piazzale C. Battisti 3-4C Ponte San Francesco 6B Porta San Giuseppe 5A Porto 5-«C Poste e Telegrafl 4-5C Prigioni (Forte Santa Tecla) 50 Rio San Lazzaro 8AB Rondd: — di Francia 7B — San Bernardo 4B Rondolino di Francia 6B Stazione FF. SS. 3-4C Strade (Roads): — Magnan 8AB — Rocca 5A -— San Bartolomeo 3 -4AB Teatro Principe A- medeo 5B Telefoni 50 Torrenti: (Torrents): — San Francesco 6A — San Romolo 5A Tribunale 6B Viale Carducci 2AB VicoH (Narrow Streets): — Pescio 4A — San Lazzaro 7B0 Vie {Streets)i — Bagni (d.) 6-70 — Borea 6-7A — Brodie 2A ■— Oappuccini 40 — Carli 40 — Carlo Alberto 4-50 — Castillo (d.) 8BC — Corradi F. 4C 4-5B — Costiglioli (di) 4B — Dante 5-6A — Feraldi 5B — Francia 6-7B — Fratti 7B — Galilei 4-5A — Gaudio 50 — Gioberti 50 — Goethe SAB — Manzoni GBC — Massa 6AB — Monta 5B — Morardo 5B — Palazzo 5B — Pallavicini 6B — Palma 5AB -- Pisacane 8B — Ponte (d.) 7B — Ponte Candelieri 6A — Principe Amedeo 5B — Regina Marghe- rita 3B — Roma 4-5 -6-7C •— Ruffini 7BC — San Bernardo 4B — Schuttleworth 1-2B — Venti Settembre 6-BO — Vittorio Emanue* le II 4-5C 6B — Zola 4A Ville (Villas): — Alba 2A — Azzurra 3-4B — Bazancourt 2B (Continuation). (Continuation).PROPR.DELT.C.l. RIPHOD.VIET. I.ato di oijni quu.cLratd-m.300 SAN REMO Sonladi 1=13 OOO Jk'iist.lV i-UT «•' V^Wstalictx MTip! Tramvie. cxtrauriane Yfcc VlaMbp Ospizio Y^Mhcrrtaite fl\ r* * i I . Htnvrain v'o> ."tET-" %>g.Madty> > vi -.sv/c Ihbliotecii d 1 . Ppimavsrrt f o*,a V'.u'Angst ' t: )?', <<: YMgncim * Hamilton! 5 ./<•' V\"(i)pitallo kirghcrita ,Tf- K2?Ww^oHi l, _ 'Ofi-tclcGmibaldi ':fe j£S& •5BSgr8kr Casino Munic 7V' VALLAROI- Ml LAN 0Ville (Villas): Berigo — Castillo — Evelina — Ines — Mirumare — Palme IB 7-8B 2B 7BC IB 2C fritlc (Villas): — Parva — Pasteur — Perla — Roverizio —- San Michele — Stefania 2B 1-2 A 3B 2-3B 6-7B 3B Ville (Villas) : — Thiem — Victoria — Vista Lieta — Zirio 1-2'A 1-2B 1A 8B Acquedotto 7-8 A Alberohl (Hotels): — Angleterre (d') 4C,n — Belvedere 4A,e —- Bordighera e Ter- minus 5BC,q — Bristol 6AB,g — Central Cosmo- politain 5C,s — Gr. Hotel Angst 4A,b — Gr. Hotel des lies Britanniques 6B,i — Hesperia 5A,d — Kurhaus Capo d'Ampeglio GA,a — Londres (des) 5A,f — Pare (du) 5C,m — Reine (de la) 4B,r — Royal 5A,c — Seeger's Victoria H6tel 5B,o — Union Hotel Sa- voia 5B.p Biblioteca r> A Capo Sant'Ampeglio bC Chiese (Churches): — Anglicana 4-5B — Santa Maria Mad- dalena 7-8B — Sant'Ampeglio 8C -—■ Santa Rosa 7-8B — Terrasanta (di) 6C Citta Vecchia 7-8B Giardino Pubblico 4B Istituto Assomption 3A BORDIGHERA. Kursaal 80 Municipio 7-8B Nuovo Stab. Bagni 60 Passeggiata a Mare 5 -6-7C Plazze (Square*): — Capo (d.) 7 -8BC — Fontana (d.) 7B — Garibaldi 6C - — Jluffini 5-6C — Maszini 6,70 — Seuole (d) 7BC Umherto I 50 Porte (Gates): — Capo (d.) 7-8B — Levante 8B — Sottana 7H Poste e Telegraft 70 Posto Daziario 2C Regione Luco 1-2A Stabilimento Bagni 5C Stazione FF. SS. 5C Strade (Roads): — Brigarella (di) SAB — Cnsa Bianca 4 A — Oasette 6 A — Colli (d.) 7-8A 8B — di Mezzo 2- 3-4B Kursaal 80 Municipio 7-8B — Provinciale del Litorale 8 ABC — Romana 3-4-5-6A Teatro Zeni 6B Telefoni 6C Torrente Borghetto 2AB Vicolo alia Strada Romana 5 ABC Victoria Hall 4-5B f Viale Regina Elena >BC ' Vie ( Streets): — Vittorio Veneto 4BC — Capo (d.) 7-80 8B — Circonvallazione 7B — Garibaldi 6C — Garnier 8AB — Orti 7BC ■» Privata 5BC — Regina Marghe- rita 6B0 — Roberto 5BC — Venti Settembre 7BC — V ittorio Ema- nuele 3-4-5-60 Ville (Villas): — Aprica 7A — Beau-site 5A — Bottacco 4 -5 A — Centallo 7A — di S. M. la Regina Madre 6A — Estella m — Flora GAB — Garnier 8 A — Hamilton 4A — Margherita 6B ■ — Moreno 6-7B — Primavera 5A — Riposo 3-4B — Sant'Agnese 4A — Santa Rosa 4-5B — Valletta 7A — Vallone 6 A Villino Angst 4A Victoria Hall 4-5B f Viale Regina Elena >BC ' Vie ( Streets): — Vittorio Veneto 4BC — Capo (d.) 7-80 8Bto Genoa ONEGLIA 1 Rte. 5 ground passages, and vine-garlanded arches. The Cathedral (San Siro; PI. B 5) is a 12th cent. Romanesque building. Pleasant walks or drives may be taken along the shore by the Corso Trento e Trieste (PI. C 8), or on the hillside by the Via Goethe (PI. A 8) and the Corso degli Inglesi (PI. A-B 3). Especially recommended is the route from the Piazza Colombo up the Via Marsaglia to the Rondd di Francia, and thence by the Via Z. Massa skirting the San Francesco torrent. Crossing this higher up, we may descend by the Via Dante to the Giardino Regina Elena (PI. A-B 5), above the old town. To the N. is the church of Madonna della Costa (15-17th cent.), set amid cypresses, whence the Via Galilei leads to the Corso degli Inglesi (see above). To the left of the Corso is the *Villa Parva (PI. B 2; open. Wed. ' & Sat. 10-12 2-4, adm. 11.), with a splendid garden. Longer excursions may be made to (2} m.) the Madonna della Guardia (410 ft.), a fine view point above the Capo Verde, or up the Armea valley to the picturesque hill-villages of (7f m.) Ceriana (1175 ft.) and (14£ m.) Baiardo (2950 ft.). As the train quits San Remo we enjoy a fine view of the town behind us, and, beyond the Capo Verde tunnel and a bridge over the Armea, of Bussana Nuova and Bussana Vecchia, the latter destroyed by an earthquake in 1887. — 21f m. Tdggia, at the mouth of the Valle Argentina, is con- nected by tramway with San Remo and with its village, 2 m. inland. Farther on the coast is sparsely inhabited and was defended by towers in the 9th and 10th cent, against Barbary pirates. 31 m. (50 km.) Porto Maurizio (Rfmts.; H6t. de France; de Commerce) is a brisk little town (8837 inhab.) on a sloping peninsula, dominated by an imposing Cathedral (1779). — 32J- m. (52 km.) 0n6glia (Rfmts.; *Grand-H6t. Suisse, closed in summer; Vapore; English Church Services at the Grand Hotel), almost continuous with Porto Maurizio, is an im- portant centre of the olive-oil trade (11,922 inab.), and is embowered in olive-groves. It was the birthplace of Andrea Doria (1466-1560; p. 47) and of Edmondo t)e Amicis (1846- 1909), the author. Porto Maurizio and Oneglia since 1923 have been united under the name of Imperia. Omnibus to Orm.ea, see p. 44. — Beyond a tunnel under Capo Berta we reach (35J m.) Diano Marina (Hot. Paradis; Pens, du Pare), another olive-growing town, rebuilt after the earth- quake of Feb. 23rd. 1887. — 37J m. Cervo San Bartolomeo; 40J m. Andora, with a good Romanesque church. We now quit the coast and traverse a tunnel beneath the Capo Mele. — 43 m.Laigueglia (Hot. Laigueglia, 40 rooms, R. 8, D. 12, pens. 201.), 45| m. (73 km.) Al&ssio (6453 inhab.), standing at the head of a bay of great beauty and noted for its fine villas and for the luxuriance of its gardens, is one of the most frequented of Ligurian coast resorts.6 Rte. I ALAS SI O From Farts' Hotels. *Grand-H6tel et d'A- lAssio, 100 beds, R. 10, D. 18, pens. 35 1.; *M^dit6rran6e, 100 beds, R. 10, D. 20, pens. 251.; Salisbury (Oct.-June), in an elevated position, with an English clientele, good; Pa- lace, good, R. 8, D. 14, pens. 25 1.; Belle Vue, good, with tennis courts; Concordia, 50 beds, good; Victoria, 100 beds, R. 10, D. 20, pens. 251.; Suisse, pens. 281.; Lido, pens. 251.; Sav6ia, Centrale, Nettuno, etc. Pensions. Miramare, Igea, Alex- andra, Riviera, etc. Motor Omnibuses to Laigueglia (p. 5) and Albenga (see below). English Church (St. John's), ser vices 8, 10.80, and 3 or 5. — British: Club. Lawn Tennis Club. Badminton Club. Al&ssio is attractive principally for its pleasant seashore,, on which stands an old fort. The Capo Santa Croce lies 40 min. N.E. along the coast; above it are the ruined Arco di Santa Croce and a little mediaeval church (view). Pleasant excursions (each of c. 2 hrs.) may be taken among the hills inland to the Madonna delta Gudrdia (1922 ft.), to Monte Pisciavino (1969 ft.), or to Monte Bignone (1700 ft.). The railway passes beneath Capo Santa Croce; out at sea is seen the little Isola Gallinaria. We cross the Centa. — 49 m. (79 km.) Albenga (Rfmts.; Hot. Albenga, 18 rooms; Vittorio, 10 rooms), an ancient walled town (7590 inhab.), was the Roman Albium Ingaunum. The Romanesque church of Santa Maria in Fontibus (10th cent.) has a Gothic door- way. The fine Gothic Cathedral (modern interior), in the centre of the town, is adjoined by the ancient Baptistery, possibly of the 5th century. The campanile (1453) of the cathedral is connected by an arch with the tower of the Sub- Prefecture. Among the other towers of the city, many of which had to be demolished after the earthquake of 1887,, are the leaning Torre dei Grift, and, in the Piazza dei Leoni,, the tower of the Palazzo Del Carretto. Outside the Portai Mulino is a well-preserved * Roman Bridge of 10 arches. An autocar service plies from Albenga to (18 m.) Pieve di Teco, whe®ar fife connects with the route from Oneglia to Ormea (p. 44). The train now traverses the alluvial plain of the Ceata, where asparagus is grown all the year round. In winter the requisite heat is maintained in the frames by the ferment- ation of damp cotton waste strewn over them. — 54J m. Loano (Hot. Vittoria, 60 rooms, June-Sept.; Riviera Palace, 20 rooms, open always; Pens. Zamboni, 22 1., July-Sept.; Pens. Dunier, 30 rooms, July-Sept.), on a fertile shore, has a fine Town Hall by G. Alessi (1578), formerly the Palazzo Ddria. No. 32 in the Via Cavour was the birthplace of Rosa Raimondi, mother of Garibaldi. To the N. are the Castello > Doria (1602) and a Carmelite Convent with a fine church*. (1603-9), commanding a good view. — 57 m. Pietra Li~** Mc/uia/ira.m, Si cfttn,Uaffom JTcrrn. ',r/w;di imadiTn! XnstcHirro MJrascianell M.Saccajmlloj fC^^/lWttlwniiAB/rngtl^ ilPilone CfStira& Tovvgiia ..'^™W%Trm-(ir'" issorioy^iU^saUco ^uy.i > \Siguo7iT J -M?) V • T*yfu8A8 XJgj, \Mar6ur j J$ZZ CamoGerbontina \qioAUo pndagrub ^ pROCCA 01ANDAGNA ^Ji/attirw imijueqlia lluMidteli Peralfo 97«A CarmoAlbai M. Lc^aj GolowXCorvo 15 56 A \ t\n :uu\) t'etsle/lo mi CarmoS « ft f>'SLSadiot..Fani CapOMele K—-Mfiji/ia cUMndOra 'PrqaixxlLXtidbra. lf^-i Mjosta, (arpauisaS ■Mil AurU/tiLV 1 M.Pallarea ^ .41627 ^ (\ . Y,M^x,^hb, Of-Rartojdmeodd-Cavo ^\\Wcvr((£'^fc^0^y/,<'^(7y.lfl ns U • )S *^}&f&&I,(i/xitlisi K c.vwJ i ./T^SSerDiaiio Marina t/7?//i» 'Ai Jwfo diDiano Marina* _ C.Rertn ^ fOnegUa ' * ..............' /" '•*»••'' PORTO MAURIZIO "AtYfdUo UMa M. Fan do !adL .86° IT^O-Neveira SSaJwtm *erinali Wletta v>.Lofc/tzo al Mai-p Verexzt Vichelc XBa/itolorneo \ flNeyhi Mali BUSSANI impof\ CSero ld'3 .......C^LVmpeglio 8TAMPA: ANTONIOto Genoa SA VON A 1 Rte. 7 gure. — 59J m. Finale Marina or Finatmarina (Rfmts.; Hot. Garibaldi, pens. 20 1.; Boncardo, pens. 22 1.; Rustichelli, 28 rooms; Giardino), a small bathing resort (3295 inhab.), has a baroque church by Bernini and a large Genoese fortress of 1365. Finale Borgo, i m. inland, is a quaint little town of mediaeval aspect. — To the N.E., above Finale Pia, are several limestone caverns (guide from Verzi) in which prehistoric remains have been found; and in the Valle di Ponci, above Verzi (c. 1 hr. from Finale Marina), are the remains of three Roman bridges of the Augustan age. The railway tunnels through the steep Capo di Noli, which may be visited on foot from (64J m.) Noli (Hot. Italia, 11 rooms, pens. 25 fr.; Roma, 12 rooms), a picturesque fishing village with remnants of walls and a Romanesque church (good interior). — 66^ m. Spotorno (Hot. Palace, 100 rooms; Miramare, 18 rooms; Italia; Ligure) has a fine sandy beach. — Beyond (69 m.) Bergeggi and a tunnel under the Capo di Vado we enjoy (r.) a *View of Savona and of the coast as far as Genoa. — 70| m. Vado, on the edge of the fertile plain of the Quiliano, is connected by tramway with Savona. 74 m. (119 km.) Savona (Rfmts), on the Letimbro, is an iron-working town (58,711 inhab.) and a trading port. Hotels. Svizzero-Roma, R. 8, D. 16, pens. 35 1.; Moderno & Commer- cio; Savona, R. 8, D. 12, pens. 25 1.; Riviera Palace; Continental. English Church Services in St. George's Chapel (Seamen's Institute) at 10.30 and 7.30. Known as Savo by the Romans, it was occupied by Mago the Carthaginian in 205 b.c. and destroyed in 641 a.d. by the Lombard Rotari. After the dark ages it appears as a marquisate of the Alerami, and later was a free city under the suzerainty of the Del Carretto, until its subjection by Genoa in 1528. In 1809 Savona was the residence of Pius VII, held prisoner by Napoleon. Its majolica is of some repute. The Via Paleocapa, the principal street, runs straight from the station to the harbour. On the left are the Teatro Chia- brera (1853) and the 16th cent, church of San Giovanni Bat- tista, containing an Adoration of the Magi by Diirer. At the end of the street is a restored tower called after Leone Pan- caldo, a native of the town, who was the pilot of Magellan, the famous Portuguese circumnavigator (16th cent.). To the left is the Funivia, an overhead teleferic railway, the largest of its kind in Europe, which transports merchandise to San Giuseppe di Cairo (p. 44). The Via Quarda Superiore leads S.W. from the harbour through the old town to the Museum and Art Gallery, and to the Law Courts and Post Office, which are housed in an unfinished palace (late 15th cent.) by Giuliano da Sangallo.8 Rte. 1 PEGLI Opposite stands the Cathedral (1602), with a fine facade and a sumptuous interior, containing good woodwork in the choir. The Sistine Chapel, to the right of the cathedral, was erected by Sixtus IV (see below) in memory of his parents, and contains a fine marble tomb, with figures of Sixtus and of Julius II, by Michele and Giovanni De Aria of Como. On the S. side of the town stands the old fort of San Giorgio (1542), now almost entirely occupied by an iron-working com- pany, and commanding a good view seawards. In the cemetery of Zinola, 2£ m. S.W., is a British Military Plot, with 104 graves, mostly from the wreck of the ' Transylvania,' torpedoed 2 m. off Savona in 1917. — From Savona to the Santuario and to Turin, see Rte. 9c. Traversing a succession of short tunnels we reach (77 m.) Albissola (Hot. Victoria; Regina, pens. 161.), the birthplace of Pope Julius II (Giuliano della Rovere; 1443-1513). — At Pecorile near (79 m.) Celle Ligure (Hot. Arecco) was born his uncle Sixtus IV (Francesco della Rovere; 1414-71). — 81J m. (131 km.) Varazze (Grand-HStel, R. 12, D. 20, pens. 40 1.; Delfino, R. 15, D. 15, pens. 30 1.; Torretti, R. 5, D. 15, pens. 25 1.; Genova, R. 5, D. 13, pens. 201.), at the mouth of the T6iro, is a bathing resort much frequented by the Milanese, with construction yards for motor launches. The next sec- tion of the line commands a fine view of Genoa. —At (85 m.) Cogoleto a house, with an inscription, claims to be the birth- place of Columbus (p. 48). — 87J m. Arenzano (Grand-Hotel, 100 beds, R. 10, D. 18, pens. 351.; du Pare; Genova) is another bathing resort. —- At (92 m.) Voltri, a small industrial town (15,888 inhab.) at the mouth of the Leira and the Cerusa, the road from Turin to Genoa joins the coast road. We are now at the northernmost point of the Gulf of Genoa. A tramway runs hence along the coast to Genoa through an almost continuous succession of town and villages, and passing numerous naval and other ship- building yards. 95 m. (153 km.) Pegii is a pleasant winter resort (12,56tf inhab.), frequented also in summer for bathing. Hotels. *Grand-Hot. M&diter- Visitors' Tax, 16-301. for the ran£e, 110 rooms, R. 20, D. 22, pens. season. 40 L; de la Ville & d'Angleterre, English Church (St. John's), good, 40 rooms, R. 10, D. 16, pens. Dec.-Mar., services 8.80, 10.30, and 3. 30 1.; Puppo a Mare, R. 10, D. 12, pens. 30 1.; Italia, pens. 18 1.; Co- lombo, plain. Pegli possesses a Casino on the sea-front, with a caf6, concert-hall, etc. Among the numerous fine villas the most visited is the * Villa Pallavicini (for adm. apply at the In- tendenza di Casa Durazzo-Pallavicini, Genoa, Via Balbi, 1),&rr%M'atY) muon M.Cucco \5oa razzaro BfDorir B?Rot"ond gf. 700 agmi (krbiolTl VojnoijSL*• rO/&7t/MT. I HO.'iA 'iiihrt .£&/£aiAruie'fi\ SAVO.V.Y Triba'tL' 'CavuJLotA iraccone twiolotQ, [sola Grygde W.Camulara rforW.SOa* Montagi Furnad A12C3 ado CalanSu, * **S.Qrato Jjrt UurJi M.Rossott^ " 1173 . isso MlSqWS R°»deC( inamorta B^Praboe V dCorsi : . \ VexriS.Fu wiutiv ^Frasstna yfifl&iayt'ggi W/ .5°" (Spotjomo it.di Ihsotlo Mtano', ib/xfnioM C/rbmc jiR^Cucoa Dap.diDinai 0)'boonr Manrmo \ 1.Cap"tKNol,^ G. Si-Noli rUQt.Radwt / /// ijp7eiamk& ffocu MuscfnJn L.J&& urn w!™®*; l°Tencione I MTfc|la liC///l7.v'/i>V fun tier!!(K% WwUvi^hnfa A 21V» M.ArUororo ^JKdJpas.vt mriytitti M.Carmo 5 ^^Kfcuadfhcinat f^t^j/FinalsMrwwi, Cirpia D.'I0J . AAlbra *IW/7(J.'oa/'a.ro/7i | faring \far.f! Jp*Fa«c8 ">*- MA rm ehha sJf MofUfifla a 1739 NlLPeaautoiwnl M.d.Gilardia fart I tela ftMad.tLXtm 'iunkdtuUrcsuH ■/r/M'anco .Pennis? ■ IwT; •A 1501 1310 / ^ Casfell'Ermi cast.(U\ A(Mla,j'AnosriaJy^^ul^t> M.Frascianelll 1120 A \ ; CITuxusca^-n * Dwtisi ;uweo BaAliiK§5& STAMPA: ANTONIO VALLAROI PROPR. DEL T.C.I. - RIPROD. VI f.TMONT CENIS 2 Rte. 9 noteworthy for its luxuriant Italian garden which commands a striking view (near the exit) of the sea and the lighthouse of Genoa and contains a little underground lake with boats for hire. — 97 m. Sestri Ponente (23,427 inhab.) and (98f m.) Sampierdarena (52,477 inhab.) are large metal-working sub- urbs of Genoa. We join the line from Turin and, after a glimpse (r.) of the lighthouse of Genoa, traverse a final tunnel. 100J m. (162 km.) Genoa, see Rte. 10. 2. FROM LONDON (PARIS) TO GENOA VIA MODANE AND TURIN From London via Calais or Boulogne to Genoa c. 890 m. in31£ hrs. (£ 7 9/3, £ 5 1 3); to Turin in 28 hrs. (£ 6 13 3, £4 10 6). Cheaper fares obtain for pas- sengers travelling to Paris via Dieppe or Le Havre. Re turn-tickets, etc., see p. 1. The Rome Express, running thrice weekly direct from Paris (Gare de Lyon) to Rome (£9, £6 1/9) via Turin, Genoa and Pise, is a train de luxe with re- staurant (L. 25 fr., D. 25 fr) and sleeping cars (berth to Turin £ 3 2, to Rome £42). Passports and luggage are examined at Modane, beyond which Cen- tral European time (p. 1) is in force. From London to Paris, see the Blue Guide to Paris. —■ From Paris (Gare de Lyon) vi& Dijon, Bourg, Culoz, Aix-les- Bains, and Chambery to (418 m.; 673 km.) Modane (3525 ft.; Rfmts.), see the Blue Guide to the French Alps. The railway ascends in a curve round the town of Modane, affording a view (1.) of the Vanoise massif and the Arc valley, and, after a short tunnel enters (3 m.; 3767 ft.) the Mont Cenis Tunnel or Tunnel du Frejus, nearly 8 m. long, in which we cross the Italian frontier and enter Piedmont. The Mont Cenis Tunnel, begun in 1857 and finished in 1871 on the plans of the engineers Sommeiller, Grandis, and Grattoni, was the first great Transalpine tunnel. The two lines of rails are 7 m. 1050 yds. and 7 m. 1725 yds. long, and reach a summit level of 4249 ft. Between Modane and Turin the trains are run by electricity so that the former from smoke no longer exists. Piedmont or Piemonte lies in the W. part of the basin of the Po, surrounded by an immense semicircle of mountains — the Pennine, Graian, Cottian, and Maritime Alps, and the Ligurian Apennines. More than half its territory is mountainous, and about one third is at>ove 4000 ft. In the S.E. are the pleasant hills of Monferrato and the Langhe, an offshoot of the clay formation of the Apennines; while in the centre of the plain are the moraine hills brought down by the glaciers of the Dora Baltea, Dora Rip&ria, Sesia, and Ticino in the last Ice Age. Most remarkable of these is the Serra d'lvrea (p. 33), E. of the Dora B£ltea. The alluvial plain, with an average height of 820 ft., and watered by the Po and its many affluents, as well as by irrigation canals, is rich in meadows, vineyards, and rice-fields. The climate is continental; rice, corn, and grapes are the chief natural products; and the metal and textile industries are of great importance. The numerous Gallic tribes who originally inhabited Piedmont have left as a legacy the Franco-Italian patois of the people, more purely French in the Val d'Aosta. The country formed part of the Roman province of Cisalpine Gaul10 Rte. 2 SUSA and later of the Frankish kingdom of Neustria; the name Piedmont does not appear until the 13th century. In the 9th cent. Piedmont was divided between the county of Turin and the marquisates of Ivrea and Monferrato, but in 1045 the country fell into the hands of the House of Savoy (comp. p. 21). The for- tunes of the country followed those of its overlords, with the short intermission of the period of the Communes (p. xvii). During the period of the Italian struggle for independence Piedmont was the centre of revolutionary activity, and its king, Victor Emmanuel II, was one of the heroes of the Risorgimento. At the exit from the tunnel (4164 ft.) the train is in the valley of the Bardonecchia, a tributary of the Dora Riparia. — llf m. Bardonecchia or Bardonneche (Rfmts.; Hot. Frejus; Sommeiller, pens. 301.), the first Italian station, is a summer resort frequented also for winter sports. — At (18} m.) Oulx (3500 ft.; Rfmts.; Hot. Alpi Cozie; Commercio) we de- bouch in the main valley of the Dora Riparia, in the midst of the Cottian Alps (Alpi Cozie). On the right diverges the road to (18£ m.) Briangon, crossing the Col de Montgendvre or Monginevro (6083 ft.; motor omnibus). Another motor om- nibus plies to (14 m.) the Colle SestrUres (6660 ft.), diverging from the former route at (7 m.) Cesana (Hot. Chaberton; Croce Bianca). The railway descends the valley of the Dora, which passes through the Gorge of Exilles. — At (23 m.) Salbertrand (3300 ft.) the Waldenses (p. 32) defeated the French in 1689. The fortress of Exilles appears on the left. — Beyond (29 m.) Chiomonte (2525 ft.) the valley narrows into the defile of Le Gorgie and the railway bears away to the right, allowing, between its tunnels, a magnificent view of Susa (see below) at the bottom of the valley. — 38 m. Bussoleno (1440 ft.; Rfmts.) is the junction for (5 m.) Susa. Susa (1650 ft.; Rfmts.; Hot. del Sole), on the Dora, is an ancient little town (4595 inhab.), called Segusio by the Romans. It was the seat of the Gallic king Cottius who received the dignity of prefect at the hands of Augustus. The town was thrice destroyed: in 312 by Constantine, in 906 by the Saracens, and in 1179 by Barbarossa, in revenge for the repulse of an assault five years earlier. — The Cathedral (San Giusto), a Romanesque and Gothic building (11- 13th cent.) with a massive Romanesque tower, contains good 13th cent, choir stalls. On the right of the facade the Roman Porta Savdia gives access to the Via degli Archi, which leads to the Arch of Augustus, erected by Cottius in honour of the emperor (8 B.r.). — Above the town are the windings of the Mont Cenis road (motor omnibus) which leads over the Colle Moncenlsio or Col du Mont Cenis (6838 ft.) to (23£ m!) Lanslebourg (see the Blue Guide to the French Alps). The valley widens once more and we pass several small stations. — 46} m. Condove (1205 ft.). — 48} m. Sant'Am- btogio (1158 ft.) is the station for the Sagra di San Michele (p. 31). — At (51m.) Avigliana (Rfmts.) are large dynamite works. We traverse the moraine hills of the Dora by a cutting and beyond (54 m.) Rosta debouch into the plain. 70 m. (106 km.) Turin (78 ft.), see Rte. 6, Thence to (173 m; 209 km.) Genoa, see Rte. 9."JithZTBecfl RSlJla J M-Aiuola Aota, yi>'lraf>-aodiL y0bbin, C - - ^Uma iMM.d.Bastia. i^\JrOCttO ">•.• Cainarza fi'allnnartt ScHvtoto ,/ 7W Crocaicttchi Sarif.soln Scrivia. !| ^ . jftfaiVenno j il.PoTtftfi fantanaMtfio „ . . %rra.-£.icc/o "f"*» KraSirefffy Ofr0 M^Uoggw ^ I • / Casalinfi , ' -t- |T MoTtriffao h.,jS¥/% M.Bono S.CtyPuifu) jr firtiunp 1035 s.okuut^ i Fiaccane Wifbii >ll//.GH\e \t9iiappino Th&aUa JMqto Cmaft "Ttinso deio- fuji.'ai'ina? v \ B£4ei Gorrei A829 Jbbassi 4 OrbiceU% C.fnivftyiQ'\ SWJtr ;L « 1/ltbreta < . B? Berton 1 aV50"""", "V73 lUnag. SvisjUtaiMaZena ,V'°T^ ;dfi/ieiti v ' /vO<-> \/Collina Bade v-ofc >Ai:ffvabiaJU (t s 3864 433 ' \ Masoru' i Zo» GtppeUciuA V p. a^uuii V, 1107 B?/dei Oeate T» Cej'iaie£im P'kU .Paniedediiiiolf r -804 -1" // '-c'v> M.Prourata r.axcisttA a M.Ottine' ^ Cjfyktascar Rc.*della Marasca Sas sella M.Penello • r ^98 O.HWuh ,S GicnrSatt * j \AfartmMtA Colletto HoridinWio Oeo' B?diT»jolo CarpenaNV; 'eeo P° * CDbssineni- .Contessa Tanu/arn^ "fam;u. XBadanl ■ M.Riondo W" - \ ^ 6'or&/%rtSSfe M.lardla \u^ NL/rgentea «ib' degliUcoellr.® \1 B?Gav M.trmetta L W87 ' C/'ttft Maidtl //{',.de\, Glovo 816 S^C.borbeggiou S.Giastiria. M.Ramal L Voltri &rd (W".: SoslPi^^ Popifiite*^ CarmgcUOwi w PriaPotrl 'S'cofflia. dcHa&ave/ lerfti) \ LGfir dLAiena^ CdclFtLro ■' SJfartino 'Arcnzano Sciarbbrtt^QJ 2 dlin>aroj£ Bocc/ida.-ise GENOVA JSofw/'* ('ugdUto B?Ciri v Mat/rani/i' V\^/vA M.Cucco '~ ;&v >,/tl A CfUp'-' X_ MJbissCfhb*y &raha>. iflZara.- Torino, SAVONA STAMPA:DOMODOSSOLA 3 Rte. 11 3. FROM LONDON (PARIS) TO MILAN BY THE SIMPLON ROUTE From London vi& Calais or Boulogne, Paris, Lausanne, and Brig to Mi- lan, 812 m. in 26 hrs. (£ 7 7/, & 5 1/); to Domod6ssola, 786 m. in 23 hrs. (£ 6 17/6; £ 4 14/6). Restaurant (L. or D. 25 fr.) and sleeping cars (berth, Calais to Milan, & 2 19/6) are attached to the through trains. Customs exa- minations take place at Vallorbe, Brig, and Iselle. From Paris an alternative route (20 hrs.) runs via Berne and the Lotschberg railway, entering Switzerland at Delle, where luggage is examined. Central European Time (p. 1) is in force beyond the Swiss frontier. From London to Paris, see the Blue Guide to Paris, From Paris (Gare de Lyon) via Vallorbe, Lausanne and Brig, or from the Gare de l'Est vi& Belfort, Delle, Berne, Spiez, and Brig to (432 m. or 453 m.) Domodossola, see the Blue Guide to Switzerland. Domod6ssola or Domo d'6ssola (890 ft.; Hot. Nuovo Sem- pione; Corona Grossa; Milano et Suisse; Sempione Vecchio; Rfmts.), the chief place of the Val d'Ossola, is a characteristic little Italian town (4600 inhab.), of Roman origin, with an old arcaded market place. In the 17th cent. Palazzo Silva (with a frieze of 1519), near the market place, is a Museum of Anti- quities (open 9-11, & 2-4). The wide Via Matterella, passing the large Collegio Rosmini, in which is the Simplon Museum (Museo Sempioniano; shown on application), illustrating the construction of the tunnel, leads to an interesting Mount Calvary, with 14 chapels of the 17th cent, (view from the top). From Domod6ssola a motor omnibus service runs 6 times daily in £ hr. to (5 m. W.) Bognanco or Prestino (2175 ft.; Hydropathic Establishment), going on 2-3 times daily (i hr. more) to (7 m.) San Lorenzo (3215 ft.; Inn), the up- permost village in the Valle Bognanco, whence interesting passes afford an un- frequented entrance into Switzerland (see the Blue Guide to Switzerland). From Domod6ssola to Locarno (Bellinzona), see p. 77. Beyond Domodossola the railway, crossing the Toce and leaving the line via Orta (p. 12) on the right, beneath the slopes of Moncucco (p. 13), descends the left bank of the wide and flat river valley. — 3£ m. Beura has extensive quarries in the gneiss rock. On the other side of the valley are Villa- dossola and the mouth of the Valle d'Antrona (p. 13). — Above the village of (8 m.) Vogogna (Corona), whence motor omnibuses ply in August via Piedimulera to Macugnaga (p. 13), is the 14th cent, castle of the Visconti. On our right the Orta line, which has crossed the valley, runs parallel with our route as far as Cuzzago (see p. 13). — 10 m. Prempselh,12 Rte. 3 CANDOGLIA Good walkers may follow the bridle-path which ascends N.E. from Pre- mosello between the Pizzo Proman (6887 ft.; r.) and the Cima Rdssola (6847 ft.) to the Colma di Premosello (5686 ft.), and goes down thence into the lonely Val Grande, whose waters flow into Lago Maggiore at Intra (p. 83). Beyond (12J m.) Cuzzago the line to Orta bears away to the right. On the left, at (15 m.) Canddglia-Ornavasso, are the quarries of pale pink marble presented in 1390 by Gian Galeazzo Yisconti to the builders of Milan cathedral. — At (16f m.) Mergozzo, an ancient village with a church partly of the 9th cent., we leave the Toce and pass between Monte Orfano and the Laghetto di Mergozzo, formerly an arm of Lago Maggiore. On Monte Orfano (2595 ft.; 2 hrs.), famous for its granite quarries, is the little 9th cent, church of San Giovanni in Monf Orfano. To the N. of Mergozzo Monte Fati (4436 ft.; 3 hrs.) affords a fine view. 18Jm. (30 km.) Pailanza-Fondo Toce (Rfmts.) is the junction for the light railway which runs from Omegna (p. 13) to Pallanza (p. 83; 5 m. in 25 min.) in connection with the main line trains. Our line crosses the Toce and follows the W. bank of Lago Maggiore, via (2If m., 35 km.) Baveno (Rfmts; p. 84), 24£ m. (39 km.) Stresa (Rfmts.; p. 85), 27 J m. Belgirate (p. 86), 29 m. Lesa (p. 87), and (31J m.) Meina (p. 87), which are described in Rte. 13. 34| m. (56 km.) Arona(Rfmts.), the terminus of the steam- boat service on Lago Maggiore, and the junction for Turin via Borgomanero (p. 72) and for Genoa via Novara (p. 74) see p. 87). — Beyond (37| m.) Dormelletto our line curves to the E. round the S. end of Lago Maggiore and crosses the Ticino by a two-storied bridge near its outflow from the lake. — 40| m. (65 km.) Sesto Calende, see p. 77. Beyond Sesto we cross the Lombard plain to the S.E. and at (51m., 82 km.) Gallarate join the line from Lugano and Varese. — From Gallarate to (76Jm., 123 km.) Milan, see p. 77. 4. FROM LONDON (PARIS) TO MILAN VIA ORTA From London to Domoddssola, where carriages are changed, see Rte. 3. — Thence to Milan vii Orta and Novara, 87 m. (140 km.) in 4-6f hrs. (541. 65, 381. 85, 23 1. 85 c.); to Orta, 29 m. (47 km.) in l£-2 hrs. (191. 15, 13 1. 70, 8 1. 70c.). Carriages are changed at Novara, between Orta and,Milan. This is not recommended as a through-route to Milan, but affords an opportunity for Visiting the delightful and unfrequented Lake of Orta. From London to Domoddssola, see Rte. 3. — Beyond Do- moddssola our line, leaving the Arona line on the left, followsOMEGNA 4 Rte. 13 the Simplon road and descends the right bank of the Toce.— 4} m. (7 km.) Villaddssola (Hot. Sempione; motor omnibus from Domodossola in 20 min.), with a 12th cent, campanile, lies at the S.E. foot of Moncucco (6230 ft.; 4 hrs), at the mouth of the Valle d'Antrona, which ascends on the right (motor omnibus from Domodossola to Antronapiana, 10 m. in 1} hr.) and affords a little-known approach to Switzerland. — From (6f m.) Piedimuiera (Inns) an interesting road ascends the Val Anzasca to Macugnaga (see the Blue Guide to Switzerland). We cross the Anza and, beyond (8} m.) Rumianca, the Toce, and approach the main Simplon line (p. 11). — 9J m. Vogogna (p. 11). — 11m. Premosello (p. 11). —Beyond (13} m.) Cuzzago we diverge from the Simplon line and recross the Toce. — 16 m. Ornavasso, near the marble quarries of Candoglia (p. 12), was colonized in the 13th cent, by a Germanic immigration from the Valais. — 18} m. Gravellona Toce (Sempione) lies near the junction of the Strona and the Toce. Light railway to Omegna and Pall anza, see p. 12. — Monte Cerano (5568 ft.; 4 hrs.), to the W., affords a good view of Lago Maggiore and the Lake of Orta. We ascend the valley of the Strona which, at (2If m.) Crusinallo, an industrial suburb of Omegna, is joined by the Niguglia, issuing from the Lake of Orta. — 23} m. (38 km.) Omegna (Croce Bianca, R. 5, D. 12, pens. 201.; Reale e della Posta, R. 5, D. 10, pens 23 1.), a small manufacturing town (5300 inhab.) at the N. end of the Lake of Orta, retains a few old houses, a mediaeval bridge, and the ancient town-gate leading to the Valle Strona. Light railway to Gravellona and Pallanza, see p. 12. The upper Valle Strona, which descends from the hills to Crusinallo, is a narrow, winding glen, 12 m. long, ending at the Laghetlo di Capezzone (6903 ft.), a lonely tarn beneath the Cima di Capezzone (7943 ft.), which may be ascended in 3£hrs. from Ca Pare; Castello e Falcone, R. 8, D. 15 1.) is important not only as an industrial town (37,388 inhab.), with large manufactures of felt hats and fezzes, but also as a city of great antiquity. On the right, as we leave the station, is the Gothic church of Santa Maria in Strada (1357), built by Ambrogio da Milano, with a curious terracotta fagade of 1393 and a fine campanile. Farther on is the Arengario, or Communal Palace, of 1293, with its grim battlemented tower. Most important is the *Cathedral, a 13th cent, building on the site of an older church founded in 595 by Theodolinda, Queen of the Lombards. The fine 14th cent, fagade by Matteo da Campione was restored in 1880- 1908. Within, a chapel on the left is decorated with frescoes, by the Zavattari of Milan (1444), depicting the life of Theodolinda. Enclosed in the altar (left of the high-altar) is the famous *Iron Crown (see below; facsimile on the altar) used at the coronation of the Holy Roman Emperors since 1311, and containing a strip of iron said to have been hammered from one of the nails used at the Crucifixion (comp. Meredith's 'Song of Theodolinda'). The last emperors crowned with it were Charles V (at Bologna) and Napoleon and Ferdinand I (at Milan). In the Treasury (adm. 11., 51. to view the Iron Crown and the splendid altar-front in addition; apply to the sacristan) are personal relics of Theodolinda, including her silver-gilt *Hen and Chickens, supposed to re- present Lombardy and its seven provinces. Beyond the Arengario the Via Carlo Alberto leads to the Piazza Vitt. Emanuele, to the left of which is the Villa Reale (by Piermarini, 1777-80) an imposing residence with a large park presented by the King to the state in 1920, and now used for the biennal Exhibition of Decorative Art (1925, 1927, etc.) and for the School of Decorative Art, In the splen- did Park is the *Autodromo, the well-known motor race- track of Milan (10 km.), built in 1922. On the left as we leave the Villa an avenue leads to the Cappella Espiatoria (Ex- piatory Chapel), erected by the present king of Italy on the spot where his father Humbert was assassinated in 1900. An electric tramway plies to Milan (p. 106) vi& Sesto, and a steam tramway to Milan via Cusano. ■— From Monza to Bergamo, see p. 133; to Lecco, see p. 127; to Oggiono, see p. 99. 118 Rte. 5 SESTO SAN GIOVANNI At (112 m.) Sesto San Giovanni we cross the electric tram- way to Milan (see p. 17). The countryside is studded with villas and factories. 116Jm. (188 km.) Milan, see Rte. 16.II. PIEDMONT AND LIGURIA ROUTE PAGE 6. Turin - - - - - 19 Superga, 30. Moncaiieri, 31. Pinerolo, 31. Torre Police, 32. 7. Turin to Aosta and Courmayeur - Ivrea, 33. Verr£s, 34. St-Vincent, 34. Chatillon, 34. 32 8. Turin to Ventimiglia ----- 38 Saluzzo, 38. Cuneo, 39. San Dalmazzo di Tenda, 39. 9. Turin to Genoa ------ Asti, 40. Alessandria, 42. Novi-Ligure, 42. Acqui, 43. Bra, 44. Mondovi, 44. 40 10. Genoa -------- Oregina, 62. Granarolo, 62. Staglieno, 62. 45 11. Genoa to Pisa ------ Nervi, 63. Santa Margherita, 64. Portofino, 64. Ra- pallo, 65. Sestri Levante, 66. L6vanto, 66. La Sp6- zia, 67. Carrara, 69. Viar£ggio, 70. 63 12. Turin to Milan ------ Biella, 72. Vercelli, 72. Novara, 73. Varallo, 74. 71 6. TURIN TURIN or Torino (784 ft.; 482,117 inhab.), the chief town of Piedmont and the capital of the old kingdom of Sardinia, is one of the most important industrial centres of Italy. Situated on the left bank of the Po at the confluence of the Dora Riparia it occupies an almost central position in a plain embosomed in the mighty sweep of the western Alps, which combine with the foothills above the Po to form a splendid encircling panorama. The visitor to Turin is repaid not only by its famous historical, artistic, and scientific collections, but also by the public buildings of the 17th and 18th cent., the work of the architects Ascanio Vitozzi, Guarino, and Iuvara. The town is almost entirely modern, with squares freely adorned with statues and straight streets crossing each other at right angles and flanked by arcaded sidewalks. The banks of the Po, with the Public Gardens, offer opportunity for pleasant walks, and the attractive environs afford splendid views.20 Rte. 6 TURIN Hotels Railway Stations. Central Station or Stazione di Porta Nuova (PI. 21; ♦Buffet Molinari), Piazza Carlo Felice, for all trains. — Stazione di Porta Susa (PI. 7), Piazza San Martino, for trains to Milan and the Canavese. — Dora, Barriera di Lanzo, for slow trains to Aosta and the Canavese. Hotels. Near the Central Stat- ion: *Palace Turin & Trombetta (PI. r; 20), 8 Via Sacchi, 100 beds, R. 16, B. 6, L. 20, D. 251.; * Ligure & d'Angleterre (PI. p; 21), 9 Piazza Carlo Felice, opposite the station, 135 beds, R. 121.; *Suisse & Terminus (PI. q; 21), 2-4 Via Sacchi, 100 beds, R. 10, D. 18, pens. 481.; Roma & Rocca Cavour (PI. o; 15), 14 Piazza Carlo Felice, 100 beds, good, R. 12, D. 18, pens. 481.; Villa & Bologna (PI. n; 15), 60 Corso Vittorio Ema- nuele, good, R. 8, D. 14, pens. 35 1.; du Nord (PI. m; 15), 32 Via Roma. In the centre of the town: Eu- rope & Grand Hotel (PI. g; 9), 19 Piazza Castello, the most fashion- able hotel, 120 beds, R. 14, B. 5, D. 30, pens. 651.; Bonne Femme & M£tropole (PI. f; 9), 3 Via Pietro Micca, 150 beds, good, R. 10, D. 16, pens. 401.; Central & Continental (PL h; 9), Via Cesare Battisti, 150 beds, good, R. 8, D. 10, pens. 301.; de France & Concorde (PI. k; 16), 20 Via Po, well spoken of; Venezia (PI. c; 9), 70 Via Venti Settembre, R. 10, D. 16, pens. 421. Hotels Meubl^s. Hot. Fiorina, (PI. d; 9), 22 Via Pietro Micca, 170 beds, R. 81.; S.I.T.E.A., Via Carlo Alberto, 80 rooms, good; Moderne (PI. i; 15), 41 Via Venti Settembre, 100 beds, R. 81.; Excelsior, 29 Via Venti Settembre, all well spoken of. — Des Nations, 15 Via Madama Cri- stina, R. 61.; Casalegno, 55 Via Ga- ribaldi, plain, R. 7 1. — Pensions. Internationale & de Famille, 5 Via Ospedale. Restaurants. *Del Cambio, 2 Piazza Carignano, fashionable; * Mo- linari, *Del Teatro Alfieri, Fiorina, all in the Piazza Solferino (PI. 9-14); Ligure, Piazza Carlo Felice; Pare des Ambassadeurs, in the Parco Valen- tino, with concerts in summer and skating rink, good; Dilei, Via Po; Milano, 4 Via Barbaroux; Dreher, 6 Piazza Carignano; del Teatro Balbo, 31 Via Carlo Alberto; degli Specchi, 18 Via Pietro Micca; Cucco, 89 Corso Casale. Ca!6s. Alfieri, 9 Via Po; San Car- lo, Piazza San Carlo, with concerts in the evening; Ligure, Piazza Carlo Fe- lice; Romano, Piazza Castello, etc. Confectioners. Baratti & Mi- lano, Galleria Subalpina and Piazza Castello; Stratta, 7 Piazza San Carlo. Post Office (PI. 15), 10 Via Alfieri. — Police Station (PI. 15), Piazza San Carlo. — Chamber of Com- merce (PI. 16), 26 Via Ospedale. Conveyances. Horse-Cabs (all with taximeters), for the first 750 metres or 12 min. waiting, 2 1.; then 40 c. for every 250 metres or 4 min. Luggage, 20 c. per article. At night (11.30-6) 40 c. extra. -— Motor Cabs, within the city boundary, for the first 800 metres or 8 min., 2 1.; then 60 c. for every 400 metres or 4 min. Lug- gage 20 c. Electric Tramways. The most important are: A. From the Barriera d'Orbassano, via the Via Sacchi (PI. 26), Central Station, Via XX Settem- bre, Piazza Emanuele Filiberto (PI. 3), to the Barriera di Lanzo (Dora Station). — E. From the Ponte Isa- bella, vi£ the Corso Dante, Via Ma- dama Cristina (PI. 32), Piazza Carlo Felice, Via Roma, Piazza San Carlo, Piazza Castello, Piazza Emanuele Filiberto (PI. 3), to the Barriera di Milano. — B. From the Ponte Isa- bella, vi& the Piazza Vitt6rio Veneto (PI. 17), Via Po, Piazza Castello, Via Garibaldi, Piazza dello Statuto (PI. 2), to the Barriera del Martinetto. — C. From the Porta Susa Station (PI. 7), via the Via Cernaia, Via Santa Teresa, Piazza San Carlo, Via Maria Vittoria, Piazza Vitt6rio Veneto (PI. 17), to the Madonna del Pilone. — G (Cir- cular Tour). From the Piazza dello Statuto, via the Corso Principe Eu- genio, Corso Regina Margherita, Corso San Maurizio, Piazza Vittdrio Veneto, Corso Cairoli, Corso Vittorio Ema- nuele, Corso Re Umberto, Piazza Sol- ferino, and the Via Cernaia, back to the Piazza dello Statuto. Electric Railways ply from the Piazza Castello (PI. 10) to Sassi (p. 30; for Superga); to San Mauro, Gassino, and (23 m.) Brusasco; to Moncalieri, Trofarello, and (16 m.) Poirino (steam tramway beyond Tro- farello). — Also from the Piazza delloHistory TURIN 6 Rte. 21 Statu to (PI. 2) to (8 m.) Rivoli, every 40 min. — Steam Tramways run from beside the Central Station to Moretta and Saluzzo via Carignano, to Pinerolo (p. 32), to Giaveno, etc. Motor Omnibuses ply from the Via Po (corner of Via Bogino; PI. 10) to Pino and Chieri, to Eremo, Pecetto, and Revigliasco; from the Piazza Castello (PI. 10) to Superga (p. 30), Baldissero and Marentino; from the Piazza dello Statuto to Pianezza, etc. Boats for hire on the Po, 31. per hour, with boatman 51. Information Bureaux. National Tourist Office (E.N.I.T.), Piazza Ca- stello at the corner of the Via Bar- baroux (PI. 9); T.C.I. Sub-Office, 18 Via Roma; etc. British Consulate, 1 bis Via Pa- pacino (PI. 8-14). — American Con- sulate, 29 Via San Tommaso (PI. 9). Baths. La Provvidenza, 5-7 Via Venti Settembre; Cavour, 22 Via La- grange; dell'Annunziata, 51 Via Po; Zecca, 39 Via Giuseppe Verdi, etc. Amusements. Theatres: Regio (PI. 10) open during Lent and the Carnival, for operas and ballets; Carignano (PI. 9), Piazza Carignano; Vittorio Emanuele III (PI. 10), 11 Via Rossini, for operas and comedies; Al- fieri (PI. 9), Piazza Solferino; Chia- rella (PL 21), Via Principe Tommaso, etc. — Caf£s Chantants. Maffei (PI. 21), Via Principe Tommaso; Romano (PI. 10), Galleria Subalpina; Michelotti, in the Parco Michelotti (PI. 18; summer only). — Sports. Stadium (PI. 13- 19), Corso Vinza- glio; Motovelodromo Torinese, for mo- tor and cycle races, Strada di Casale. English Church (St. John's, PI. 22) 15 Via Pio Quinto, services at 8.30, 11 and 6. History. Taurasia, the chief town of the Gallic tribe of the Taurine Li- gurians, was destroyed by Hannibal in 218 b.c., and later, under the name Augusta Taurinorum, became a Roman colony, to which fact the present town owes its regular plan. After a period as the seat of a Lombard duke it became, in the 8th cent., the residence of a family of French counts. The marriage of Adelaide (d. 1090), daughter of the last of these, to Otho, son of Humbert ' of the White Hands,' united this Italian territory with the Transalpine dom- inions of the House of Savoy. Declared a free city in the 13th cent., Turin fell in turn into the possession of Charles of Anjou, William VII, Marquis of Monferrato (p. 10), and (1295) the princes of Ac&ia who became dukes of Savoy in 1416. Turin was the favourite residence of Charles I of Savoy, and after the French occupation of 1506-62 it became the permanent headquarters of Duke Philibert. In 1706, after a siege by the French during the War of the Spanish Succession, Turin was saved by the heroic exploit of Pietro Micca (p. 29), and by the victory of Victor Amadeus II and Prince Eugene regained its liberty. From 1720 it was the capital of the kingdom of Sardinia, and after the Napoleonic invasion of Italy, became an active centre of Italian nationalism. From 1861 till 1865 it was the capital of the newly-won Kingdom of Italy under Victor Emmanuel II. Among celebrated natives of Turin may be mentioned Joseph Lagrange (1736-1813), the mathematician; Amedeo Avogadro (1776-1856), the physicist; Massimo d'Azeglio (1798-1866), the liberal politician, author, and painter; Vincenzo Gioberti (1801-52), the philosopher; Carlo Marochetti (1805-68), the sculptor; and Camillo Cavour (1810-61), one of the chief makers of modern Italy. Of the many princes of the House of Savoy who were natives of Turin, most worthy of mention is the gallant Victor Emmanuel II (1820-78), known by the well-deserved title of 4 the Father of his Country.' Leaving the Porta Nuova Station (PI. 21) we cross the wide Corso Vittorio Emanuele II (PL 7-22), a splendid through- fare nearly 2 m. long, in which is a monument to the monarch whose name it bears. On its right side opens the Piazza Carlo Felice, with a garden and a monument to d'Azeglio, by Balzico (1873). From its farther end the busy Via Roma,22 Rte. 6 TURIN Pal. Madama passing (1.) the Galleria Nazionale (1889), leads to the elegant arcaded Piazza San Carlo (PI. 15), beyond the twin churches of San Carlo (1.) and Santa Cristina (r.). The equestrian * Monument to Emmanuel Philibert, in this piazza, is the chef-d'oeuvre of Marochetti (1838). The brave duke is seen sheathing his sword after the victory of St-Quentin (1557), while on the pedestal are bas-reliefs depicting the battle and the treaty of Cateau-Cambresis (Apr. 2nd, 1559) by which the duke regained his ancestral dominions. Continuing to follow the Via Roma we pass (1.) the Gal- leria Geisser (1858) and reach the Piazza Castello (1584), the principal focus of the city's activities. In its centre stands the Palazzo Madama (PI. 10; open 9-12 and 2-4), an imposing building in various architectural styles. Occupying the site of the Roman Porta Decumana (remains of which may be seen in the entrance hall), the castle, built in the 13th cent, by William VII (p. 21) and enlarged by Louis, Prince of Acaia in 1416, became the residence of Madama Bona of Savoy (c. 1480) and of Marie Christine (p. 30), called Ma- dama Reale, widow of Victor Amadeus I. A portion of this castle may be seen from the Via Po, and some mediaeval remains have been preserved in the corridor leading to the central court. The seat in 1848-60 of the Subalpine Senate and in 1861-64 of the Italian Senate, it is now occupied by the Court of Appeal, and the Royal Commission for the Preservation of Monuments in Piedmont, whose apartments contain Roman and mediaeval remains. — To the W. of the palace is the monument to the Armies of Sardinia by Vincenzo Vela (1857), presented by the city of Milan, to the S. a statue (by Contratti, 1902) of G. Fer- raris (184.7-96), inventor of the rotating magnetic field, the foundation of mod- ern industrial electricity, and to the E. an equestrian statue (by Canonica, 1923) to the Italian Cavalry. In the N.W. corner of the Piazza Castello is the church of San Lorenzo, by Guarini (1687), with an elaborately decorated baroque interior and a boldly-constructed dome. The Piazza Reale, which is separated from the N. side of the Piazza Castello by a fine grille by Palagi (1842), is adorned with classical equestrian statues of Castor and Pollux by Abbondio Sangiorgio (1846). At its N. end rises the * Royal Palace (PI. 10), built in 1646 by Amedeo di Castellamonte. At the foot of the grand staircase (1.) is an equestrian statue of Victor Amadeus I (d. 1637), by Andrea Rivalta. The stairway is flanked with statues of princes of Savoy and adorned with historical paintings. On the first floor (open daily 9-5) are many sumptuous apartments, notably the Salone degli Svizzeri, with a ceiling by Bellosio; the Sala delle Guardie del Corpo and Sala degli Staffieri, with 18th cent. Turinese tapestries and frescoes by Gonin; the Sala del Trono, or Throne Room, with a marquetry floor; many rooms with paintings by Daniele Seyter; etc. At the right hand corner of the palace is the Loggia from which Charles Albert proclaimed war against Austria in 1848, and under the arcade in the Piazza Castello is the entrance (No. 13) of the * Royal Armoury, or Armeria Reale, a col- lection of armour second only to that in the Escorial (openRoyal Armoury TURIN 6 Rte. 23 10-12 and 2-4, holidays 9-12; closed the first Monday of the month). The Rotunda, in the centre of which is a Bersagliere in bronze by Ceragioli, contains Piedmontese ensigns of the War of Independence, arms and souvenirs of Victor Emmanuel II, Humbert I, and Charles Albert, the sword of Tippoo Sahib (d. 1799), last sultan of Mysore, a sword of Napoleon, with a lock of his hair and his statue by Marochetti, 16th cent, jousting armour, weapons from Eritrea, etc. Gallery. Of the 57 suits of armour (21 equestrian), 8 were made for the Martinengo family of Brdscia (p. 138). The most noteworthy exhibits are (1. to r.): B. 44. Suit of armour of Don Felipe Gusman, over 6 ft. high; B. 1. Armour of Card. Ascanio Maria Visconti; 36. Chased and inlaid armour; 84. Small arms, including a pistol of Charles V; 30. Sword by Donatello and a rare helmet in the shape of a bird's head; 22. Sword attributed to Cellini; 20. Fran- cis I's breastplate; 18 (on the floor above) shield with lantern for night service; 12. Valuable armour in repousse work; 7, 8. Stone weapons; 11. Uniform worn by Prince Eugene at the battle of Turin (1706); F. 3. Small shield with the cypher of Diane de Poitiers and attributed to her prot6gd Cellini; 1. Arms and armour of the princes of Savoy; 2. Ceremonial armour belonging to Em- manuel Philibert; 5. Sword said to have belonged to St. Maurice (275-305); A 89. Roman ship's ram; 11. Roman and Etruscan armour; 13. 16th cent, state armour; B 10. Horse armour, possibly for a lady; 25. Finely worked swords, one of which is said to be that of Alfonso d'Este; 27. Two-handed sword (16th cent.); B 4. Equestrian panoply worn by Emmanuel Philibert at St- Quentin (comp. p. 22); B 30. Child's armour. On the 1st Floor is the Royal Library (for adm. apply to the director), with 60,000 volumes, 300 MSS., and many miniatures and drawings, including a portrait of Leonardo da Vinci by himself. The fine Cabinet of Coins contains 40,000 specimens (closed). The Giardino Reale (PI. 10), or Royal Garden, is crossed by a new street, connecting the E. corner of the Piazza Castello with the Corso San Maurizio. On the E. side of the Piazza Castello is the Royal Theatre, and from the S.E. corner the arcaded Via Po runs down to the river. On the left side of this street is the University (PI. 10), the chief fa9ade of which, by A. Ricca (1713), faces the Via della Zecca. The National Library in the University comprises 400,000 volumes, 1000 incunabula, and 1500 MSS. The Via Rossini (1.) leads to the Museum of Ancient and Applied Art (Museo Civico; PI. 10; entered from the Via Gaudenzio Ferrari), containing tapestry (R. 1), musical instruments and playing cards (R. 3), silver-encrusted work, bronze, pewter, and coin-dies of Turin (R. 5), mathematical instruments, clocks, cameos, etc. (R. 7), gilded and painted glass (R. 8), ceramics and Venetian glass (RR. 9, 10), sculptures, including a fine series of reliefs for the tomb of Gaston de Foix, by Bambaia (R. 11), textiles and tapestries (RR. 12-16), stalls and other carved work from the abbey of Staffarda (p. 32; R. 18). In R. 21, on the ground floor, is the ' Bucentaur,' a state barge made in Venice for Char- les Emmanuel III (1730). Farther S. rises the Mole Antonelliana (PI. 10-11), the loftiest walled building in Europe (547 ft.), begun in 1863 as a Jewish temple by Alessandro Antonelli, and finished by the municipality as a memorial to Victor Emmanuel II. The Gallery surrounding the central hall contains the National Museum of the Risorgimento (open free on Sun. 10-4; other days, 9.30-4; 11.), illustrating24 Rte. 6 TURIN Museum of the development of united Italy. The top of the building (1024 steps) commands a splendid view. The Via Po ends in the spacious Piazza Vittorio Veneto (PL 17), beyond which the Ponte Vittorio Emanuele Primo leads to the church of the Gran Madre di Dio (PI. 23), built by Bonsignore in 1818-31, in imitation of the Pantheon at Rome, to celebrate the return from exile of Victor Em- manuel I (1814). The king's monument, by Gaggini, stands in front of the church. From the Via Moncalieri (r.) we may ascend (either by funicular railway or by the Via al Monte) the wooded Monte dei Cappuccini (928 ft.; PI. 23), on whose summit stands the Alpine Section of the Italian Alpine Club, with an Alpine Museum (relief plans, etc.), and a view- tower with a telescope. To the S. of the Piazza Castello, and reached by the Galleria Subalpina, an elegant arcade adorned with marble, is the Piazza Carlo Alberto (PL 14), with a bronze equestrian statue of Charles Albert by Marochetti (1861). The Palazzo Carignano (r.) presents a modern fa£ade (1864-71) towards us; the baroque W. front, overlooking the Piazza Carignano, is faced with brick (1680). This palace was the birthplace (1820) of Victor Emmanuel II, and the ground floor (adm. free) was used for the meetings of the lower house of the Subalpine Parliament (1848-59) and the Italian Parliament (1861-64; comp. p: xii). The upper floors contain the Natural History Museum (open Sunday and Thursday, 1-4), of which the Zoological Section is notable for its fine col- lection of chamois, ibexes, deer, okapis, and zebras. Special collections include the discoveries made by the i Stella Polare' expedition (1900), and by the Duke of the Abruzzi on Mt. Ruwenzori. In the Palaeontological and Mineralogical Sections the fossils and minerals of Piedmont are especially noteworthy. To the S.W. of the Piazza Carignano, in which is a mo- nument to Gioberti (p. 21), is the Academy of Science (Pl. 11), a rather gloomy structure by Guarino (1678), con- taining the Museum of Antiquities on the ground floor and first floor, and the Pinacoteca or Picture Gallery, on the second floor. The Museum of Antiquities (No. 4 Via Accademia delle Scienze; open free on holidays 10-1; other days 2 1., 9-4) is especially noted for its * Egyptian Collection. On the Ground Floor are Egyptian and Graeco-Roman sculptures, a famous black diorite * Statue of Rameses II (c. 1400 b.c.), a statue of Thothmes III noteworthy for its inscrutable smile, and many other royal statues; figures of Horemheb, the god Phtah, the lion-headed goddess Sekhet; sphinxes, a floral cap- ital, a colossal Pharaonic head; and sarcophagi, including the magnificent basalt Tomb of Khemnefarboki, a fine example of the Saitic period.Antiquities TURIN 6 Rte. 25 1st Floor. The Mummy Room contains good mummies and mummy-cases, Canopic vases, ushabti figures, the cele- brated funerary papyrus of Aufankh known as the ' Book of the Dead.' In the farthest window are fragments of a wooden mummy-case inlaid with precious mosaics. — The Assiut and Ghebelein Rooms (in preparation) contain relics recently excavated in the two tomb-cities of the most ancient Egyptian civilization, including mummies preserved in vases and baskets, wooden statues, boats, terracotta and stone vessels, a well-preserved tomb of the 3rd dynasty, reliefs, inscriptions, and statues of the 3rd, 4th, and 5th dynasties. By the 1st window is a wash drawing of geese; by the other windows, statuettes, mummy-wrappings, funerary inscrip- tions, etc. In the centre are a case with Demotic and Coptic papyri, fragments of priests' torches from the temple of Set at Antheopolis, and relics from the temple of Hathor at Ghebelein and the temple of the Sun at Heliopolis. — In the Cyprian Room is the votive stele of the Carthaginian suffete Melekiason. — Gallery of the Royal Papyrus. Early Egyptian mummies; flint implements; *Tomb of Mai, from Thebes, with paintings recalling the Mycenaean style; mummy of Princess Aahmesit, of the age of Joseph; mummy of the high official Iimhotpu (1600 b.c.); head of the mummy of the official Nibari. The famous *Royal Papyrus, one of the most important historical documents of Ancient Egypt, is inscribed with a list of the Kings of Egypt. Among other documents may be cited: the papyrus of the Mines; caricatures of of- ficials and soldiers of Rameses III (c. 1300 b.c.); the papyrus of the Laws; the papyrus of the Workmen's Strike at the Necropolis of Thebes. Other exhibits include jewellery, food, musical instruments, and the *Tomb of the engineer Kha and his wife Merit (c. 1600 b.c.), found intact and containing fur- niture, food, cooking utensils, etc. — The Gallery of the Gods contains statuettes of gods and goddesses from all parts of Egypt; mummies of sacred animals; situla in wrought bronze; Roman altar of Isis in silver-encrusted bronze, after the Egyptian style. — The Antiquarium Room contains Egyptian textiles; miscellaneous antiquities from Greece, Rome, and Mexico; ethnographical collection from the Congo; etc. — The Piedmontese Room (in preparation) contains Roman and pre-Roman objects found in Piedmont, including the well-known *Faun with the Tripod, the Minerva of Vo- ghera, etc. The Pinacoteca or Picture Gallery (adm. as for the museum), on the 2nd floor, is noteworthy for paintings of the Pied- 1 -a26 Rte. 6 TURIN Picture montese, Flemish, and Dutch schools (good catalogue, 5 1.). -— Room I. 1. Horace Vernet, Charles Albert; 5. Jakob van Schuppen, Prince Eugene; *17. Van Dyck, Tomaso di Ca- rignano. — The next four rooms contain paintings of the Piedmontese school. — R. II. 21. Barnaba da Mddena, Ma- donna (1370); 26. Macrino d'Alba, Virgin and Child and saints (1498); 29 bis. Marlino Spanzotti, Madonna, the only- known authentic work by this artist; 35. Defendente Ferrari, Marriage of St. Catharine. — R. III. Gaudenzio Ferrari, 43. Conception of St. Anne, 46. St. Peter and a worshipper, 48. St. Joachim driven from the Temple, 49. Madonna with saints, 50. Crucifixion, 51. Descent from the Cross.— R. IV. Sodoma, 56. Holy Family, 59. Death of Lucrece, 73. Ma- donna and saints. — R. V. 70. Gugl. Caccia, St. Bernard of Clairvaux; 85. Van Loo, Cherub's head; 100, 101. Ant. Fontanesi, Landscapes. — R. VI (Tuscan school). 102. Ber- nardo Daddi, Coronation of the Virgin; Fra Angelico, 103, 104. Angels, 105. Virgin and Child; 106. Cosimo Rosselli, Triumph of Chastity; Botticelli, 109, 110. Madonnas, 113. Journey of Tobias; 115, 116. Lorenzo di Credi, Madonnas; 117. Pietro and Antonio del Pollaiolo, Tobias and the Arch- angel; 119. Franc. Botticini, Coronation of the Virgin; Bron- zino, 122. Eleonora di Toledo, 123. Cosimo de' Medici. — R. VII (other Italian Schools of the 15-16thcent.). Borgognone, 134. Sermon of St. Ambrose and consecration of St. Augustine, 135. Virgin; 139. Giov. Ant. Sogliani, Madonna with Child and St. John; 144. Timoteo Viti, Madonna with Child; *146. Raphael (?), Madonna of the Tent; 155. Francia, Descent from the Cross (1515); 157. Giovanni Bellini, Virgin; 161. Titian, St. Jerome, a late work in bad condition; 164. Man- tegna, Madonna and saint. — R. VIII. 167. Desiderio da Settignano, Madonna (bas-relief); 168. Andrea della Robbia, Virgin with Child and St. John (terracotta). — R. IX. En- gravings. — R. X (Flemish School). *187. Jan van Eyck, St. Francis receiving the Stigmata; 188. Peter Christus, Virgin and Child; 192. Master of the Half-Lengths, Crucifixion (trip- tych); 194. Bernard van Orley, Presentation of the relics of St. Walburga to Charles the Bald; *202. Hans Memling, Passion of Jesus Christ, a valuable painting in excellent con- dition; 206. Brueghel the Elder, Kermesse. — R. XI. 261. Teniers the Younger, Cardplayers. — Van Dyck , *264. Three children of Charles I, a masterpiece (1635), presented by Henrietta Maria to her sister Christina of Savoy, 292. Princess Isabella Clara Eugenia, 288. Holy Family. — Rubens. 263. Raising of Lazarus, 265. Susannah and the Elders, 289.Gallery TURIN 6 Rte. 27 Holy Family; 292. Jan Fyt, Still life. — R. XII (German and Spanish Schools). 303. Holbein the Younger, Erasmus, a copy of the original at Parma; 313, 318. Angelica Kaufmann, Sibyls; 322. Ribera, St. Jerome. — R. XIII (French School). 330. Nicolas Poussin, St. Margaret; 338. Mignard, Louis XIV; 350, 354. Franc. Desportes, Still life; 353. Van Loo, Louis XV; 360. Mme Vigee Lebrun, Daughter of the engraver Porporati (1792). — R. XIV (Dutch School). 362. Cornelis Engel- brechtsz, Crucifixion, Crowning of Thorns, and Ecce Homo, a triptych; 376. Godfrey Schalken, Portrait of the artist; 377. Gerard Dou, Young man at a window; 378. Honthorst, Samson and the Philistines; 379. Van Mieris the Elder, Portrait of the artist; 392. Bernard Fabritius, Expulsion of Hagar (1655); *393. Rembrandt, Old man asleep (father of the artist; c. 1629); 394. Salomon de Koninck, Old man; 395. Van Mytens the Elder and Van Steenwyck the Younger, Charles I of England (1627); 402. Wouvermans, Attack on a bridge; *406. Paul Potter, Bulls (1649); *412. P. Saenredam, Interior of a syna- gogue (figures by Van Ostade); 419, 420. De Heem, Fruits, flowers, reptiles, and insects. — R. XV. 444. Ruysdael, On the sand-dunes. — R. XVI (Late Italian Schools). 459. Mo- razzone, Daughter of Herodias; 465. Caravaggio, Lute-player; 469. Gentileschi, Annunciation; 474. Sassoferrato, Virgin and Child; 478. Carlo Dolci, Virgin. — R. XVII. Albani, 489, 495, 500, 509, The Four Elements, 492, 493. Salmacis surprising Hermaphroditus; Guercino, 491. Santa Francesca Romana, 497. Prodigal Son, 514. The Eternal Father; 496. Guido Reni, Battle of Cupids. — R. XVIII. 536. Annibale Carracci, Repentance of St. Peter; 548. Bernardo Strozzi, Homer. — R. XIX. Veronese, 564. Danae, *572. Queen of Sheba bringing gifts to Solomon, 575. Moses saved from the waters; 566. Tintoretto, The Trinity. — R. XX. *580. Veronese, Mary Magdalen washing the feet of Jesus; 582, 585. Bernardo Bellotto, Views of Turin; 587. Iacopo Bassano, Vulcan's forge; 590. Canaletto, Doge's Palace at Venice; 594. Tiepolo, Triumph of Aurelian. — R. XXI. Huchtenburgh, Battles of the Princes of Savoy. Opposite the Academy stands the church of San Filippo (PI. 15), the largest in Turin, rebuilt by Iuvara in 1714, with a facade of 1835. Hence the Via Maria Vittoria (1.) leads to the Piazza Carlo Emanuele Secondo (PI. 16), in which is a monument to Cavour by Giov. Dupre (1873). In the open spaces to the S. (PI. 16-22) are numerous modern monuments, while at the junction of the Via Pomba and the Via Andrea28 Rte. 6 TURIN Cathedral Doria (PI. 15), is the fine monument to Mazzini by L. Belli (1915). Returning to the Piazza Castello (p. 22), we may proceed N.W. up the busy Via Garibaldi (PI. 9-2), passing (r.) the church of the Trinita, a 17th cent, work of Ascanio Vittozzi, restored by Iuvara in 1718. In the Via Porta Palatina, on the right, is the church of Corpus Domini (1607), with a lavishly-decorated interior after designs by Vittozzi and Castellamonte. The church of the Santi Martiri (PI. 9), the most sumptuous in Turin, by Tibaldi, dates from 1557; the high-altar is by Iuvara, and the frescoed ceiling by Vacca and Gonin. The Palazzo di CittA or Town Hall, opposite (entered from the Via Milano), begun in 1659 by Lanfranchi and finished a century later by Alfieri, contains the splendid monument to the ' Green Count/ Amadeus VI (d. 1383), the conqueror of the Turks, by Pelagio Palagi (1853). Within are the archives and the City Library, with 100,000 vols, and 12,000 MSS. The church of San Domenico, in the Via Milano, dates from 1354, its belfry from 1451; at the E. end of the nave is a painting by Guercino (The Virgin and St. Dominic). To the right is the Cathedral (PI. 10; San Giovanni Battista), with a richly decorated marble fa$ade by Meo del Caprino (1492-98), and a belfry of 1470, completed by Iu- vara (1720). The Interior, in the form of a Latin cross, contains a good copy of Leonardo's 4 Last Supper ' by Franc. Spagna, above the main entrance, and a polyptych by Defendente Ferrari, in the 2nd chapel on the right. Behind the apse is the Chapel of the Holy Shroud (entered also from the Royal Palace, p. 22), with walls entirely lined with black marble, throwing into effective contrast the white monuments erected in 1842 by Charles Albert to the memory of four of his ances- tors. On the altar is the urn containing the Holy Shroud in which the body of Christ was wrapped after his descent from the Cross. This sacred relic is said to have been taken from Jerusalem to France in the 14th cent., and after many wanderings to have been brought to Turin by Emmanuel Philibert in 1578. Adjoining the cathedral belfry are the ruins of a Roman theatre, and at the end of the Vicolo delle Scuderie Reali is the Porta Palatina, the two-arched Porta Principalis Dextra of the Augustan wall, flanked by two sixteen-sided towers. Hence the Via Bastione Verde, the Piazza Emanuele Filiberto, and the Via Giulio lead to the Consolata, a popular place of worship formed by the union of two churches by GuarinoModern Art Gallery TURIN 6 Rte. 29 (1679), one oval, the other hexagonal, with a 10th cent. Lombard campanile. The interior decorations are by Iuvara (1714) and Ceppi (1903-4). In the hexagonal church is a venerated image of the Virgin; and in a chapel on the left of the altar are kneeling figures of Maria Teresa, wife of Charles Albert, and Maria Adelaide, wife of Victor Emmanuel II, by Vincenzo Vela (1861). The Via della Consolata leads hence S.W. to the Piazza Savoia (PI. 3, 9), in which an obelisk by Guarenghi (1853) commemorates Siccardi and the abolition of the Ecclesiastical Courts. Beyond this square we regain the Via Garibaldi and follow it to the right to the Piazza dello Statute* (PI. 2), in which is the Frdjus Monument to the memory of the three engineers (p. 9) of the Mont Cenis tunnel. On the S. side of the Via Garibaldi is the Giardino della Cittadella (PI. 8), with modern monuments, beyond which is the Maschio or keep of the citadel (1565), the one extant portion of the fort which withstood the sieges of 1640, 1706, and 1799. It now contains an Artillery Museum. In the garden which surrounds it a monument commemorates the devotion of Pietro Micca, a sapper of Sagliano in the Val d'Andorno, who by exploding a mine on the night of Aug. 29-30th, 1706, saved the beleaguered citadel from the French at the cost of his life. Following the Via Meucci (1.) we reach the fine tree-planted Piazza Solferino, in which a monument by Balzico (1877) represents Ferdinand, Duke of Genoa, urging on his soldiers at the moment when his horse was shot beneath him. The piazza is prolonged S. by the Corso Umberto Primo, in which is the Arsenal (Ofhcina d'Artiglieria; PI. 14, 15), an imposing structure of 1659, rebuilt later, with a fa?ade of 1890. To the W., at the junction of the Corso Vittorio Emanuele Se- condo and the Corso Galileo Ferraris, stands the lofty mon- ument to Victor Emmanuel II, by P. Costa (1899). Near by, in a modern villa-quarter, is the Gallery of Modern Art (PI. 14; open daily, except Monday, 9-5 or 10-4; adm. 1 1. on Wednesdays and Fridays, other days free), preceded by a monument to Vincenzo Vela. The Vestibule contains sculptures by Canova, Vela, Franceschi, Bistolfi, etc. — R. 1. Works by Massimo d'Azeglio; Marochetti, Sleeping child. — RR. II to V contain works by Gastaldi, Gamba, Delleani, etc. (late 19th cent.). —• R. VI contains old pictures deposited here temporarily: Vivarini, Coronation of the Virgin; Honthorst (called Gherardo delle Notti), Adoration of the Child Jesus; Sassoferratoy Virgin and Child; Bugiardini, Virgin of the Pomegranate; Veronese, Cleopatra's feast. — R. VII. Giacomo Grosso, Portrait; Gilardi, Hodie mihi, eras tibi. — R. VIII. Grosso, The mad women's cell; Mosso, Wife of Claudius; Junck, At the theatre; Bonatto-Minella, Meditation, Judith. — R. IX. Land- scapes of the later 19th cent. — RR. X and XI contain landscapes by Ant. Fon• tanesi. — R. XII. Most Bianchi, The nun of Monza; Maccari, Deposition of Pope Silverius (537).30 Rte. 6 SUPERGA Environs We may follow the Corso Vittorio Emanuele back to the station (p. 21) and beyond, passing (r.) the Via Sant'Anselmo which leads to the Synagogue (PI. 21), a building in a Moorish style by Enrico Petiti. Farther along the Corso, on the same side, are the Waldensian Church (comp. p. 32), in a neo-Gothic style (1850-53), by L. Formento, and the English Church (p. 21). The Corso ends at the Po, here crossed by the Ponte Umberto Primo (PI. 22), which is adorned with allegorical groups and leads to the Crimean monument by Belli. On the right is the pleasant Parco del Valentino (PI. 22-33), laid out on the left bank of the Po. It contains a Botanic Garden and the Castello del Valentino, built in 1633 by Marie Christine in the style of a French chateau and now occupied by an Engineer- ing School. In the latter is a Geological and Mineralogical Museum with in- teresting rock specimens from Alpine tunnels and the collection brought from Ruwenzori by the Duke of the Abruzzi. The reproduction of a Mediceval Village and Castle (PI. 33, 34; open Oct.-May, 10-5; June-Sept., 10-12 and 2-6) were erected for the exhibition of 1884. The village (Borgo) shows types of old Piedmontese houses. The castle (Castello) is modelled on various strongholds in the Val d'Aosta, etc.: the gateway (from Verres) leads into a courtyard (Fenis); on the ground-floor are the guard-room (Verres), the kitchen (Issogne), and the dining-hall (Strambino); on the upper floor are the watchman's room, the ante- chamber, the throne-room (La Manta, near Saluzzo), the bridal chamber (Is- sogne), and the oratory (Sant'Antonio di Ranverso). In the park, opposite the Corso Raffaello (PI. 33), is the fine equestrian monument of Prince Amadeus (PI. 33), the masterpiece of Davide Calandra (1902). The young prince is represented proudly seated on his horse at the battle of Custozza (1848); around the pedestal is a brilliant array of the Knights of Savoy. A good general idea of the city may be gained by making the circular tour of the chief ' viali' by tramway G. (p. 20), which starts at the Piazza Solferino (PI. 9, 14). — Tramway No. 6 from the Piazza Castello (PI. 10) runs to the Cemetery (PI. 6; open 9-4 in winter; 7-12 and 2-6 in summer) which contains the tombs of many distinguished natives of Turin. Environs of Turin. From Turin to the Superga, 5 m., tramway from the Piazza Castello (PI. 10) to (3 m.) Sassi; funicular railway thence to (2 m.) the Superga. — Leaving the upper station of the funicular railway we turn to the right and then to the left. The ^Basilica of Superga, crowning a hill-top (2205 ft.) which commands a splendid view, was built in 1717-31 by Victor Amadeus II in fulfilment of a thanksgiving vow for the deliverance of Turin in 1706 (comp. p. 29). It is considered the masterpiece of Iuvara. The exterior, with its columned portico, its elegant dome, and its two campaniles is very impressive; the octagonal interior, with a sumptuous altar and a good mosaic pavement, gives an impression of great richness. In the * Crypt (entrance to the left of the church) are the tombs of the Kings of Sardinia from Victor Amadeus II (d. 1732) to Charles Albert (d. 1849), of thePROP*. DEL T.C. I - RIPROO VIET Pont Canav-Cfoivasso-Santhia-Casale Monf. £ o ^Cottolengo) ^ LrisunrfL • -' Pz.a d 'Armi iv ■ dl ' j / ^ " I ""u^TriVrara S.P ilombaro O 7'SO ;vBra»° \Vanchiilia A H ° P "■ ^ crfo~vi • --1 ?£§. 0 > ^ S.Giulia S. Antonio Rossini Anriu iziata ^7, , V S.CYis(itta £ t/ r V. 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Tramvie urbane | Soc i Tranwie eiCtraiLrbane V^S.SeiTrino Stupinigi-Piobesi Tenda-Savona-Genova Saluzzo-Carmagnola Moncalieri-Poirino UFF.CARTOGR.DEL T.C.I Capo Cartoqrafb ■' P.CORBCLLINITORINO. Accaliemle (Academies): — Albertina di Belle Arti 16 — delle Scienze 9-15 — Mijtitare 10 Ajuoll Balbo 16-22 Albeifghi (Hotels): — Ca^alegno (v. Gari- baldi ang. c. Pa- lestro) 2,a — Central et Continen- tal (v. Battisti) 9,h — Europa et Or. Hotel tp. Oastello) 9,g — Pnmce et de la Con- corde (v. Po) 16,k —Gri Hotel Bonne Femme, MStropole pt Feder (v. P. Micca) 9,f — Grr Hotel*de Turin te Trombetta (v. Sacchi) 20,r — Gij. Hotel Fiorina (v. P. Micca) 0,d — Gil Hotel Ligure e rl'Angleterre (p. Carlo Felice) 21,p — Gd. Hotel Suisse et Terminus (v. Sac- ph© 21, q • — Gt gfttel Yille et Bo- ,lo£pe (c. Vitt. E- manuele) 15,n — Mcderno (v. XX Set- tembre) 15,i — Nord (▼. Boma) 15,m — Roma e Rocca Ca- vour (p. Carlo Fe- lice) 15,o — Venezia, gik Bue Rosso (v. XX Set- tembre) 9,e Amm&zatoio 7 Ara Crematoria 6 ' Arcivssscovado 16 Armenia Keale 10 Ausilo tNotturno 32-33 Bancjhe (Bank*): — Commerciale 9 — d'«*ti* 9-15 Barr are (Town Gates): — Ci * — de — de — Pitcenza — Stipinigi (Ex) — Salice — Valichiglia — Villa della Regina Bibliojeca Nazionale < llniversiti Borgo| e Castello Me- flioevak 33-34 BorgojPo 18 Borsa |b Camera di Conii- inercio 16 Camera ^del L*voro 8 Camera di Commercio e Borsa 16 Campo del Giuoe&J 8 Canale Miohelotti 17-18 Cappuccini (Monte del) 23 Careers Giudiziario • 13 Case Popolari 12 Caserme (Barracks): — Cernaia 8 — Cesare di Saluzzo 2 Dopali ; 18-24 •^Ferdfaiandoi di Savoia 2 ~ Pietro Micca 8 — Rubatto 28-29 Castello del Valentino 27-28 Cfilese (Chnrehe*) : — Beata Vergine delle (irazfe 19 — Carmine "'W * — Coioegione , f — Dramo (San Giovfch- rji Battista) Nazzareno 18 Colombaro (Ex) 6 Regio Parco (fix) 5 28 12 31 49 12 24 10 26 10 ilonna degli Angeli 15 sericordia 8-9 frsmigstitie 22 jro Chore 29 o Nome di GesiSt 11 Carlo 15 D^buuezo 8-9 Domeoioo 9 Filippo 15-16 Francseaico, 9 Francesco da Pao- (v. Po) 16,1 San Giovanni Batti- 4a (Diiomo) 10 Giovlnni Evan- gelista — S«i Giuseppe — San Lorenzo — San Massimo — San Salvario * — San Secondo — Santa Barbara — Santa Cristina — SantaCroce ^ Giulia 21-22 9 9-10 22 20-26 20 8 15 16 11 Chiese (Churches): — Santa Maria 9 — Sant' Antonio 13 — Santa Pelagia 16 — Santa Teresa 9-15 — Santi Angeli Custodi 13-14 — Santi Marfciri 0 — Santi Pietro e Paolo 21 — Santissima Annunzia- ta 16-17 — Santissima Trjniti (v. Garibaldi) 9,2 — Santissimo Cuore di Gesu 32 — Santissimo Cuore di Maria 27 — Tommaso 9 — &antuario della Con- solata (v. Consola- ta) 3,3 Cimitero Generale 6 Comando Pompieri 4 Convitto Salesiano 30 Convitto Vedove e Nubili 29 Corsi: (Avenues): — Arimondi 19 — Beccaria 2 — Belgio 12 — Cairoli 22-23 — Casale 17-18 — Colletta • 6 — Dante . 32-33 — D'Azeglio 22-27-28-33 — Duca di Genova 13-14-20 — Farini 11-12 — Ferraris 8-14-19-20 — Firenze 4-5-11 — Fiume 23-29 — Francia 1 —; Govone 19 — Grugliasco 7-13 — Inghilterra ' 1-7 — Italia 19 — Lanza 23-28-29 — Monteveccbio 13-19 — Oporto 7-18-14-15 —, Palermo 4 ' Palestro 2-8 — Parigi 25-31 — Peschiera 19 — Piemonte 23 — Principe Eugenio 2 — Raffaello 26-27-33 — Regina Margherita 2-3-4-10-11-12 — Regio Parco 4-5 — Re Umberto 14-20-25-31 —v San Martino 2 — San Maurizio 10-11-17 ^ Sardegna 28 Savona 4 — Sella 18-23-24 — Siocardi 8-9-19-25 — Siena 10-11 — Sommeiller 26 — Stupinigi 25-26-31 ■— Tortona 12 — Trento 19 — Trieste 19 — Valdocco 2 — Valentino 27 —* Vinzaglio 7-8-13-19 — Vittorio Emanuele II 7-13-14-16-31-22 — Voghera v 6 Corte di Cassazione (Pa lazzo Madarfta) 9-10 Cottolengo (Piccola Ca- sa della Divina Prorvidenza) 3 Distretto Militare 2 Educatorio S. Giuseppe 84 Fiat (Officina) 33 Flumi (Rivers): — Dora Kiparia 4-5-11 — Po 17-18-22-23-28-34 Fortino (il) 24 Funicol^re (Monte dei Cappuccini) 23 Gallerie (Gallerys). ■■-w Oefeser 9-15 Nazionale 15 — Subalpina 10 — Umberto I 3 Gasometro -*'• 4 Gasometro 11 Giardini (Gardens): — della Cittadella. 8 — Pubblico 22-27-28-33 — Reale v 10 Ginnasio Rrcr; Genero 30. Infanzia Abbandonata 25 Intendenza di Finanza 7-8 istituti (Institutes): — Adorazione Perpetua 29 — Anatomico 33 — Chimico Farmac. 27-33 — Fisico e d'Igiene 27 — Fisiologico e Pato- logico 83 — Pr^essionale Opera- io 10-11 — Rachitici 4-5 — Sordomuti 8 Laghetto 27-33. Magazzini Generali 32 Manicomio 2-3 Maschip della 1 Cittadella 8 Mole Antonelliana f 10-11-16-17 Monte dei Cappuccini 23 Mostre Permanent! 83 Muse I (Musew**) '■ — Oivico 10 — Civico d'Arte Moderna 14 —- Industriale 16 —t (Palazzo Carignano) j 9-10-16 Otflclne ( Wonkshops): — Ansaldo 31 — Artiglieria (d') 14-15 — F. 1. A. T. 83 Opera Pia Barolo Orto Botanico Ospedaii (H — Evangel i co — Mauriziano to I — Oftalmico Sail Giov. — San Luigi jpEx) Palazzi (paUwes>: — Carignano (Musei) 9-10-16 3 28 >spttais): 21 Umber- 25-81 8 ! Jattista 16 2-3 ti — Chiablese — Cisterna — 4i Ctttti — Madama (tlorte di Cassastote) — Reale Pared Micheloi Parco Vagoni Piccola Casa Idella Di- vina Pro/videnza (Cottoleigo) Piazze (Sqwes) : — Bodoni — Carlo to — Carlo Emanuele — Carlo Fe$f — Castello — Cavour ^ — Colombo — Dante . — d'Armi di — Denina * — Emanuele 8rl0 16 9 9-10 10 17-18 15-^1 10-lfr II 16 15 9-10 16-22 25-26 Vanchiglia 6 Filiberite Gran Madi^ di Dio 17-23 !itt4 — Italia — Lagrange^ — Madama. 0ristina — Maria Tereia — Martini — Milano — Mosca — Nizza ■fr Palazzo —Paleoca^ — Rayneri — Reale — Saluzzo — San Carlo — San Giovanni — San Martini — Santa Giuli —• Savoia — Solferino — Statuto — Vittorio En Vittorio Ve 19 16 21 16-22 7 8 3 26 32 15 1 10 21 15 9-10 7-8 m m 9-14^15 2 lanuele II 14 leto 17 Ponti (Bridget) — Regina Maigherita 12-18 — Regio Pare< 4 — Rossini 11 — Umberto I 22 — Vittorio Emanuele I 17 Porta Palatina 3-4 Poste e Telegrifi 15 Prefettura 10 Questura 15 Ricovero Mendicity is Rivo Paese 29-30-36 Rubatto | 28-29 Scalo Merci ' 26-32 Scuohi sdi GuerU 7-8 ScuoiaVeterinsria 32 Stadium tl 13-19 Stazioni (Haiiway-Stdt.): — Ferrov. per Lanzo 3-4 — Rivoli 1-2 — Porta Nuovt 21 — Porta Nuova (Lato Arriri) — Porta Ifuova (Lato Partenze)i 21 — Porta Susa ] 7 Strade (RoaAi): — Comunale qi Pecetto 24-30 — Comunale di Val Sa- lice 29-30-36 Vicinale Antica di S. . S.-ipMto j 34-35 —: Vicinale delta Broc- j 28-29-I>5 — Vicinale del Nobile * 80 — Vicinale del Tadiniv 3^ Tea^ >ffheaVr«s): — Alfieri 9 — Balbo 15 — Carignano 9 — Gianduia i 16 — Politeama ^hiarella 21 I • 21 Teatri (Theatres): — Regio 10 — Rossini 16 — Scribe 10 — Torinese 4 — Variety Eden 21 — Varietft Maffei 2\ Vittorio Emanuele 10 Telefoni 8 Tempio Israelitico 21 Tempio Valdese 21-22 UniversitA e Biblioteca Nazionale 10 Vanchiglia 11.12 Vedetta Alpina (Monte dei Capjffcccini) 23 Vie (Rues) — Accademia Albertina 16-22 — Accademia delle Sden- ze 10-15; ~ Acqui 24 ~ Alfleri 15 ~ Allione 2 — al^lfonte 23 — Alpi (d.) - 1 —■ Anselmo 21-27 — Aporti 18 — Arcivescovado 14-15 Argentero 32 — Ariosto 3 — Arsenate 9-16 — Artisti 11-17 — Assarotti 8 Assietta 14-20 — Asti 18-24 — Avet ^ 2 — Avigliana 7 Avogardo 8-14 — Bagetti 1 — Balbis 1-2 — Balbo 11-12-18 — Barbaroux 9 — Baretti 21-27 — Barolo 11-17 — Basilica 9 — Bastione Verde 3-4 — Battisti 9-10 — Bava 12-17 —• • Beaumont 1-7 — Beccaria 2 — fcelfiore 21-27-33 — Bellezia 3-9 — Bellini 14 —- Belvedere 16-22 --Berchet 9 — Berthollet 21-22 — Bertini 32 — Bertola 8-9 — Bertolotti 8-14 — Bertrandi 8 — Bezzecca 23-29 — Biamonti 23-24 — Bicocca 29 — Bidone 26-27 — Bodoni 15-16 — Bpgino 10-16 — Bolero 9 ;— Bologna 4 — Bona 32 — Bonafous 17 — Bonsignore 23 — Bonzanigo 2 — Botta 2 — Boucheron 2-8 — Bricca 18 — Bricherasio 13 — Brocca 28-29 — Brofferio 14 — Brugnone S2 — Buniva 11-17 — Buonarroti 26-33 — Burdin 27 — Buscalioni 5 ;— Caboto 25 — Cagliari 5-11 — Calvo 26 — Campana 27 — Cardinal Maurizio 18-24 — Catena 1-2 — Carlo Alberto 10-15-16-21 — Carmine (d.) 2-3 — Carrozzai 15 — Cassini 19-25 — Casteggio 23 — Catania 5 — Cavallerizza 17 — Cavalli 7 — CaVour 15-10-22 —- Cernaia 8-9 — Chiabqrera 33 — Chieri: 17-18-23 — Chisone 32 — Cibrario 1 — Cignaroli - 4 — Cinque Ville 24 — Cittadella (d.) 8 — Colli 13 — Colombini 24 — Confienza 8-9-14 — Consolat* (d.) 3 — Conte Verde 9 — Corte d'Appello 9 — Cosseria 23 — Cossila 6-12 — Cottolengo 3 Vie (Streets): — Cristoforo Colombo 19-26 — Croce d'Oro 9-10 — Cuorgn6 4 t—- Curtatone . 23 — Denina 10 — Des Ambrois 16 — De Sonnaz 8 — Donati 8-14 — Donizetti 32-33 — Doria 15-16 — Drovetti 1-7 — Duchessa Jolanda 7 —■ Fabro 8 Fanti 13-14 — Ferrari Gaud. 10-11 — Fiando (d.) .. i — Figlie dei Militari 18 — Filangeri 26 — Fiocchetto 4 — Fiorano i.% — Foggia 4-5 -— Fontanesi 12 — Foscolo 32-33 —* Gaeta 29 —' Galliano 19 — Galliari 21-2$ — Garibaldi 2-8-tf — Gasometro 20 — Gattinara 6-12 — CJenfe 4 — Genova 9 15 — Genovesi 26 — Gerdil 3 — Giannone H S-9 —- Gioanetti 23 — Gioberti j'4-20 26 — Gioja 14 15 —r Giulio 2-3 — Giuria v 27-33 — Giusti > 7 — Goito 21 — Goldoni 4-10 — Governolo 19-20-26 — Govone - 24 — tiozzi ..*• 7 — Grass! 7 — Groppello 1-7 — Guastalla 11 — Guicciardini 7-8 — Industria (dell*) 1 — J u vara 2 8 — Lagrange 15-21 — Lamarmora 1419-20-25 —■ Lanfranchi 23-24 — Lanino 3 Lascaris 15 — Le Chiuse 1 — Legnano •«.- 20 — Lodovica 18-24 — Litrigo Po * 17-23 — Maoohiavelll 17-18 — M&dama Cristina 21-27-32-33 — Magellano 25 -r- Magenta 13-14-20 — Mameli 3 — Manara 29 — Mancini 23 — Manin 12 — Mantova 5 — Manzoni 2-8 — Marenco 33 — Maria Vittoria 15-16-17 — Marna 2-3 — Martini 11 Massena 14-20-25-26 — Matteucci 1 — Mazzini 15«!21-22 —» Mentana 1 28-29 — Mercanti (d.) , 9 — Mercantini 8 — Messina 5 — Meucci 8 — Micca 9 — Miglietti 1-2 -—Milano 3-9 — Milazzo 28 — mie (dei) 15-16-22 — Mfsericordia 9 — Modena 5, — Moncalieri 22-23-28-34, —- Moncalvo 18-24" — Monferrato 17 — Mongrando 12 — Montalto 12 — Montebello 10-11-16 — Montecuccoli 8 — Monte di Pietil 9 — Monteveochio 20 — Monti 32-38 — Morosini 13 — Napione 12-17-18 — Nizza 21-26-32 — Nota 2r — Orfane 8-9 — Ormea 21-27-33 — Ornato 18 — Oropa 12 — Orti 4 — Orto Botanico 27 — Ospedale 15-16-17-23 — Palazzo di Citta 9 — Palladio 24 — Pallamaglio 26-27 — Pallavicino 11-12 ■— Palmier! 1-7 Vie (Streets); — Papacino 8-14 — Parini 14 — Parma 4-5 —• Passalacqua 2-8 —Pastrengo 19-20 — Pellico 21-28 — Perrone 8 — Perugia 4-5 — Pescatorc M. 17 — Petitti 32-33 —• Petrarca 32-33 — Peyron 1 — Piasco 31 — Piave 2-3 — Piazzi 19-25 — Piffetti 1 — Pio Quinto 21-22 — Pisa 4-5 — Plana 16-17 — Po 10-16 -Polo 19 —^Pombia 15-21 —• Ponza 14 —• Porporati 4 —. Porrd* 12 -r- Porta Palatina 4-* — Pratt 9-15 Principe Tommaso 21-27 Principi d'Acaia 1-7 Priocca 4 Provana * 22 Quartieri (d.) 2 Quattro Marzo 9 £~ Rattazzi 15-21 Reggio 5 — Revel S-14 -V Ricasoli 12 Ricotti 10 Rivalta 25 — Rivarolo -4 —Rocca (d.) l€4Tr22 ~ Roccabruna n 9 — Rod! — Roma 1 9-15 — Romagnoli 26 -— Romani 18-24 —- Rosine (d.) 16 — Rosmini 26-31 — Rossini 10-11-16 — Saccarelli 1 — Sacchi 20-21-26 Sagliano 8-14 — Saluzzo 21-26-27-32 —- San Dalmazzo 8-9 •i— San Domenico 2-3-9 — San Donato 1 — San Fermo 28-29 —• San Francesco da Paola 10-16-21 — San Giobbe 4 —- San Massimo 16-22 — San Pietro 3 — San Quinti.no 13-14-15 — San Secondo 20-25-26 -— Santa Chiara 2-3 — Santa Croce 16 — Santa Giulia 10-1M7-18 Sant'Agoetino 3-9 — Santa Maria 9 •—- Santarosa 1723-24 -— Santa Teresa 9-15 — San Tommaso 9 — Sant'Ottavio 11-17 — San Vito 28 — Savio 8 —^ Savonarola 31-32 —- Schina 1 —- Segurana 18 — Sforzesca 23 — Sineo 12-18 — Somis 1 — Sommacampagna t ,23 — Spallanzani 31 — Stampatori 9 — Superga 18-24 Susa 7 — Tarino 11 1— Tasso 9 i— TeMvelli 1 — Thesauro 26-27 j— Tommaseo 11-12 — Torricelli 25 — Valeggio 19-20 — Valfrt 8 — Valperga Caluso 26-27 — Vanchiglia 11-12 17 — Varallo 12 1— Varano 6 Principe Tommaso 21-27 |— Vassalli Eandi 1-7 — Vela 13-14 j— Venti Settembre ) ... 4-9-10-15 p-. Verdi 10-16-17 !— Verona 5 Verrua 18 U*. Vespucci 25-26 j— Villa della Regina 23-24 |— Viotti 9 !— Vittorio Amedeo II 8 <— Vittozzi 28 — Volta 15 i— Voltumo 29 Villa della Regina 24of Turin MONCALIERI 6 Rte. 31 Princes of Savoy, of Queen Maria Adelaide (d. 1712), and of Jerome Bonaparte (d. 1891). — On the terrace in front is an allegorical monument to Humbert I, showing an Allobrogian swearing to defend the monarchy symbolized by the Iron Crown (comp. p. 17) and the Collar of the Annunziata founded 1335. The *View includes Turin, the plains of Piedmont and Lombardy, and the country round Monferrato, backed by the Ligurian Apennines and the Western Alps as far as the Adamello. Monealieri (790 ft.; Hot. Roma; Real Castello, plain), a charming little town (7,229 inhab.) on the right bank of the Po, 5J m. S. of Turin, is reached by tramway from the Piazza Castello or by train from the central station. The 15th cent. Castle, enlarged in the 18th cent., and again by Victor Emmanuel I, who died there in 1824, contains in its left wing a gallery of historical paintings, including the Presen- tation of the Tuscan Plebiscite by Baron Ricasoli in 1860. — In the principal square is the church of Santa Maria, containing good choir-stalls, an Annunciation by Beaumont, and Canonica's monument to Princesse Clotilde (d. 1911). The Sagra di San Michele affords an excellent though somewhat tiring excursion in fine weather. — From Turin (Central Station) to (17Jm.) Sant'Ambrogio, on the line to Modane, see p. 10. From the station we ascend either on foot or with a mule via the village of San Pietro (2517 ft.; Hot. Giacosa; Perotto) to (ljhrs.) the Sagra (3005 ft.), an abbey founded c. 1000 by Hugues de Monboissier of Au- vergne, and suppressed towards the end of the 16th cen- tury. The buildings, which stand on the end of the ridge of Monte Pirchiriano overlooking the valley from a height of 2000 ft. (*View of the Val di Susa and the Alps), were enlarged in the 12th century. Ascending by the 154 rock- hewn steps of the Scalone dei Morti and passing beneath the Porta dello Zodiaco, which is adorned with Romanesque sculp- tures, we reach the Church, a mainly Gothic building with a Romanesque apse, supported by a massive substructure 75 ft. high. The crypt contains 22 tombs of princes and princesses of the House of Savoy-Carignano. From Turin to Pinerolo, 23J m. by electric railway from the Central Station in 1J hr. (151. 80, 11 1. 30, 71. 35 c.) via (15J m.)Airasca, the junction for the line to Saluzzo and Cuneo (p. 39), or 23 m. by tramway from the Via Sacchi (PI. 21).— Pinerolo (1234 ft.; Hot. Campana; Cannon d'Oro) is a small town (13,736 inhab.), whose beautiful situation, at the foot of the hills where the Chisone and the Lemina valleys merge into the plain of Piedmont, has earned it the name of the ' Nice of Piedmont/ During the middle ages it was the home of the Princes of Acaia (comp. p. 21), and it came thrice into32 Rte. 6 PINEROLO the power of France. The road from the station, passing the important Cavalry School, leads to the Piazza Palazzo di Cittk, the principal square, whence the Via Savoia goes on to the Cathedral, a Romanesque and Gothic building founded in the 11th century. By the Via Porta Francia, farther on, and the Via Principi d'Acaia (r.), with ancient houses, we reach the Palace of the Princes of Acaia, with monochrome 16th cent, frescoes, and the church of San Maurizio (Roma- nesque and Gothic) with a fine campanile topped by a py- ramid. In this church are the tombs of eight princes of Ac&ia. The Via Ortensia runs hence to the Public Garden in which stands the Waldensian Church. From Pinerolo a tramway plies to (19J m. S.) Saluzzo (p. 38) vi& (8 m.) Cavour, the ancestral home of the great statesman's family, and (13 m.) Staffarda, where there is a 12th cent. Cistercian abbey. — The neighbouring valleys of the Chisone (tramway from Pinerolo) and the Pellice (railway to Torre Pellice, See below) are inhabited mostly by the Waldenses or Vaudois. This sect found its origin in the S. of France about 1170, under the inspir- ation of Peter Waldo, a Lyons merchant who sold his goods and started the preaching of refcvmed doctrines. Persecution drove his adherents to take refuge in the reared valleys of the Piedmontese Alps, which have since been named the Vaudois Valleys. About 1532 they became absorbed in the Swiss Reformation. When renewed persecution broke out in 1655 under Charles Emmanuel II, assisted by the troops of Louis XIV, a strong protest was raised by Cromwell in England, and Milton wrote his famous sonnet. Still further persecution followed the Revocation of the Edict of Nantes (1685), but the remnant of the Vaudois, about 2600 in number, were allowed to retreat to Geneva. In 1689 Henri Arnaud led a band of 800 to the reconquest of their valleys, and a rupture between Louis XIV and Victor Amadeus of Savoy was followed by their recognition as subjects of Savoy, and tolerance began to prevail. Since the beginning of the 19th cent, much interest has been taken in Protestant countries on their behalf, and an Englishman, Col. Beckwith, helped them per- sonally and built their church in Turin (1849; p. 30). Of late years large eolonies have emigrated to Sicily, Uruguay, and the Argentine Republic. The chief centre of^ this active and intelligent population is (10£ m. S.W. of Pinerolo) Torre P611ice (1693 ft.; Hot. Bel-Air, pens. 251.; duParc; del'Ours), a pleasant little town (2026 inhab.) with a fine Gothic Waldensian church, a sumptuous modern church (1844), a commemorative fountain to Charles Albert, and a historical collection in the training school. Another tramway from Pinerolo ascends the Chisone valley to (lOf m.) Perosa, whence a motor omnibus runs vi& (20f m.) Fenestrelle to (34 m.) the Colle S est r tires (p. 10). From Turin to Aosta and Courmayeur, see Rte. 7; to Genoa, see Rte. 9; to Milan, see Rte. 12; to Paris (London), see Rte. 2; to Ventimiglia, see Rte. 8. 7. FROM TURIN TO AOSTA AND COURMAYEUR 103 m. (166 km.). Railway to Aosta, 80 m. (129 km.) in c. 3 hrs. —> Motor Omnibus thence to (23 m., 37 km.) Courmayeur thrice daily in 2-2£ hrs, — The railway route affords fine views on both sides and passes through re- markably few tunnels.IV RE A 7 Rte. 33 The Val d'Aosta, the district which includes the main valley of the Dora Baltea and its numerous tributary valleys, is one of the most beautiful parts of Italy. The mighty mountains which surround its head (Gran Paradiso, Mont Blanc, Matterhorn, and Monte Rosa), its huge glaciers, its forests, its pastures, and its unequalled view-points combine with its Roman remains and many feudal castles to make a sum total of beauty and interest rarely surpassed. The Salassi, its earliest inhabitants, were conquered by the Romans in 25 B.C. From the 11th cent, onwards the house of Savoy gradually extended its dominions in the valley. The language most commonly spoken is French, but Italian predominates in the lower valley and is everywhere understood. An interesting relic of the colonisation of the valley from the Swiss Valais remains in the German dialect which still survives at Gressoney. The most important tourist centres are Gressoney, Issime, Brusson, Val- tournanche, Courmayeur, and St-Vincent, all of which have good hotels, and the last a spa with medicinal waters. The guides of Valtournanche and Cour- mayeur are world-famous and many have accomplished first ascents not only in Switzerland, but even in America and Africa and among the Himalayas. The roads are only tolerable except for the two great arteries which offer an exit from the upper valley — the Great and Little St. Bernard passes. Many of the side valleys have no carriage roads and lateral communication is effected by mere mountain tracks. From Turin to (18 m.) Chivasso, see p. 71. — We diverge to the left from the line to Milan. Beyond (26J m.) Caluso we approach the hills, here formed by old moraines. — 32J m. Strambino. On the right is the Serra d'Ivrea, a huge moraine of regular formation like a colossal dyke. — 38J m. (82 km.) Ivrea (876 ft.; Rfmts.; Hot. Scudo di Frdncia, R. 7, D. 18, pens. 301.; Universo, R. 51.), a charming little town (5,614 inhab.) on the Dora B<ea, was the Roman Eporedia (1st cent. b.c.). Its mediaeval marquisate reached the height of its power under Berengar II (d. 966) and Audouin, who was crowned king of Italy in 1002. — As we quit the station we cross (r.) the Ponte Nuovo over the foaming Dora. On the left is the Ponte Vecchio, a bridge of 1716 on older foundations, and opposite a tablet commemorates the 2000th annivers- ary of the town's foundation. From the Piazza Vittorio Emanuele the Via Palestro and the Via della Cattedrale (1.) lead to the Cathedral, of which two apsidal towers, the dome, and the crypt date from the original building (1000). On the left of the fa9ade is a Roman sarcophagus. The interior contains two paintings by Defendente Ferrari: a Nativity, by the 2nd altar on the right, and an Adoration of Jesus, in the sacristy. Behind the cathedral is the *Castle, a stronghold of Amadeus VI, the ' Green Count' (1358), with four angle towers, one of which was partially destroyed by an explosion in 1676. In the public park on the Diga del Navfglio, an embankment built by Princess Iolanda in 1468 below the Dora bridges, are the Museo Garda (Chinese and Japanese collections) and the Romanesque campanile (1041) of the vanished church of Santo Stefano. A light railway plies from Ivrea to (17J m.) Santhtt (p. 71),34 Rte. 7 ST- VINCENT From Turin Beyond a bridge over the Dora and a tunnel we enter the Val d'Aosta. — 49 m. Pont-St-Martin (1122 ft.; Rfmts.; Hot. Cavallo Bianco) has a fine Roman consular bridge over the Lys, which here flows down from the Val de Gressoney to join the Dora. From Pont-St-Martin to Gressoney-la-Trinit£, 21£ m. (34 km.), motor omnibus in 2 hrs. The road traverses the beautiful Val de Gressoney (comp. p. 33). — 17 m. Gressoney-St-Jean (4544 ft.; Hot.*Lyskamm, R. 15, D. 20, pens. 401.; *Delapierre, R. 8, D. 20, pens. 401.; Monte Rosa) is the chief vil- lage.— 21im. Gressoney-la-Trinite (5371ft.; Hot. *Miravalle, R. 10, D. 20, pens. 401.; Th6dy, R. 10, D. 18, pens. 301.; Castor) is a climbing centre from which the Lyskamm (14,870 ft.) and Monte Rosa (15,201 ft.) may be ascended. See the Blue Guide to Switzerland. Beyond (50J m.) Donnaz (1046 ft.) the line enters the nar- row Gorge de Bard, through which in 1800, Napoleon passed unperceived with his whole army during the night. Above (r.) is the picturesque fortress of Bard. — 56J m. (91 km.) Verres (1296 ft.; Hot. Italia) stands in a fertile basin at the mouth of the Vallee de Challant or Val d'Ayas. The fine castle of Issogne, built by Georges de Challant c. 1480, lies 10 min. S.W. of the station, while the four-square stronghold of Verres, another castle of the Challant family (1360-90), with walls 100 ft. high, is 20 min. N. (keys at the mairie). The Vall£e de Challant or Val d'Ayas, down which flows the Evangon, is green and wooded with pines in its lower reaches. Higher up it is a wild and narrow gorge. A motor omnibus service plies up it from Verres to (10 m.) Brusson (4367 ft.; Grand-Hot. Eden, pens. 32 1.; Aquila, pens 30 1.) and (17 m.) Champoluc (5151ft.; Hot. Moderne; Bteithorn), whence a bridle path goes on to Fidry (6162 ft.; Hot. Bellavista); see the Blue Guide to Switzerland. Beyond (60J m.) Montjovet (1312 ft.) we traverse the fine gorge of Montjovet. — 63J m. (102km.) St-Vincent (1424 ft.; *Grand-H6t. BiUia, L. 17, D. 25, pens. 40 1.; de la Source, R. 8, D. 25, pens. 35 1.; de la Couronne, R. 10, D. 14, pens. 35 1.; du Lion-d'Or; Rome; Funicolare, the above open May- Sept.; delle Vigne, R. 8, D. 12', pens. 35 1., open all the year), 1J m. from the station (funicular railway), is a small hydropathic station. On the left, across the Dora, is the castle of Ussel (1350). — 64J m. (104 km.) Chatillon (1800 ft. ; Hydropathic Establishment, 90 beds, open June-Sept.) stands at the mouth of the Valtournanche. The Valtournanche, down which flows the Marmore amid beautiful glens and fertile uplands, leads up to the famous Matterhorn (14,692 ft.) or Mont Cervin. At the upper end of the valley rise the Grand Tournalin and the Breithorn, two famous view-points, both easy of access, while the Theodule Pass offers an easy passage to Zermatt. A motor omnibus plies from Chatillon to (12£ m.) Valtournanche (5000 ft.; Hot. *Royal; Monte Rosa; Meynet, the above open June-Oct.; delle Alpi, open all the year), whence a bridle pathto Courmayeur AO ST A 7 Rte. 35 leads on to (2£ hrs.) Le Breil (6575 ft.; Hot. des Jumeaux), and (J hr. more) the *H6tel de Giomein (6880 ft.), open June-Sept., in full view of the Matter- horn in all its magnificence. The valley now widens. — 67\ m. Chambave (1558 ft.) is overlooked by the castle of Cly. On the left opens the Val Clavalite or Val de Fenis, ending in the snowy pyramid of the Punta Tersiva (11,523 ft.). — 72 m. Nus (1755 ft.) is the station for (20 min. S.E.) the *Castle of Fenis, the finest in the valley, built by the Challants in 1350, with an elegant courtyard, arcaded galleries, and frescoed walls. On the right is the Val St-Barthelemy. — 73J m. St-Marcel; 75 m. Quart- Villefranche. 81m. (129 km.) AOSTA or Aoste (1900 ft.; *Hot. de la Couronne, *Moderne, Piazza Carlo Alberto, open all the year; Monte Bianco, open June-Sept.), in a fertile basin surrounded by lofty and snow-capped mountains, at the junction of the Buthier and the Dora Baltea, is a town (8,420 inhab.) of high antiquity, still enclosed by its Roman walls and con- taining several interesting Roman and mediaeval survivals. Once the chief town of the Gallic Salassi, it was captured by Terentius Varro in 24 B.C. and renamed Augusta Pretoria; and it still retains its Roman plan, almost intact. The character of the modern city, however, is Southern French rather than Italian, the architecture is essentially Burgundian, and the speech of the people is a French dialect. Throughout the middle ages town and valley owed allegiance to the great house of Burgundy, and the dukedom of Aosta has always been a cherished appanage of the House of Savoy. The most famous native of Aosta is St. Anselm (1033-1109), archbishop of Canterbury from 1093. St. Bernard of Menthon (d. c. 1081), founder of the famous Hospice, was a canon of Aosta in the 11th century. The Railway Station lies to the S. of the town. Nearly opposite rises the mediaeval Tour du Pailleron, at the S.E. corner of the Public Garden, in which is a monument to Victor Emmanuel II, the ' Roi Chasseur.' The Corso Vittorio Emanuele Secondo, just W. of the Tour, leads N. to the Piazza Carlo Alberto, in the centre of the town, with the principal hotels, the Post Office, and the Town Hall. Thence the Via Umberto Primo leads E. to the Porta Pretoria or Porte de la Trinite, a double gateway of three arches, 300 yds. beyond which is the *Arch of Augustus, a triumphal arch erected in 23 b.c. to commemorate the defeat of the Sa- lassi. This is in a tolerable state of preservation and is decorated with 10 Corinthian columns, but is rather disfig- ured by a modern roof. Farther on, beyond the modern bridge over the Buthier, is a partially buried Roman Bridge. To our right, as we return, the Via Sant'Orso leads to the priory and collegiate church of Sant'Orso or St-Ours, founded by St. Anselm, with a 13th cent, campanile, 16tli cent, stalls,36 Rte. 7 AOSTA From Turin and a beautiful 12th cent. *Cloister. The Priory (late 15th cent.), with tasteful terracotta ornamentation, has an octa- gonal tower with a pointed roof. Thence we follow the Strada di Circonvallazione N.W. to the Tour du Bailliage or des Prisons, a 13th cent, addition to the Roman walls. To the S., in the garden of the Convent of St. Catherine (adm. daily 10-11 and 3-4; temporarily closed in 1924), are eight arches of the Roman Amphitheatre, a building once capa- ble of holding 15,000 spectators. Close by (S.) are the re- mains of the Roman Theatre. From the Piazza Carlo Alberto (see above) the Via Xavier de Maistre and the Via di Sales (1.) lead to the Cathedral (SS. Gratus and Jucundus), an ancient foundation, rebuilt in the 15th cent, and badly restored in 1837. The fa5ade dates from 1522. In the choir are good mosaic pavements (1429-34) by Istienne Mossettaz, late 15th cent, stalls, and, on the left of the high altar, the tomb of Thomas II of Savoy (d. 1259). The Treasury contains antique plate, an ivory diptych of 406, and mediaeval missals and pontificals. The cloister to the N. of the church dates from 1460. From the W. end of the cathedral the Via del Re Gontrand leads to the Via Croix-de-Ville, which, with its S. continua- tion the Via Challant, represents the principal cross-street of the Roman town, between the Porta Principalis Sinistra (N.) and the Porta Principalis Dextra (S.). The * Roman Walls, forming a rectangle c. 800 yds. long and c. 630 yds. broad, are in best preservation near the Tour Bramafam, a relic of the 11th cent, castle of the lords of Challant (p. 34), near which remains of the Porta Princi- palis Dextra have been unearthed. Planted on the W. wall is the mediaeval Tour du Lepreux, whose unfortunate inmate, Guasco d'Oneglia (d. 1803) with his sister Angelica (d. 1791), is celebrated in Xavier de Maistre's tale, ' Le Lepreux de la Cite d'Aoste.' Farther N. is the site of the Porta Decumana, and at the N.W. corner is the Tour Neuve. Near the site of the Porta Principalis Sinistra is the Palazzo Roncas (1606), now the sub-prefecture. The Becea di Nona (10,809 ft.) is ascended hence in 6 hrs.; Mont Emilius (11,677 ft.) in 9 hrs. —- From Aosta to the Great St. Bernard and Martigny, and to Arolla, see the Blue Guide to Switzerland. At Aosta begins the Motor Omnibus service to Courma- yeur. — 83 J m. (from Turin) Sarre has an 18th cent, chateau once a hunting-lodge of Victor Emmanuel II. From Aymaville, with a fine castle, on the opposite side of the valley, a road (motor omnibus) rijns up the Yal 4? Cogne to (11 m.) Cogne (Hdt. du Grandto Courmayeur COURMAYEUR 7 Rte. 37 Paradis; Grivola), whence the Gran Paradiso (13,824 ft.) is ascended in 10 hrs., the Grivola (12,922 ft.) in 9 hrs., Mont Emilius (p. 36) in 9 hrs., and the Punta Tersiva (11,523 ft.) in 7 hrs. 86 m. St-Pierre (2169 ft.), with a castle perched on an isolated rock, commands a fine prospect of the snowy Grivola. — 87 m. Villeneuve (2198 ft.; Hot. du Col Nivolet; de l'U- nion; du Cerf) is an unattractive village, but the best starting point for excursions in the Alpine Val Sav(tranche and Val de RMmes, whose united stream we cross just beyond the village. On the left appears the castle of Introd. — At (89J m.) Arvier (2395 ft.), noted for its wines grown on the steep N. slopes of the valley, the rounded summit of Mont Blanc comes into view. — 90 m. Liverogne (2546 ft.; Cantine du Col du Mont) lies at the foot of the Val Grisanche, at first wild and desolate, but green and smiling higher up, which skirts the E. foot of the Rutor (11,438 ft.), and is an avenue of access to Bourg-St-Maurice and the Tarentaise (see the Blue Guide to the French Alps). Below the bridge over the Dora di Yalgrisanche may be seen the remains of the bridge which carried the old Roman road. — We cross (90f m.) the gorge of Avise. Avise (2500 ft.), with three castles, lies on the opposite side of the valley. We enter the splendid gorge of the * Pierre Taillee. At the exit from a tunnel Mont Blanc appears in full splendour at the head of the valley, which, above this point, is known as the Valdigne. We leave on the right Derby with its fortified houses and magnificent forest, and on the left the ancient village of La Salle (3284 ft.), which preserves the name of the Salassi (p. 33). — Beyond the ruined 13th cent, castle of Chatelard we cross (96J m.) the Pont de la Salle (2923 ft.) and reach (97f m.) Morgex (3019 ft.; Hot. du Chene-Vert; de l'Ange), the principal vil- lage of the Valdigne and the starting point of three routes to the Great St. Bernard (see the Blue Guide to Switzerland). — Passing (1.) the route over the Little St. Bernard via La Thuile we reach (100J m.) Pr6-St-Didier (3314 ft.; *Hot. XJni- verso, 100 beds; Londra), a small watering-place with a 13th cent, church tower, at the junction of the Dora della Thuile and the Dora Baltea. 103 m. (166 km.) COURMAYEUR (4029 ft.; 1200 inhab.) is the Chamonix of Piedmont, but enjoys a much milder climate than its rival of Savoy. It is much frequented in summer, as well by alpinists and lovers of mountain scenery as by those who seek the benefit of its mineral springs, and winter sports flourish.38 Rte. 1 COURMA YEUR Hotels. *Grand-H6t. Reale Ber- tolini (June-Sept.), 130 beds; dell* Angelo (June-Sept.), 90 beds, R. 6, D. 12, pens. 28 1.; *dell' Unione (June-Oct.), 100 beds ; *Monte Bianco, at Le Larzey (May-Oct.); Sav6ia, Moderno, open always. Motor Omnibuses to Aosta 3 times daily in l|-2 hrs. (171. 10; July- Sept, 221. 80 c.); to the Little St. Bernard once daily m July-Sept, in 1J hr. (12 1. 5 c.); thence to MoHtiers- Salins in 3 hrs. (25 fr.). Enquiry Office (Societa delle Gui- de). — Visitors' Tax, 2-61., ac* cording to the hotel. — Guides and Porters of the Italian Alpine Club. English Church Services in July and Aug. in the Chapelle £,vang61ique (Sun. 8, 10.30, and 5). The village of Courmayeur stands in the Val d'Entreves, some little height above the left bank of the Dora Baltea, J m. below the confluence of its two main branches. Its warm medicinal springs have their source near the road to Dolonne, a village on the opposite bank. The view up the valley, between Mont Chetif (1.) and Mont de la Saxe (r.), is closed by the precipices of the Aiguille du Geant. Mont Blanc is concealed by the summit of Mont Chetif, but half an hour's walk up the valley discloses the mighty chain of peaks from the topmost summit to the Grandes Jorasses. Of the numerous Alpine excursions practicable from Courmayeur most recommended are those to (40 min.) Entr&ves (4265 ft.), with its old castle at the foot of the Val Ferret; to (1 hr.) Notre-Dame-de-Gudrison, in the Val Veni on the circuit of Mont Blanc; and to the ice-grotto in the Glacier de la Brenva. — Easy ascents include the *T$te de Crammont (8980 ft.), climbed in 4 hrs. vi& Prl-St-Didier; the Mont de la Saxe (7737 ft.), 3 hrs. N.E., and the slightly higher TSte Bernarde (8314 ft.), farther N.E.; and Mont Fortin (8957 ft.) 4£ hrs. W. —• For longer excursions, including the ascent of Mont Blanc (15,872 ft.; c. 15 hrs.), and the passage via the Pavilion of Mont-Fr^ty and (6 hrs.) the Col du Gtant (11,082 ft.; Refuge Torino) to (c. 11 hrs.) Chamonix, see the Blue Guide to Switzerland. 8. FROM TURIN TO VENTIMIGLIA 117£ m. (189 km.). Railway to San Dalmazzo di Tenda, 91£ m. (147 km.) in 6 hrs. (57 1. 55, 40 1. 60, 24 1. 90 c.), thence Motor Omnibus to Ventimi- glia, 26 m. (42 km.) in 2£ hrs., passing through a series of magnificent rocky gorges. The continuation of the railway from San Dalmazzo is under construct- ion, and the section (7£ m.) between Airole and Ventimiglia is already open for traffic. From Turin to (1$ m.) Carmagnola, see p. 44. We tra- verse a carefully cultivated plain. — At (23^ m.) Racco- nigi is a splendid royal mansion. — 28 m. Cavallermaggiore is likewise on the line from Bra to Moretta (p. 44). — 32\ m, (52 km.) Savigliano (1053 ft.; Rfmts.; Hot. Aquila d'Oro; Corona Grossa; Tre Re), an engineering town (10,046 inhab.), was the birthplace of the astronomer Giovanni Schiaparelli (1835-1910). A branch line runs hence to (9£ m. W.) Saluzzo {Hot. Corona Grossa) an attractive little town, birthplace of the author Silvio Pellico (1789-1854), aCUNUO 8 Rte. 39 martyr to the cause of Italian freedom, and of G. B. Bodoni (1740-1813), a celebrated printer. The 15th cent. Cathedral is interesting. In the upper town are many quaint old houses and the 16th cent, church of San Giovanni. — From Saluzzo to Ctineo via Busca, see below; to Pinerolo, see p. 32. 39f m. Fossano (1237 ft.; Rfmts.; Hot. Moderno; Leon d'Oro; Cavaliere di Malta), an industrial town (8,018 inhab.), stands on a height crowned by a castle of the princes of Acaia. A branch line runs hence to (15J m. S.E.) Mondovh (p. 44). As we approach Cuneo we pass on the right the church of the Madonna della Riva and soon after, crossing the Stura, enjoy a good view of the town on the same side. 54J m. (88 km.) Cuneo (1752 ft.; Hot. Reale Superga, 3 Piazza Seminario, well spoken of; Barra di Ferro, Via Savi- gliano), at the confluence of the Gesso and the Stura di De- monte, is an industrial and agricultural town (17,602 inhab.), and an important market for raw silk, but offers little of in- terest to the ordinary tourist. Monorail tramways ply from the station through the principal street of the town. Branch lines run from Cuneo to (17 m.) Mondovl (p. 44), and via (20£ m.) Saluzzo (p. 38) and (30 m.) Airasca (p. 31) to (58 m.) Turin (p. 19). Motor omnibuses ply to (78 m.) Nice, to (18 m.) Mondovl (p. 44), to (8 m.) Cardglio- and (18 m.) Pradleves (81. 90 c.), and in summer only to (16 m.) the Terme di Valdieri and to (17 m.) Vinddio. At (62f m.) Borgo San Dalmazzo (2070 ft.) we enter the narrow Valle Vermenagna, which we ascend by means of a succession of viaducts and tunnels.—Beyond (70J m.) Vernante (2568 ft.) the railway surmounts a narrow gorge by means of a spiral tunnel (1150 yds.) followed by a curved viaduct (324 yds. long, 150 ft. high). A splendidly engineered series of seven tunnels and twelve viaducts brings us to (74 m.) Limone Piemonte (3303 ft.; Hot. Europa; Posta), in a magnificent mountain amphitheatre, with facilities for winter sports. In the church of San Pietro in Vincoli (1360) is a wooden pulpit from the Certosa di Pesio. For the road hence to Ventimiglia, see p. 40. — A short tunnel is succeded by the great Tenda Tunnel (5 m. long), beneath the Colle di Tenda (see below), in which the railway reaches its summit level (c. 3445 ft.). Beyond the tunnel we descend into the valley of the Roja torrent, which works many electrical esta- blishments (56,000 HP). We overlook Tenda from a height, make a long curve up the valley of the Riofreddo, reaching the Roja valley once more after a tunnel 1600 yds. long. — 86J m. Tenda or Tende (2674 ft.) is a pleasant little town (1555 inhab.) with remains of its ancient fortifications. -— 91£ m. (147 km.) San Dalmazzo di Tenda or St-Dalmas-de- Tende, (2283 ft.) the present terminus of the railway, has a40 Rte. 9a A ST I From Turin large electric factory for the working of zinc-bearing horn- blende. The road hence to Ventimiglia is traversed by a motor-omnibus, but travellers with time to spare are recom- mended to proceed by carriage. Even more interesting is the stretch of road between Limone (see p. 39) and Tenda. About 1£ m. outside Limone the ascent begins, and we soon (4334 ft.) enter an electrically lighted tunnel 2 m. long. Leaving the tunnel at a height of 4199 ft. we obtain a good view of the 20 hairpin bends of the road below us. Beyond the wild ravine of the Barma Ventosa and another gorge in the rocky flank of Monte Rocca Mdima we reach (llf m. from Limone) Tenda (see p. 39). — 14£ m. San Dalmazzo di Tenda. The Motor Omnibus, quitting San Dalmazzo, crosses (91J m.) the frontier into France and enters the deep cleft of the * Gorge of Gandarena, between walls of schist and conglomerate 1000 ft. high. — At (95| m.) Fontan (1424 ft.) are the first olive trees. The road continues to wind through tortuous ravines and at (100\ m.) Gidndola (984 ft.) leaves on the right a road to Nice (see the Blue Guide to the French Alps). — Beyond (102 m.) Breglio or Breil we recross the frontier into Italy (104J m.) and pass beneath the ancient Genoese stronghold of Piena. — After two more tunnels we reach (110m.) Airole (337 ft.), where the new railway to Ventimiglia begins. The R6ja or R6ia valley widens and Old Ventimiglia appears on a hill ahead. —- 117Jm. (189 km.) Ventimiglia, see p. 2. 9. FROM TURIN TO GENOA A. Via Alessandria and Novl. Electric Railway, 103 m. (166 km.) in 3J-3i hrs. (78 1. 20, 52 1. 75, 311. 5 c.). The line, which is traversed by the Paris-Rome 4 train de luxe ' (p. 9), runs at first through the green hills of Monferrato; beyond Alessandria comes a level stretch as far as Novi; then follows the interesting passage of the Apennines. The railway from Novi to Genoa is the busiest in Italy. Turin, see p. 10. As we quit the city the Cottian Alps, with the pyramidal Monte Viso, come into view on the right. We cross the Sangone and, at (5 m.) Moncalieri (p. 31), the Po. — At (8 m.) Trofarello (Rfmts.) the lines to Cuneo (p. 39) and Savona (p. 44) diverge on the right, and that to (5J m.) Chieri on the left. — 10J m. Cambiano-Sdntena. At S&ntena, 1J m. from the station is the tomb of Cavour (p. 21). — 19J m. Villanova d'Asti stands among world- renowned vineyards (see p. 41). 34J m. (56 km.) ASTI (404 ft.; Rfmts.; Hot. Reale, R. 7, D. 15, pens. 281.; Central & Salera; Stazione; Cervo), anto Genoa ASTI 9a Rte. 41 ancient town (25,042 inhab.) standing on a little hill, is the junction for the alternative line to Genoa via Acqui (see Rte. 9b). Asti was certainly a Roman colony, and is possibly of Ligurian origin. Later it became an important Lombard duchy and in the 13th cent, was the most powerful of the Piedmontese towns. Twice laid waste by Barbarossa, it fell into the hands of various masters, passing finally to the House of Savoy in 1531. It is famous for its wines (Barbera, Grignolino, Nebiolo, and especially Asti Spumante.) The Via Cavour leads from the station to the Piazza Statuto, in which stands the Torre dei Guttuari, and the Piazza San Secondo. In the large Gothic church of San Secondo is a polyptych (1st chapel on the right) attributed to Def. Ferrari. To the right is the Piazza Alfieri, with a statue of Alfieri (see below), whence the Corso Alfieri leads (r.) to the church of San Pietro in Conzavia, notable for its terracottas and its Romanesque baptistery. The Via Battisti, a turning to the left off the Corso, leads to the Piazza Medici, in which stands the graceful 13th cent. Torre Troia. Farther on in the Corso Alfieri is the Piazza Roma with the Torre Comentina, and still farther are the Normal School (No. 123), covering the crypt of Sant'Anastasio, and the 18th cent. Palazzo Alfieri (No. 129), the birthplace of Vittorio Alfieri (1749-1807), the tragic poet, which contains his portrait by Fabre and a small collection of antiquities and modern paintings. Immediately beyond are a monument to King Humbert by Tabacchi and the turning (r.) which leads to the cathedral. On the right again (No. 35, Via Carducci) is the fine 15th cent. Palazzo Zoia. — The fine Cathedral dates from the best Gothic period (1324-40); the tower (1266) is a relic of an older church. The imposing interior is un- spoiled by restoration. The stalls of the adjoining Baptistery are by Baldino di Surso (1477). In the streets behind the cathedral are remains of the fortifications of the 13th and 14th centuries. — The Via Massaia and the Via Varrone (1.) lead back to the Corso Alfieri opposite the Torre San Secondo, a Romanesque tower on a Roman base. Turning to the left along the Corso we take (r.) the Via Roero, in which is the Torre Roero, and then, in a quarter of ancient houses, follow the Via Sella to the left and the Via San Martino to the right to reach the Piazza San Giovanni and (1.) the Via Venti Settembre, No. 26 in which is the Palazzo Catena, richly decorated in terracotta. Farther on we regain the Via Cavour (see above) and the station. To Genoa vi& Acqui, see p. 43. From Asti branch lines run to Chivasso (p. 71), Casale (p. 73), and Alba (p. 44).42 Rte. 9a ALESSANDRIA From Turin Beyond Asti the line descends into a fertile plain extending on the left bank of the Tanaro, which we soon cross to reach (56Jm., 91km.) Aless&ndria (308 ft.; Rfmts.; Hot. Europa, 4 Via Alessandro Terzo; Londra, Corso Roma; Rome, Mo- derne Meuble, Piazza Vitt. Emanuele), a town (41,201 inhab.) of modern aspect near the junction of the Tanaro and the Bormida. Though of scanty interest to-day the town dates back to 1168, when it was founded by the lords of seven castles leagued against Barbarossa and the Marquis of Monferrato. It was named after Pope Alexander III and, after many centuries of independence, fell in 1706 into the possession of the House of Savoy. From AlessAndria to Piacenza, 60 m. (97 km.), railway in 2hrs. (461. 20, 311. 30, 18 1. 60 c.). — Beyond the B6rmida is the battlefield of Marengo, where Napoleon defeated the Austrians on June 14th, 1800. We next cross the Scrivia, join the line from Genoa to Milan at (13£- m.) Tortona (p. 132), and follow it as far as (24 m.) Voghera (p. 132). — Crossing the Staffora we approach the foot of the Apennines. — 37i m. Bronx is a junction for (17i m.) Pa via (p. 129). — 39f m. Stradella. — At (54£ m.) San Nicold we cross the Trebbia below the road bridge (1825), an inscription on which commemorates three notable battles fought in this valley: the victory of Hannibal over the Romans (218 b.c.); of Lichtenstein over the French and Spanish (1745); and of the united Austrians and Russians over the French (1799). — 60 m. (97 km.) Piacenza, see p. 269. From Alessandria to Acqui and Savona, see p. 45; to Casale and Vercelli, see p. 73; to Mortara and Novarct, see p. 74; to Nizza and Bra, see p. 44; to Ovada, see p. 43; to Pavia, see p. 132. Steam tramways run to (13£ m.) AUavilla, to (15 m.) Sale, and to (20 m.) Casale via San Salvatore. Beyond Aless&ndria we cross the Bormida. At (69\ m., 112 km.) Novi-Ligure (760 ft.; Rfmts.; Hot. Novi; Reale; Vittoria), an important railway centre (13,969 inhab.), we join the line from Milan (p. 132). — At (74 m.) Serravalle Scrivia (722 ft.) we reach the Scrivia valley, which we ascend through a pleasantly varied landscape. — 77 m. Arquata Scrivia (820 ft.) lies at the foot of a hill crowned by a ruined castle. The communal cemetery contains 94 graves of British soldiers. The mountains close in on either hand and we ascend a narrow valley, traversing many bridges and tunnels. — At (85f m.) Ronco Scrivia (1065 ft.) the railway divides, a new line with an easier gradient having been constructed to relieve the old line of the traffic for which it was found insufficient. The old line diverges on the left and beyond (89 m.) Busalla traverses a tunnel 2 m. long in which it reaches the height of 1175 ft. The descent follows the left bank of the Polcdvera torrent, affording splendid views of the valley with its many factories and houses painted in gay colours in the Genoese manner. — 95£ m. Pontedtcimo (295 ft.). — 99| m. Rivarolo IAgure (85 ft.) is the chief industrial centre of the valley. At (101J m.) Sampierdarena (p. 43) we rejoin the new line.to Genoa ACQUI 9b Rte. 43 The new line traverses the Giovi Tunnel (5 m. 250 yds.), in which it attains its summit level of 1080 ft.— Beyond (91J m.) Migndnego we descend the right bank of the Polcevera, obtaining an excellent view of the old line and the busy valley. At (101J m.) Samplerdarena, where we rejoin the old line, the railways from Savona and from Acqui come in on the right. — 103 m. (166 km.) Genoa, see Rte. 10. B. Via Acqui and Ovada. Railway, 99£ m. (160 km.) in c. 6 hrs. (62 1. 50, 44 1. 10, 27 1.), by a pic- turesque route, which traverses many tunnels and viaducts as it approaches Genoa. From Turin to (34f m.) Asti, see p. 40. We cross the Tanaro and traverse the hilly vineyards of Asti. — 50 m. Nizza Monferrato is also a station on the line from Bra to Alessandria. — 63J m. (102 km.) Acqui (538 ft.; Rfmts.; Grand- H6t. Nuove Terme, in the town; Grand-Hdt. Vecchie Terme, pens. 50-60 1., on the right bank of the Bormida, 1 m. from the town, the above open May-Oct., with hydropathic esta- blishments; Moderne; Europa; Vittoria; Pozzo. Visitors' Tax, 6-20 1. according to hotel), the Roman Aquce Statiellce, has long been famous for its sulphurous waters and mud baths. In the middle of the town (9,904 inhab.) the sul- phurous waters bubble up beneath a little pavilion. The copious spring (170°) is used by the inhabitants for domestic purposes. Acqui is served also by the railway from Savona to Alessandria (comp. p. 45). We cross the B6rmida. — 72Jm. Ovada (610 ft.) is a junction for (21m.) Alessandria (p. 42). — Beyond (8J m.) Campo Ligure (1165 ft.), the highest station on the line, we penetrate the Apennines by the Turchino Tunnel (4 m.) and descend rapidly by means of a finely engineered series of tunnels and viaducts, enjoying many sudden glimpses of the sea on the right. — 97 j m. Sampierdarena and thence to (99J m., 160 km.) Genoa, see above. C. Via Bra and Savona. Railway, 117i m. (189 km.) in c. 5 hrs. (88 1. 90, 59 1. 80, 35 1. 10 c.). This route, worked by electricity between Ceva and Savona, is the most direct approach from Turin to the Riviera. The Road (142 m., 229 km.) follows the railway except between Monchiero and Ceva, where it makes a detour to the left, viA (54£ m.) Murazzano, through the vine-clad hills of the Langhe.44 Rte. 9c MONDOVl From Turin to (8 m.) Trofarello, see p. 40. —We diverge to the right from the line to Asti. — 18 m. Carmagnola, the junction for Cuneo (p. 39), was the birthplace of the ' con- dottiere ' Francesco Bussone (1390-c.1432), called ' II Car- magnola/ The ' Carmagnola a popular song in Paris during the French Revolution, was originally sung in the Paris streets by strolling minstrels from Carmagnola. — 31m. (50 km.) Bra (919 ft.; Rfmts.; Hot. Gambero d'Oro; Italia; Corona Grossa) is a pleasant place (10,121 inhab.) with three imposing churches. A branch line runs W. from Bra via (8 m.) Cavaliermaggiore (p. 38) to (12 m.) Moretta, on the line from Saluzzo to Turin. From Bra to Alessandria, 53 m. (85 km.) in 3-4 hrs. — Crossing the Tanaro we reach (11 m.) Alba, a wine-growing town (8,904 inhab.), the birth- place of Macrino d'Alba the painter (fl. 1500), and preserving a few towers and other relics of the middle ages. — Leaving a branch line to (21m.) Asti (p. 40) on the left, we traverse the hills of the Langhe, between the valleys of the Tanaro and the B6rmida, and then descend the valley of the Belbo to (34 m.) Nizza Monferrato (p. 43). — 53 m. (£5 km.) Alessandria, see p. 42. We cross the Stura di Demonte before reaching (36 m.) Cherasco, where, on Apr. 27th, 1796, an armistice was signed between Napoleon and the king of Sardinia. We ascend the Tanaro, which flows between the hills of the Langhe (see above). — At (43^ m.) Monchiero-Dogliani the main road ascends to the left. — 54 m. Bastia is a junction for (23 m.) Cuneo (p. 39). On the line to Cuneo is (6£ m.) Mondovl {Hot. Tre Limoni d'Oro; Vascello d'Oro; Braccio d'Oro), formerly Montevico, a little town (11,629 inhab.) in a charming situation, partly in a valley (1247 ft.), partly on a hill (1834 ft.). The upper town, connected with the lower by a funicular railway, is well seen from the station. A free town in the middle ages, Mondovi was one of the first Italian towns into which printing was introduced (1472). In later years its name become famous by the defeat inflicted on the Austrians by Napoleon on Apr. 21st, 1796. As the valley narrows we obtain charming views on either hand. — At (62f m.) Ceva the road rejoins the railway. A branch line hence ascends the upper Tanaro valley, lined with ruined strongholds of feudal times, for (22£ m.) Ormea (2359 ft.; Grand-H6t. des Alpes; d'lt&lia), a picturesque old town (1438 inhab.) frequented as a summer resort. Motor omnibus services ply from Ormea to (30£ m.) Albenga (p. 6) and (32£ m.) Oneglia (p. 5) via (12£ m.) Pieve di Teco. The Electric Railway hence derives its motive power from Alpine torrents. We cross the watershed (E.) into the valley of the Bormida. — 79 m. San Giuseppe di Cairo has large factories of chemicals and explosives in its environs. It is the terminus of the ' funivia ' or overhead railway from Savona (comp. p. 7).GENOA 10 Rte. 45 From San Giuseppe a line descending the valley of the B6rmida passes (7£ m.) Dego, where Napoleon fought two battles in 1796, and the picturesque old town of (14J m.) Spigno. — 31m. Acqui, see p. 43. — 52 m. Alessandria, see p. 42. By a magnificent series of tunnels, bridges, and lofty- viaducts we cross the watershed, and reaching the Ligurian slope among splendid chestnut groves, descend the valley of the Letimbro. — 87J m. Santuario is the station for the pilgrimage church of Our Lady of Pity, a favourite excursion from Savona. — 90J m. (146 km.) Savona and thence to (117Jm.; 189 km.) Genoa, see pp. 7-9. 10. GENOA GENOA, or Genova (316,217 inhab.), built in an amphi- theatre on the seaward slope of a lofty range of hills, is the most important port of Italy. With its spacious parks, its stately palaces, and its artistic treasures, it merits well the surname ' la superba.' It is noted especially for its brightly coloured houses, and for the numerous and changing pano- ramas which it affords. An air of intense activity is noticeable both in the old town, with its labyrinth of narrow alleys lined with lofty houses, and in the new quarters of the city to the S. and S.E., where the roads are wide and sunny and the buildings more widely spaced. The ' Circonvallazione a Monte,' traversed by a tramway (No. 25; p. 61) offers an excellent series of view points from which the town may be seen at every angle. The houses in Genoa are numbered according to two systems; black numbers (nero) denote dwellings, while red (rosso) indicate shops, offices, etc. Railway Stations. Central Sta- tion or Stazione di Piazza Principe (PI. 11), for all services. — Stazione Brignole or Orientate (PI. 31), for trains to Spdzia, Pisa, and Chiavari. Steamer Quays. Ponte dei Mille (PI. 10-11), with custom-house, post and telegraph office, and State Rail- way booking office.—Ponte Andrea Doria (PI. 10-18). Other quays are occasionally used for passenger ser- vices when these are congested with traffic. — Transatlantic passengers land at the Ponte dei Mille (PI. 10). Hotels. *Grand-H6tel Mira- mare & de la Ville (PI. a; 2), Via Pagano Doria, 250 beds, a luxu- rious hotel on the site of the Doria gardens, R. 25, B. 7, L. 25-30, D. 30- 55 1.; *De G&nes (PI. b; 29), 42 Piazza De Ferrari, in the centre of the town, R. 15, B. 16, L. 18, D. 25, pens. 60 1., with tea-room (see p. 46); *Eden Palace & Park Hotel (PI. d; 22), 6 Via Serra, pleasantly situated in a garden near the centre of the town, R. 10, B. 5, L. 20, D. 25, pens. 60 1.; ♦Bristol (PI. c; 29), 35 Via Venti Settembre, 150 beds, R. 12, B. 7, L. 22, D. 25, pens. 501.; *Savoy Majestic (PI. e; 11), Via Arsenale di Terra, near the central station, 160 beds, R. 40, B. 6, L. 22, D. 25, pens. 501.; Isotta (PI. f; 21), 7 Via Roma, near the centre of the town, 150 beds, R. 10, B. 5, L. 18£, D. 20i, pens. 50 1.; with tea-room (see p. 46); Moderns (PI. h; 29), 40 Via Venti46 Rte. 10 GENOA Hotels Settembre, first class; de Londres & Continental (PL i; 11), 33 Via Balbi, well spoken of, R. 10, B. 6, L. 20, D. 23, pens. 55 1.; Britannia (Pl. m; 11), 18 Via Balbi, near the central station, R. 9, D. 18, pens. 421.; Bavaria (Pl. ba; 22), near the Piazza Corvetto, splendidly situated above the Villetta di Negro gardens, R. 8, D. 20, pens. 401. — Less expensive: France & Concordia (PL v; 22), Largo di Via Roma, R. 7, D. 14, pens. 331.; Lig£ria & Sempione, 26 Via Balbi (Pl. 11), near the harbour and the principal station, R. 10, D. 7 1.; Ristorante Stella (Pl. x; 11), Piazza Acquaverde, opposite the station, R. 71, with brasserie (see below); Ristorante Crespi, Via Andrea Doria (Pl. 11), near the har- bour and the station, R. 5, D. 12, pens. 25-35 1.; Croce di Malta, Via San Giuseppe (Pl. 22-30), R. 8, D. 10, pens. 301. Hotels Meublfcs. Splendide (Pl. sp; 29), Via Ettore Vernazza, 120 beds, R. 15 1.; Aquila Royal (Pl. p; 11), Piazza Acquaverde, 130 beds, R. 10, B. 6L; Excelsior (Pl. z; 21-29), Piazza De Ferrari, R. 10, B. 31.; Italia & Minerva, Via Carlo Felice (Pl. 21), R. 8, B. 4J 1.; Milan-Ter- minus (Pl. r; 11), Via Balbi, com- mercial, R. 8, B. 4£ 1. — Less expen- sive: Helvetia (Pl. u; 12), 45 Piazza Nunziata, R. 81.; Nizza, Salita Prov- videnza (Pl. 3-11), fine sea view, R. 7 1. Pensions. Talamone, 31 & 39 Via Venti Settembre; Flora, 33 Via Venti Settembre, pens. 351.; Rigatti, 4 Via Assarotti, pens. 22 1. Restaurants. Del Teatro Carlo Felice, Piazza De Ferrari (Pl. 29), an old established and popular house; Ligure, 14 Via San Luca (PL 20), near the Bourse; Cdiro, 36 Via Venti Set- tembre (Pl. 29), good; Europa, della Posta, Gall. Mazzini (Pl. 21-29) ; Cinotto, 3 Via di Portoria (Pl. 30), well spoken of and inexpensive; Aquila d'Oro, 21 Via San Pietro, frequented by business men; Frdncia, Via Carlo Felice (Pl. 21), good; Stella, Piazza Acquaverde (Pl. 11); Monterosa, Piazza Fontane Marose, good cooking; Martini, Vico Casana; Gerolamo, Corso Buenos Aires (Pl. 39-40). — With caf£s and music: Olimpia, Via Venti Settembre and Piazza De Ferrari; Odion, Via Venti Settembre; De Fer- rari, in the piazza of the same name. — In the environs: Dello Stabilimenio del Lido d'Albaro, on the sea, reached by tramway No. 43 (p. 60); Mari- netta, Corso Italia, tramway from the Foce (Pl. 48); del Righi, at the top of the Castell&ccio funicular railway (p. 62), with a fine view extending from Capo Mele to Portofino. Cafes. Giardino d'ltdlia, between the Piazza Corvetto and the Piazza Acquasola, with large garden; Bel- loni, Via Venti Settembre and Via Boccardo; Centrale, Via Venti Set- tembre; Diana, Galleria Mazzini. — Brasseries: Gambrinus, Monsch, Via San Sebastiano; Stella, see above; Piazza Corvetto, in the piazza of the same name. — Caf6s Chantants, p. 47. — Tea Rooms at the Hot. de Genes and Isotta and at the Rist. del Teatro Carlo Felice (see above). Post Office (PL 29), Piazza De Ferrari. — Police Station (Pl. 22), 14 Via Roma. — Chamber of Com- merce and Bourse (Pl. 29), Piazza De Ferrari and Via Dante. Information Bureau. National Tourist Office (E.N.I.T.), 237 Via Venti Settembre. — Thos. Cook & Son, Via Cairoli. British Consulate, 11 Via Assa- rotti (Pl. 15-23); American Consu- late, 42 Via Venti Settembre (Pl. 29). Baths. Albergo Diurno, Piazza De Ferrari; Chiossone Flora, Salita Santa Caterina. — Sea Bathing at the Lido d'Albaro (p. 60). Conveyances. Horse Cabs (with taximeters), for the first 1200 metres, 2 1. 40; then 40 c. per 200 metres. Luggage 80 c. per article. At night, for the first 900 metres, 2 1. 40; then 40 c. per 150 metres. — Motor Cabs, for the first 925 metres or 20 min., 2 1. 50 c.; then 50 c. for every 185 me- tres or 4 min. At night, for the first 835 metres or 20 min., 2 1. 50 c,; then 50 c. for every 167 metres or 4 min. Luggage 25 c. Electric Tramways. Principal routes serving the city and the W. suburbs, all starting from the Piazza De Ferrari (Pl. 29): 30. Circular Route to the Stazione Brignole, the Quays (Circonvallazione a Mare), and the Palazzo San Giorgio, returning along the Via San Lorenzo. — 25 and 27. To the Principal Station by the Cir-History GENOA 10 Rte. 47 convallazione a Monte. — 21. To the Staglieno Cemetery. — 39. To San Francesco d'Albaro, Sturla, Quarto, Quinto, and Nervi. — 29. VicL the Corso Podestk to the Piazza Cari- gnano (PI. 37). — 43. To the Lido d'Albaro. — The tramways for the E. suburbs start from the Piazza Cari- camento (PI. 20). The principal routes are: 1. To Pegli and Voltri. — 2. To Pegli. Motor Omnibuses run from the Piazza De Ferrari (PI. 29) to the Principal Station (PI. 11); to the Piazza Di Negro (PI. 9); to the Piazza Tommaseo (beyond PI. 40); to the Piazza della Zecca (PI. 12), etc. — Outside the town to Chiavari (p. 64); etc. Funicular Railways. From the Piazza della Zecca (PI. 12) to Castel- Idccio (p. 62), via San Nicolo (PI. 5); from the Piazza Portello (PI. 21) to the Corso Magenta (PI. 14); from the Salita San Rocco (PI. 2) to Granarolo (p. 62). — Lifts from the Piazza Portello (PI. 21) to the Spianata Castelletto (PI. 13-21); from the Via Venti Settembre, near the Ponte Monumentale (PI. 30), to the Corso Andrea Podestk; from the Via Balbi to Montegalletto (PI. 3). Boats. For embarking and dis- embarking from the steamers, 21., with 100 kg. (220 lbs) allowance of free luggage; 11. for every 50 kg. extra. — Pleasure Boats may be hired at the Calata opposite the Piazza Banco San Giorgio (PI. 20), at the Calata delle Grazie (PI. 36), at the Ponte dei Mille (PI. 10-11), etc.; hiring fee 5 1. per person and for the 1st hr. and 2 1. 50 c. per person for each subsequent hour. — For two boatmen charges are doubled. Amusements. Theatres: Carlo Felice (PI. 29), opera; Politeama Geno- vese (PI. 22), opera, comedy, circuses, etc.; Paganini (PI. 13), comedy; Poli- teama Regina Margherita (P1.30), com- edy and light opera. — Cafe-Concerts with variety performances: Eden, 5 Via Innocenzo Frugoni (PI. 30); Giardino d'ltdlia, between the Piazza Corvetto and the Spianata Acquasola (PI. 22); Lido d'Albaro (p. 60). English Church (Holy Ghost), Piazza Marsala (PI. 22), services 8.15, 11, and 5; also at the Seamen's Institute, 73 Via Milano, 7.30 and 9.30. History. In the 7th cent. b.c. the wild Ligurian tribesmen, having come into contact with Etruscan traders and with Greek and Carthaginian navi- gators, settled on the coast of the Tyrrhenian Sea, and the foundation of their city of Genoa is roughly contemporary with the building of Rome. Destroyed in 205 b.c. by Mago the Carthaginian, the city was rebuilt 200 years later by the Roman praetor Sp. Cassius. Though somewhat out of the track of the earlier barbarian invasions, Genoa was occupied by the Lombards in 641 and sacked by- the Saracens in 936; but the latter were soon expelled by the Genoese, who, in their victorious progress, conquered Corsica and Sardinia. The occupation of these new conquests stirred up a war of 200 years with the city of Pisa, which ended in the utter rout of the Pisans at the Meldria (1284) and at Porto Pisano (1290). With this success began the acquisition of Genoa's great colonial empire, which extended as far as the Crimea, Syria, and N. Africa. But the consequent collision with the ambitions of Venice ended in the defeat of the Genoese at Chi6ggia (1380). Meanwhile the internal politics of Genoa were sufficiently turbulent. After the fall of the consuls in 1191 the power passed to the Podestk or mayors and the ' Capitani del Popolo' (1258-1340), with intervals of sub- mission to the Emperor Henry VII (1311-13) and to Robert of Anjou, King of Naples (1318-35). After 1340 came the election of the first doge, Simone Boc- canegra. From the 15th cent, onwards Genoa was under the sway of foreign masters. Charles VI of France (1396-1409) was followed by the Marquis of Monferrato (1409-13) and Filippo Maria Visconti (1421-35), under whom the Genoese inflicted a crushing defeat on the fleet of Aragon at Ponza (1435). The domination of the Sforza (1464-78 and 1487-99) was followed by a further French conquest under Louis XII (1499-1512). Independence was once more achieved for Genoa by the great admiral Andrea Doria (1468-1560), called the 'father of his country,' who formulated an autocratic constitution for the city. Popular resentment soon broke out under Gian Fieschi (1547) and later under Giulio Cibo; and though Giannetto48 Rte. 10 GENOA Art Doria, the nephew of Andrea, was slain, Fieschi was drowned in the harbour. The conquests of the Turks in their oriental empire, the transference of overseas trade with America to Atlantic ports, and the domination of Spain, brought utter decadence to Genoa in the 17th cent., and in 1684 Louis XIV entered the town after a bombardment. The Austrian occupation of 50 years later was ended by a popular insurrection (Dec. 5-10th, 1746) under Battista Perasso, nicknamed Balilla. In 1768 the Genoese, finding themselves unable to suppress a revolt in their last remaining colony, Corsica, sold the island to France. In 1796 Napoleon entered Genoa, and four years later the city was beleaguered by the Austrians on land and the English at sea; but Massena's heroic defence was relieved by the French victory of Marengo (p. 42). The Ligurian Republic, formed in 1802, soon became a French province, but in 1815 Genoa was joined to Piedmont by the treaty of Vienna, and speedily developed into a centre of revolutionary movement. Greatest among the conspirators was Giuseppe Mazzini (1805-72); in his train were the brave brothers Ruffini and their heroic mother; Garibaldi, sprung of a Genoese family; the soldier patriot Nino Bixio (1821-73), and Goffredo Mameli (1827-49), the warrior poet, author of ' Fratelli d'Italia,' the popular patriotic anthem. Genoa sent her volunteers to the ' Cinque Giornate' of Milan and to the defence of Rome in 1849; from her har- bour set forth the ill-fated expedition of Pisacane and Nicotera (June 1857); and it was in Genoa that Garibaldi planned his daredevil expedition with the ' Thousand,' who set sail on May 5th, 1860 from the rock of Quarto, just outside the town. Among the most famous natives of Genoa are Christopher Columbus (1451- 1506), the navigator; Nicold Paganini (1784-1840), the violinist and composer; and Giuseppe Mazzini (1805-72), the Italian patriot and founder of the secret society ' Giovane It&lia' or ' Young Italy'. Art. Many churches and other buildings in Genoa, with their character- istic black-and-white striped fa?ades and their windows arranged in groups of four, date from the middle ages. The arrival of the Renaissance is marked by the facades and portals painted by San Giorgio, but the great changes which soon altered the face of the city are mainly the work of Galeazzo Alessi of Perugia. As in many other N. Italian cities, the earliest sculpture came from the workshops of the Pisani and the Comacini. In the 15th cent, came the Gaggini, and in the 16th the Carlone, while the 17th cent, introduced the work of Mara- gliano, Schiaffino, and Parodi, disciples of Bernini. Among living sculptors Giulio Monteverde is most worthy of mention. In the realm of painting the Genoese school at first took on the impress of various foreign schools (Sienese, Flemish, Lombard), and did not develop an individuality of its own until the advent in 1527 of the Florentine Perin del Vaga, who was commissioned to decorate the Palazzo Doria. Fired by his example, the Genoese school took definite shape, and in the 16th cent, numbered among its pupils the illustrious painters Lazzaro Calvi, Andrea Semini, G. B. Castello, Tavarone, and G. B. Paggi. The late 16th cent, brought them into relation with the Roman, Bolognese, and Florentine painters, and the 17th cent, with the Flemish and French schools. Then began the most brilliant period of Genoese painting, illustrated by the names of Bernardo Strozzi, Ber- nardo and Valerio Castello, Castiglione, Fiasella, Domenico and Pellegro Piola, and others. In the 18th cent, the names of Baratta, Matteo Picasso, and Giovanni David are the most prominent; in the 19th, Frascheri and Peschiera are worthy representatives of the Romantic school, Gandolfi and Barabino of the Historical. Genoa is divided roughly into two sections by the main thoroughfare extending from the Principal Station (PI. 11) to the Piazza De Ferrari (PI. 29). The quarter lying between this thoroughfare and the sea is made up of narrow streetsPal. Reale GENOA 10 Rte. 49 of ancient houses, while the more modern quarter covers the hillside to the N.E. and S.E. The Principal Station faces the fine Piazza Acquaverde (PI. 11), in which stands the monument (1846-62) to Christ- opher Columbus, the work of many hands. The Via Balbi, which debouches on the opposite side of the square, is, with its continuations the Via Cairoli and the Via Garibaldi, a work of the 16-17th cent, and is notable for the number of classical palaces which line it. Owing to the narrowness of the streets the effect of the external fa9ades suffers somewhat; but the courts and stairways within are in most cases well worth inspection. The best are the work of Galeazzo Alessi (p. 48). The Palazzo Reale (PI. 12; open in winter months 10-4, in summer 10-12 and 2-5.30, 2 1.; on Sundays, 1-5, free) was built c. 1650 for the Durazzo family by G. A. Falcone and F. Cantone. In the interior are numerous works of art. Guard Room. W. Van de Velde, Two battlepieces. — Mirror Hall. F. Schiaffmo, Rape of Proserpine. — Throne Room. Two paintings by Luca Giordano. — Audience Chamber. Van Dyck, Lady of the Lercari family. — King's Bedchamber. Ribera, St. Francis. — Study. Portraits by C. Maratta, Paris Bordone, and Van Dyck. — Queen's Bedchamber. Guido Reni, Mary Magdalen; Titian, Madonna. — Queen's Reception Room. Paintings by Ca- labrese, Honthorst, Annibale Carracci, Ribera, Domenichino, etc. — Van Dyck Room. Palma Vecchio, Madonna; Maratta, Madonna; Perin del Vaga, Holy Family; Guercino, Samian Sibyl; Van Dyck, Christ; Sassoferrato, Madonna. — Dining Room. Paintings by Gaulli, Caravaggio, Velasquez (?), Strozzi, Guido Rem, etc. On the opposite side of the Via Balbi is a 17th cent, palace (No. 5) by Bartolomeo Bianco, occupied by the University since 1812. From the imposing inner court a staircase flanked by lions leads to the Aula Magna, in which are statues and reliefs by Giambologna (1579).—The last house on the same side is the Palazzo Durazzo Pallavtcini, likewise by Bianco. The double loggia is a later addition to the somewhat severe fa9ade. The staircase on the left of the graceful courtyard is by Tagliafichi. The Picture Gallery on the first floor may be visited only by special permission. The most important pictures are: Room II. Guercino, Mucius Scaevola; Rubens, Silenus with Bacchantes; Lucas van Leyden, Descent from the Cross. — R. III. Strozzi, Portrait of a bishop; Titian, Mary Magdalen; Bern. Castello, Hagar and Ishmael. — R. IV. L. Carracci, Scourging of Christ; Guido Reni, 4 Charitas Romana'; Veronese, Marriage of St. Catharine; Rubens (attributed to), Portrait of a Man; Tintoretto, Agostino Durazzo; Guido Reni, Porcia Romana; Rigaud, Ippolito Durazzo. — R. VI. Domenichino, Jesus appearing to his Mother, Venus bewailing the dead Adonis; *Van Dyck, Voung Tobias, Child in white costume, Three Children and a dog, Caterina Durazzo and her sons; Rubens, Philip IV of Spain (c. 1680); Ribera, Heraclitus and Democritus. — R. VIII. G. David, The Rest in Egypt; Pourbus, Garden of Flora. — R. IX. Rubens, Ambrogio Spinola. 250 Rte. 10 GENOA A nnunziata No. 4, opposite, is the Palazzo Balbi di Senarega (early 17th cent.), another of Bianco's creations, enlarged in the 18th cent, by Antonio Corradi, with a splendid courtyard opening on a garden. — In the Piazza della Nunziata (PL 12) stands the *Church of the Annunciation (Santissima Annun- ziata), rebuilt in 1587 by Della Porta and Scorticone. The fa- cade dates from the 17th cent., but the Ionic peristyle is by Barabino (1843). The good interior is in the form of a Latin cross. Over the main entrance is a Last Supper, by Procac- cini, while the paintings in the side-chapels are excellently representative of 17th cent. Genoese art. The well-propor- tioned dome over the crossing is very richly decorated. No. 24 in the square is the Palazzo Negroito Cambiaso (16th cent.; attributed to G. B. Pellegrino), with frescoes by Tavarone. The continuation of the Via Balbi leads to the Piazza or Largo della Zecca, beyond which is the Via Cairoli. The Palazzo BoJlbi (No. 18 in this street), by G. Petondi, has an imposing staircase between two vestibules on different levels. The Via Cairoli ends in the Piazza della Meridiana or De Mari (PL 21), an excellent example of plain 16th cent, building. The Via Garibaldi, which leads out of this piazza, is lined with some of the most magnificent of Genoese palaces. The *PaIazzo Bianco (No. 13; r), so named because of its colour, is by Orsolino and Ponzello (1565-69), and contains artistic, scientific, and historical collections (adm. daily except Mon., 10-4, 2 1.; free on Sundays). The Museum of Gen- oese History and Art contains a roughly chronological collection of antiquities: Room I. Prehistoric Ligurian tombs, arms and armour, and sculptures. — R. II. Objects found in the ancient Necropolis of Genoa; Attic vases. — R. III. Roman antiquities, including a bronze ta- blet inscribed with a decree (117 b. c.) delimiting the boundary between the Genuates and the Vitures. — R. IV. Mediaeval tombs, including the epitaph, in Italian, of the brothers Lercari (1259), and the *Tomb of Margaret of Luxembourg, by Giov. Pisano (1312). — R. V. Lombard and Ligurian sculpture (15-16th cent.). — R. VI. Tomb of Francesco Spinola; 2nd cent, sarcophagus; 17th cent. *Chim- neypiece; tomb of Guglielmo du Cos; armour. — R. VII. Ancient cannon and portulani; portrait of Columbus, his ashes, models of his caravels (1892). — R. VIII. Maps and documents relating to Genoese colonies; pall given to the church of San Lorenzo by Michael Palaeologus( 1261). — R. IX. Views of Genoa and of Genoese buildings.Pal. Bianco GENOA 10 Rte. 61 On the 1st floor is the Gallery of Painting and Sculp- ture. Room I. 1. D. Fiasella, Betrothal of the Virgin; 2, 3. Bern. Strozzi, St. Teresa, Tobias; 7. G. A. Carlone, Madonna with saints; 29. Barabino, Last moments of Charles Emma- nuel I. — R: II. Flemish tapestries; Italian 16th cent. School, Bust of Pontano; Giambologna (attributed to), Perseus and the Centaur. — R. III. Canova, Mary Magdalen (1796); G. David, 12. Virgin with St. Maur and St. Jerome, *18. Virgin and Child, 19. Crucifixion; Jan Steen, 15. Palm Sunday, 30. Feast in a tavern; 14. Aert van der Neer, Lands- cape; 17. Pseudo-Bles, Triptych; 13. Peter Aertszen, Cook; Albrecht Bouts, 3, 7. Last Supper, 22, 24. Scenes in the life of St. John the Evangelist; 26. Ruysdael, Landscape; 27. Van Dyck, Christ with the Tribute Money; 37. Jan Metsys, Charity; 31. Mieris, Seduction; 32. Teniers the Younger, Soldiers; 6. Rubens, Venus and Mars; 5. N. Maes, Portrait. — R. IV. 1. Monteverde, Jenner vaccinating his son; 2. Fr. Clouet, Portrait; Murillo, 5. St. Francis in ecstasy, 20. Flight into Egypt; Zurbaran, 10. St. Ursula, *11. Viati- cum of St. Bonaventura, 12. St. Euphemia; 17. J. L. David, Portrait. — R. V. 6. Pontormo, Portrait; 2. Moretto, Virgin and Child; Veronese, 7. Child praying, 26. Crucifixion; 1. Guercino, Eternal Father; 14. Carlo Dolci, Jesus in the Garden of Olives; *19. Filippino Lippi, Virgin with SS. Se- bastian, John the Baptist, and Francis; 28. Palma Vecchio, Virgin and Child with St. John and St. Mary Magdalen. — R. VI (Genoese Schools, 14-17th cent.). Bernardo Strozzi, 3. St. Barbara and St. Catharine, 5. St. Francis, 6. St. Ce- cilia, 7. Violinist; 8. Ant. Brea, St. Anthony (1504); 18. Lodovico Brea, Crucifixion (1481); 16. Luca Cambiaso, Three saints. Gallery I, RR. VII, VIII. Less important Genoese paintings; R. VIII contains a collection of Genoese medals. — Gallery II. Modern Genoese paint- ings. — R. IX. 19th cent. Italian School; collection of S. Italian antiquities. — R. X. Ceramics. — Saletta Vassallo. Water-colours and sketches by Luigi Vassallo (Gandolin); portrait of Vassallo by Bistolfi. On the other side of the garden is an American Ethnographical Collection, with remarkable vases and sculptures from Peru. — Beside the entrance to the Art Gallery opens the Museum of Italian Independence (del Risorgimento) with Souvenirs of Mazzini, of Garibaldi's ' Thousand', and of the martyrs of 1821. Almost opposite the Palazzo Bianco is the *Paiazzo Rosso (PI. 21), likewise named from its colour, a magnificent 17th cent, building attributed to Lurago. It contains on the top floor a Picture Gallery (open daily except Tues., 10-4; adm. 2 1., Sun., 1-5, free). The ceilings are decorated with frescoes by G. A. Carlone, De Ferrari, Dom. Piola, and Dom. Parodi;52 Rte. 10 GENOA Pal. Rosso the perspective views are by the Haffners. Among the principal pictures are: — Room of the Liberal Arts. Ri- gaud, 1. G. F. Brignole, 2. Bettina Raggi Brignole; 5. Matteo Picasso, Duchess of Galliera. — Room of the Test of Youth. 2. Guercino, Cleopatra; B. Strozzi, 5. Charity, *7. Cook; 8. Cornells de Wael, Meeting of crossbowmen and men-at- arms. — Phaeton Room. 2. Valerio Castello, Rape of the Sabines; 7. Piola, Chariot of the sun. — Spring Room. Paris Bordone, 1. Lady, 16. Nobleman; *4. Moretto, The Naturalist (1533) ; 3. Durer, Portrait of a youth (1506); Van Dyck, 5. Antonio Giulio Brignole on horseback, 9. Frederick Henry, Prince of Orange, 10. Father and son, *14. Paolina Adorno Brignole, 18. Jesus bearing the Cross; Bern. Strozzi, 6. St. Francis, 13. Shepherd piping. — Summer Room. Mirror frame by Filippo Parodi; Guercino, 1. Suicide' of Cato, 19. Christ and the merchants; 2. Luca Giordano, Clorinda delivering Olindo and Sophronia (' Gerusalemme Li- berata'); 4, 6. Hendrik Avercamp, Landscapes; 14. Mattia Preti, Raising of Lazarus; Strozzi, 13. St. Thomas, 16. St. Paul; 15. Guido Reni, St. Sebastian. — Autumn Room. 1. Tintoretto, Philosopher; *2. Bonifazio dei Pitati, Adoration of the Magi; Guido Reni, 3. The Saviour, 6. Virgin, 13. St. Mark; 8. Guercino, Virgin and saints; 9. Strozzi, St. Francis; 10. Castiglione, Journey of Abraham's family; 11. Bern. Licinio, Francesco Filetto; 14. Leandro da Ponte, Portrait of a man. — Winter Room. 1. Veronese, Judith; 2. Mo- retto, The Prisoner's consolation; Procaccini, 4, 9. Portraits, 12. Holy Family and saints: 11. Strozzi, Madonna with St. John; 13. Domenichino, St. Roch; 16. Pellegro Piola, Holy Family. — Room of the Life of Man. 1, 3, 10, 13. Pro- caccini, Apostles; Van Dyck, 2. Genoese patrician, *12. Geronima Brignole; Veronese, 8. Lady, 11. Annunciation; A. Teniers, 14. Men at an inn, 16. Smoker. Immediately beyond the Palazzo Rosso, on the left, is the Palazzo Municipale (PL 21; open daily, 9-5) or Town Hall, formerly the Palazzo Doria Tursi, by Lurago, with loggie of,1593. A vestibule with classical frescoes leads to the magnificent * Courtyard, adorned with busts of notable Italians. In the Sala Verde are the violins of Paganini and Sivori, and copies of three letters of Columbus (the originals are preserved in the plinth of his bust). Other rooms contain Italian and Flemish tapestries, and frescoes by Barabino. The Palazzo Serra (No. 12), by Lurago, and the Palazzo Adorno (Nos. 8 and 10; late 16th cent.) are not open to the public. No. 7 is the Palazzo Podesta, by G. B. Castello (1563);Piazza De Ferrari GENOA 10 Rte. 53 No. 5 the Palazzo Spinola (late 16th cent.), now the School of Commerce; No. 3 the 16th cent. Palazzo Doria (no adm.). No. 4, the Palazzo Cataldi, by Castello (1560), has a good interior loggia. The Palazzo Parodi (No. 3) is by Alessi (1567), with a portal by Taddeo Carlone (1580); No. 2, the Palazzo Gambaro, is by Ponzello, with a doorway by Orsolino; No. 1, the Palazzo Cambiaso, is attributed to Alessi. — The irregular Piazza Fontane Marose has several 15-16th cent, mansions (Palazzi Pallavicini, No. 21; Negrone, No. 23; and Delia Casa, No. 17). To the left is the Piazza Portello, with the lift ascending to the Spianata Castelletto (p. 62), and the funicular railway for the Circonvallazione a Monte. Following the Via Carlo Felice we reach the busy Piazza De Ferrari (PI. 29), an important tramway centre, with the Carlo Felice Theatre (1828; one of the largest in Italy), the Academy of Fine Arts, and (1.) the Exchange. On the right is the side of the Doge's Palace, at the farther end the palazzo of the Navigazione Generale Italiana and Sant'Am- brogio. In front of the theatre is an equestrian monu- ment to Garibaldi by Aug. Rivalta (1893). From the square issue the Via Roma (N. E.) and the Via Venti Settembre (S.E.). In the Palace of the Academy of Fine Arts (open on weekdays, 9-3, adm. free) are the Berio Library (100,000 vols.), the rooms of the Academy of Fine Arts, with collections of engravings and etchings, majolica, and lace, and the *Chios- sone Museum (adm. 21.; free on Sun. Nov.-June, and on Thurs. July-Oct.), with an interesting collection of objects from China and Japan, founded by Edoardo Chiossone. Behind the palace of the Navigazione Generale, is the church of Sant'Ambrogio, which was rebuilt in the baroque style in 1589 by Pellegrino Tibaldi and Giuseppe Valeriani; the fa$ade was added in 1639. In the interior, sumptuous with polychrome marble decorations, are an Assumption, by Guido Reni (3rd chapel on the right; covered); a Circumcision (1608; high altar), and St. Ignatius curing the sick (1620; 3rd chapel on the left), both by Rubens. — In the Piazza Um- berto Primo, to the right, stands the Doge's Palace. Of the original structure of 1291 portions may be seen at the back of the left wing, where also is the Torre del Popolo (1307, with upper stories of 1539). a thorough reconstruction took place in 1590 and again in the 19th cent, after a fire. The interior, now occupied by the Law Courts, has a monumental stair- case and fine frescoed rooms. A little farther on stands the *Cathedral (San Lorenzo; PI. 29), originally a Romanesque building (12th cent.) but modified in the 13-14th cent, and during the Renaissance. The fa5ade, approached by a flight of steps between two lions by Rubatto, is adorned with bands of particoloured marble;54 Rte. 10 GENOA Cathedral its lower part is in the French Gothic style. The Campanile, S. of the church, was completed in 1522; the sundial at the corner of it is locally called ' L'Arrotino,' i.e. ' The Knife- grinder.' On the S. side of the church, which retains frag- ments of mediaeval sculptures, is the Romanesque portal of San Gottardo; on the N. side are Greek and Roman sarco- phagi and the similar portal of San Giovanni. The Interior is plain and severe. Above the sixteen Corinthian columns of the Nave runs a gallery. The nave roof was raised in 1550, and the cupola, by Alessi, added in 1567. The pulpit (16th cent.) is by Scala da Carona. In the S. Aisle are (3rd altar) the Virgin with saints, by Luca Cambiaso, and, to the right of the high altar, the *Vision of St. Sebastian (covered), by Federico Barocci (1595). Beyond is the sacristy (see below). The fine stalls in the Choir date from 1514-64. In the Lercari Chapel, to the left of the high altar, are wall and ceiling paintings by Cambiaso and G. B. Castello. The great ♦Chapel of St. John the Baptist, beyond the organ, has a richly decorated front by Elia and Bom. Gaggini (1447-78). The interior (ladies not admitted) is decorated with precious marble and designs by De Aria (1492-96) and with statues of Old Testament characters by Matteo Civitali, and of John the Baptist and the Virgin by Iacopo Sansovino. Above the altar is a baldacchino (1532) by Da Corte and Delia Porta; on the altar is the Baptism of Jesus by Ant. Semini, and behind it, the Birth of John the Baptist by Piaggio. The 13th cent, sarcophagus, on the left, contains relics of the saint. The Sacristy (entered also at 21 Via Tom. Reggio) is decorated with mural paintings of the Evangelists (1540); on the ceiling is the Martyrdom of St. Lau- rence by Tavarone; the bronze on the altar (Coronation of the Virgin) is by G. B. Bianco after a design by Fiasella. The *Treasurv contains a sacred vessel said to have been used at the Last Supper, and brought from Cassarea by Gu- glielmo Embriaco (1101); the Byzantine cross of St. Zachary; a chalcedony dish with the head of John the Baptist in enamel; the cope of Pope Gelasius (1118); and many precious silver ornaments and reliquaries. From the other side of the Piazza De Ferrari the broad Via Venti Settembre (PI. 29-31) runs S.E. The Via Rivo- torbido, on the right, and its continuation the Via Fieschi, lead to the church of Santa Maria di Carignano (PI. 37), begun by Alessi in 1552 and finished in 1603. Above the doorway are the Assumption and SS. Peter and Paul by Claude David (the Virgin was finished by B. Schiaffino). The impressive but somewhat cold interior is in the form of § Greek cross; it contains four large baroque statues.Pal. di S. Giorgio GENOA 10 Rte. 55 In the 1st chapel on the right, St. Peter healing a lame man, by D. Piola; 2nd chapel, Martyrdom of St. Blaise, by C. Maratta; over the S. door, Resur- rection, by Aurelio Lomi; on the high altar, bronze Christ, by P. Tacca. In the 4th chapel on the left, Madonna with saints, by Procaccini; 1st chapel, St. Francis, by Guercino. The roof-terrace (gratuity to the sacristan; 119 steps), and the cupola (180 more steps), command a fine *View (best in the morning) of the city and the coast. Behind the church the Via Nino Bixio descends to the Via Corsica, where a monument by Enrico Pazzi (1890) commemorates Bixio (p. 4-8). We turn to the right and descend the Via San Giacomo (1.) to the Poggio Giovane Italia (Pl. 45-46), where we may start an expedition round the *Harbour, of which we enjoy a view as far as the Molo Galliera. The old mole (Molo Vecchio, PI. 27), begun in 1257 by the Cistercian friars Oliviero and Filippo, was continued in 1283-1301 by Marino Boccanegra, and extended by Alessi (1559) and in the 17th and 18th centuries. The last extension of the harbour was due to the generous donation of 20 million lire by De Ferrari, Duke of Galliera. The Bacino Vittorio Emanuele (PI. 33-41), at present under construction, is to unite Genoa with Sampierdarena. The harbour now occupies 634 acres, of which 477 are water. It is principally important for its import trade in coal, grain, and cotton. Beneath the Poggio Giovane Italia is the Arrival Signal Station. We descend by the Via A. Gavotti and the Via Rivoli to the Corso Aurelio Saffi, and following the Corso Principe Oddone pass (1.) the Molo Giano and the Graving Docks (Bacini di Carenaggio, PI. 36), and (r.) the Albergo Popolare and Casa della Gente di Mare. On the left farther on are wharves used for coastwise trade. To the left of the Piazza Cavour (PI. 28) the Via del Molo leads via the imposing Porta del Molo (by Alessi; 1450) to the Old Mole (Molo Vecchio, PI. 27), 670 yds. long, on which are the general warehouses and the wharves for bonded stores. From the Piazza Cavour the Via Vittorio Emanuele leads to the Piazza Raibetta and the Gothic * Palazzo di Sail Giorgio (1260; enlarged in 1571), with paintings, on the side next the sea, by Pogliaghi in imitation of Tavarone. Originally the palace of the Capitani del Popolo, it became in 1408 the seat of the ' Societa delle Compere di San Giorgio,' a trading society, and later of the famous Banco di San Giorgio. It is now occupied by the Harbour Board, incorporated in 1903. Within is a typical courtyard with staircases restored (1890) in the 13th cent, style. The Hall of the Capitani del Popolo and the Hall of Merchandise are interesting (for adm. apply to the keeper). In the piazza beyond is a monument to the Genoese shipowner Raffaele Rubattino, who supplied the two ships for Garibaldi's expedition. To the left' are the wine ware- houses. The arcades of the Via di Sottoripa (r.) are in a 13th cent, style; beyond them the Via Carlo Alberto passes56 Rte. 10 GENOA Pal. Doria Pamphili the Harbourmaster's Offices (1.) and more docks and ware- houses, cold storage houses, and the Custom House (Dogana, PI. 11). The Via Rubattino leads on to the Ponte dei Mille (PI. 10) where Transatlantic passengers land. We may ascend hence to the right to the Piazza Principe, in which is the monument to the Duke of Galliera (p. 55), by Monteverde (1896), and so return to the Principal Station (p. 48). To the W. stands the Palazzo Doria Pamphili (PI. 10), built in 1521-29 for Andrea Doria (p. 47) by Montorsoli. The emperor Charles V and Napoleon were entertained here, likewise the composer Verdi in his declining years. The garden is open 10-5 (gratuity to the keeper); in the vestibule are stuccoes by Luzio Romano and Guglielmo Delia Porta, and frescoes by Perin del Vaga. We may continue the tour of the harbour to the Terrazzo di San Teodoro, a terrace overlooking a large railway siding with a forest of cranes devoted to the unloading of cotton and salt. On the right overlooking the Piazza Di Negro (PI. 9) is the Villa Rosazza (No. 41), an 18th cent, building by Tagliafichi, with a fine garden (gratuity to the gardener). The Via Milano goes on past the coal wharves and is continued by the Via G. Fantuzzi to the Molo Nuovo (PI. 34; 800 yds.), at the end of which is the Molo Duca di Galliera (PI. 42), with its oil reservoirs. At the end of the Via Fantuzzi is the Lantern a, a lighthouse built in 1548, which is the characteristic feature of the seaboard of Genoa. From the summit (375 steps; gratuity), 390 ft. above the sea, we may enjoy a *View of the coast (best at sunset) from the cape of Portofino, on the E., to Cape Mele and the Maritime Alps, on the W. A good idea of the harbour may likewise by obtained from a boat (comp. p. 47). Prices should be arranged beforehand. The nucleus of the Old Town, lying betwesn the harbour, the Via Garibaldi, and the Via Carlo Felice, with its narrow lanes or ' carugi/ some of which are less than 10 ft. wide, and its lofty houses, is perhaps the most interesting quarter of Genoa, and an excursion on foot through its narrow alleys gives an excellent insight into Genoese life. Many of the houses have charming little loggie, and gateways in white marble or black stone bearing the symbol of St. George, patron of the city; some of the doors are bound with iron worked into the shape of a fleur-de-lys. The two itineraries given below are more or less arbitrary, but include most of the points of interest for the lover of the middle ages. From the W. front of the cathedral (p. 53) we plunge into the narrow Via Chiabrera (PI. 28), No. 6 in which, the old Palazzo Giustmiani, bears a lion of St. Mark brought back from Trieste as a war trophy in 1380; in the portico are busts and reliefs. From the Via San Bernardo, on the right, the Vico dei Giustiniani leads to the left to the Piazza Embriaci (PI. 28), No. 5 in which, the Casa degli Embriaci, has a 16th cent. Doric portal. The steep Salita della Torre degli Embriaci, passing a curious high tower with bosses,S. M. di Casteilo GENOA 10 Rte. 57 ascends to Santa Maria di Casteilo, an 11th cent, church restored in the 15th century. The main structural framework of the building is original, despite restoration. In the S. aisle are interesting paintings : 2nd chapel, Congregation of saints, or Paradise, by Lodovico Brea (1512); 3rd chapel, Three saints, by Pier Fran- cesco Sacchi (1526); 4th chapel, Martyrdom of St. Peter of Verona, by Bern. Casteilo (1597); 5th chapel, Triptych, by Brea (?); last chapel, St. Hyacinth, by Aurelio Lomi. Beside the sacristy is an elegant holy-water stoup by Giov. Gaggini and within is a rich 15th cent, doorway. In the 3rd chapel in the N. aisle is an Annunciation by Giov. Massone (covered). In the cloister are 15th cent, decorations and another Annunciation by Justus of Ravensburg (1451); the chapel of St. Blaise contains a Martyrdom of the saint, by Lomi. Quitting the church we follow the Salita San Silvestro and the Piazza di Santa Croce to reach the church of San Salvatore (1141, restored 1653). Thence we follow the Stra- done Sant'Agostino, passing (r.) the Gothic church of that saint (PL 29) with its fine campanile. Farther on is San Donato (PL 29), a 12th cent, church with a splendid hexagonal campanile and a fine doorway. In the majestic interior are (1.) the * Adoration of the Magi, by Josse van Cleve, and (r.) a Madonna attributed to Barnaba da Modena. Beyond San Donato we may make a detour to the left by the Via San Bernardo, noting several good doorways, and then take the Salita Pollaiuoli, turning to the left along the Via di Canneto il Lungo passing many tasteful portals (at No. 23, remains of the Palazzo Fieschi). The Via di Canneto il Curto (1.) leads past the Piazzetta Stella (doorway at No. 5) to the Piazza San Giorgio. Passing thence between the two small churches of San Giorgio and San Torpete (PL 28), we reach the Piazza Grillo Cattaneo, at No. 6 in which is a splendid portal by Tamagnini. Thence we may return to the cathedral by the Via delle Grazie and the Via San Lorenzo. The second itinerary through the old town starts from the Piazza Umberto Primo and follows the Via Tomaso Reggio beside the Ducal Palace, passing (r.) the old Palazzo Co- munale, the 15th cent. Palazzo Criminale, and (No. 12) the cloister of San Lorenzo. The Salita deH'Arcivescovado (r.) leads to the Piazza San Matteo with San Matteo (PL 29), the ancient church of the Doria family. Built in 1125 and remodelled in 1278, it has a striped black and white Gothic fa$ade with inscriptions recounting the glorious deeds of the Dorias. The Gothic interior (1543) was decorated by Montorsoli, and contains sculptures by him and by Silvio Cosini, and paintings by G. B. Casteilo and Cambiaso. The sword on the baldacchino was presented by Pope Paul III (Alexander Farnese) to Andrea Doria (p. 47), whose tomb by Montorsoli is in the crypt (apply to the sacristan). An archway on the left of the church leads to the elegant cloister (1308-10) by Marco Veneto. 2-a58 Rte. 10 GENOA S. M. delle Vigne The little piazza is surrounded by mansions of the Doria family: No. 15 is the Casa di Lamba Doria, No. 17 the Casa di Andrea Doria, presented to the famous admiral by his native city in 1528 (inscription). The Palazzo Danovaro, with a magnificent portal by Giov. Gaggini, likewise gives on to the square. Following the Via Davide Chiossone (PI. 29-21), No. 1 in which is another Doria house with a portal by Pace Gaggini, we take the ancient Vico della Casana and the Via Luccoli to the left, passing many fashionable shops, cross the Piazza Soziglia, and reach the Piazza Campetto (PI. 21). The Palazzo del Melagrano (No. 2 in this square) has a statue of Hercules by Parodi in its courtyard; No. 8 is the Palazzo Imperiale (1560), a sumptuous building by G. B. Castello, with a painted fa$ade by Semini. In the crooked Via degli Orefici (PI. 21-20) No. 8 has a painting on slate (Madonna and St. Eligius, patron of goldsmiths) by Pellegro Piola (1640), No. 9 a marble relief of the Magi by Elia Gaggini, and No. 7 a portal carved with the Labours of Hercules by Della Porta. In the Piazza Banchi, at the end of the street, is the Loggia dei Banchi, designed by Alessi (1570-95), with a facade of 1825, now occupied by the In- dustrial Exchange (Borsa del Commercio). The little church of San Pietro di Banchi, approached by steps, was designed by Lurago (1581). Opposite the end of the Piazza Campetto (see above) a passage brings us to Santa Maria delle Vigne (PI 21), a baroque church replacing a Romanesque structure of 980. Part of the nave walls, a ruined cloister, and the five-spired cam- panile (13th cent.) remain from the older building. From the piazza in front of the church the Vico dei Greci leads to the Vico delle Mele, with many interesting houses: No. 14 (red) has a black stone relief of the Annunciation; No. 16 (red) a similar relief of St. John the Baptist; No. 6, the remains of the Palazzo Serra, has an imposing portal and a Gothic outside stair; at No. 11 is a fine sopraporta of St. George by Gaggini; Nos. 13 and 8 are likewise noteworthy. Follow- ing the Vico Spinola we cross the Vico Torre San Luca (No. 1 on the left is the 18th cent. Casa Torre Spina, adorned with bosses). In the Vico Spinola beyond are 18th cent, houses of the Spinola family. Taking the Vico della Posta Vecchia to the left we note many noble portals, especially at No. 16 (1531), where the courtyard is particularly fine. The Vico della Scienza leads into the Vico Pellicceria (Nos. 5 and 6 are palaces of the Spinolas), whence the Vico del Pelo brings us to the picturesque Via della Maddalena (PI. 21). On theSan Sird GENOA 10 Rte. 50 right is the church of Santa Maria Maddalena (PI. 21), rebuilt in 1688 by Andrea Ceresola, and possessing a richly decorated interior. On the S. side: 1st chapel, SS. Nicolas and Mary Magdalen, by B. Castello; 2nd chapel, Mary Magdalen, by Tagliafichi; 3rd chapel, ceiling by D. Piola; last chapel, frescoes by G. B. Parodi. — N. side: 3rd chapel, Annunciation, by Lomi; 2nd chapel, Assumption, by Fiasella. Returning down the Via della Maddalena, we note the fine portals at Nos. 14, 27, and 29 (Casa di Simone Bocca- negra), and a tabernacle at No. 34, and pass (1.) into the Via San Luca, where the most sumptuous palaces of the 14-15th cent, were erected. The church of San Luca, on the left, has a delicately ornamented interior by D. Piola. In the other direction (r.) the Via San Luca brings us to the church of San Siro, an old church rebuilt in the baroque style in 1575; the fa9ade (1820) is by C. Barabino. The frescoes of the nave and apse are by G. B. Carlone. — S. side: 1st chapel, Annunciation, by Gentileschi; 3rd chapel, St. Andrea Avellino, by Fiasella; 4th chapel, Birth of the Virgin, by Lomi; Martyrdom of St. John the Baptist, by C. Bonone. — N. side: 5th chapel, Christ in the Manger, by Pomarancio; sculptures by Giuseppe Carlone; 1st chapel, Christ and the Elders, by B. Castello, — In the sacristy are Genoese paintings brought from other churches. Out of the other side of the Via San Luca, the Vico dell'A- gnello, No. 6 in which is the palace of Lanfranco Cigala, with a fine portal, frescoes by Lazzaro Calvi, and windows attributed to Montorsoli, leads via the Piazza dell'Agnello, the Piazza Pinelli, and the Vico Pinelli, down to the Via di Sottoripa (p. 55). We turn to the right and ascend again to the right by the Via al Ponte Calvo to the Piazza di Fos- satello (PL 20), beyond which is the Via Lomellini, with fine portals at Nos. 17 and 12. No. 21 was the birthplace of Mazzini (p. 48; open. Tues., Thurs., and Sat.; gratuity). On the left is San Filippo Neri, a baroque church of 1659, enlarged in 1674, with a later fa£ade. The single nave has ceiling-paintings by Marcantonio Franceschini. In the sacristy are frescoes by Stef. Legnani (1712) and perspectives by A. Haffner. The 2nd chapel on the S. contains a Repose on the Flight into Egypt, by Fran- ceschini; the first two N. chapels have paintings by D. Piola. In the adjoining Oratory (entered from the Istituto Paganini, No. 18; gratuity) is a charming statue of the Immaculate Conception, by Pierre Puget. Returning to the Piazza Fossatello we follow the Via del Campo N.W. (portals at Nos. 1, 9, and 13), which ends at the Gothic arch of the Porta dei Vacca (1155). Hence the Via di Pre (Pl. 12) leads behind the Royal Palace (p. 49) to the gloomy church of San Giovanni di Pre (Pl. 11), with a fine five-spired campanile. The Salita San Giovanni brings u? back to the Piazza Acquaverde and the Station (p. 48).60 Rte. 10 GENOA Lido d'AlbarO The Modern Quarters of Genoa to the E. and N. may be briefly inspected in the course of the following itinerary. From the Piazza De Ferrari (p. 53; PI. 29) we follow the Via Venti Settembre (PI. 29-31), a fine street over 1000 yds. long, the busiest thoroughfare of the city, lined with good modern porticoes. Passing first the Exchange (r.), by Dario Carbone, we soon reach the Ponte Monumentale, a road bridge (lift, see p. 47) 82 ft. high, carrying the Corso Andrea Podesti (see below). On the left is the old church of Santo Stefano (12-14th cent.), with a black and white portico approached by a long flight of steps. The interior contains the Stoning of St. Stephen by Giulio Romano and the Singing School by Donato Benii and Benedetto da Rovezzano (1499). The modern Romanesque church of Santo Stefano, on the left, contains interesting paintings from the old church. Beyond the bridge, on the left, is the church of Santa Maria della Consolazione (PL 30), with a modern fa9ade by C. Biale. In the nave are ceiling-paintings by G. I sola; over the S. door, Madonna and saints by Antonio da Como (1529); on the left, Descent from the Cross, by Ant. Semini (1547). — S. side: between the 4th and 5th chapels, Madonna, by Luca della Robbia; 5th chapel, sculptured group by B. Schiaffino (1718); in the sacristy, Descent from the Cross, monochrome by Perin del Vaga; frescoes by Maccari; wooden crucifix by Schiaffino. — N. side: 2nd chapel, Martyrdom of St. Laurence, by Dom. Piola. The Via Venti Settembre ends in a large open space; on the left are the gardens of the Piazza Verdi, beyond which is the Stazione Brignole (p. 45; PI. 31); on the right the huge Piazza di Francia. On the right of the latter is the Natural History Museum (Museo Civico Giacomo Doria; PI. 39), notable for its collection of monkeys (1st floor), and of cassowaries and rare and extinct birds (2nd floor). From the museum we may cross the piazza to the Ponte Bezzecca over the Bisagno torrent and follow thence the Corso Aurelio Saffi back to the harbour (p. 55), along the *Circonvallazione a Mare. From the Ponte Pila, which crosses the Bisagno at the end of the Via Venti Settembre, we may take the tramway which runs along the Corso Buenos Aires to the Piazza Tommaseo, and goes on thence past the church of San Francesco (1334, with remains of 14th cent, paintings) to the Lido d'Albaro, the ' spiaggia' or bathing-beach of Genoa (restaurants, see p. 46), frequented also during the winter season and enjoying a fine view especially towards the cape of Portofino. Wa return hence (tramway) along the esplanade or Corso It&lia (crowded on holidays), past the little 14th cent, church of San Giuliano, to the Bar go della Foce and the Corso Torino (PI. 48). Here we may leave the tramway, and, by the Via Carlo Barabino rejoin the Circonvallazione a Mare at the Ponte Bezzecca (see above). From the Corso Aurelio Saffi we may ascend to the broad Via C6rsica (PI. 45), and follow it and its continuation, the Corso Andrea Podest& (see above), across the Ponte Monu-Circonvallazione GENOA 10 Rte. 01 mentale, enjoying a splendid view over the city. Passing (1.) the Palazzo Pastorino (PI. 30), an imposing edifice by Gio- vanni Coppede (1908), we reach the Acquasola Garden (Spianata dell'Acquasola; PI. 22-30), planted with fine holm- oaks, magnolias, and planes. On the left is the church of the Santissima A nnunziata di Portoria, with a richly decorated interior. On the S. side: 2nd and 4th chapels, paintings by Andrea Semini; 5th chapel, Descent from the Cross, by Lazzaro Calvi; Jesus in the Garden, by Cambiaso. The ceiling above the high altar is painted by G. B, Castello, the two side paintings are by Cambiaso. — N. side: 4th chapel, St. Ca- millus, by D. Parodi; Visitation, by Lomi; 3rd chapel, Christ in the Manger, by Semini; 2nd chapel, Adoration of the Magi, and Prophets, by Cambiaso; 1st chapel, St. Francis, by D. Piola. At the farther end of the garden is the Piazza Corvetto, a charming little square from which the Via Roma leads back to the Piazza De Ferrari. The large building on the left formerly the Palazzo Spinola, is now the Prefecture. The equestrian monument to Victor Emmanuel II, in the centre, is by Barzaghi (1886); to the left, surrounded by holm-oaks is the Mazzini monument by Costa (1882). Beyond, in the pleasant little hillside garden called the Villetta di Negro (PI. 22-21) are busts commemorating famous citizens of Genoa. On the summit of the hill (246 ft.; view) is the Geological Museum (open free Thurs. 2-5; at other times on application) with interesting collections of Ligurian minerals and fossils. At the Piazza Corvetto we may begin the tour of the avenues known as the *Circonvallazione a Monte, a thoroughfare over 2J m. long (tramway), which commands a wonderful panoramic view of the city with its villas, its gardens, and its brightly-coloured buildings, and which should be omitted by no visitor to the town. We approach the Circonvallazione by the Via Assarotti, passing the sumptuous modern church (1856-73) of the Santissima Immacolata. The Circonvallazione can be approached also by the funicular railway from the Piazza del Portello (PI. 21), by the lift from the Spianata Castelletto (PL 13-21)» or by the funicular from the Piazza Zecca (PL 12) to San Nicold (Pl. 5). The Via Assarotti ends at the Piazza Manin (PI. 15; tramway to Staglieno, see p. 63), above which is the modern Castello Mackenzie by Coppede. We turn to the right along to Corso Principe Amedeo passing the church of San Bar- tolomeo degli Armeni, founded by refugee monks from Armenia in 1308. It contains the Santo Sudario (Holy Shroud), a Byzantine work; a triptych in the apse by Turino Vanni (1415); and paintings in the sacristy by Cambiaso. On the right of the Corso Solferino is (Nos. 33, 35) the Villa Gruber (PI. 14), incorporating in its wall a mediaeval62 Rte. 10 GENOA tower of defence. Farther on the Salita Sant'Anna leads up to the little 16th cent, church of Sant'Anna (PI. 14). At the end of the Corso Paganini is the Spianata Castelletto (view; lift, see p. 53), whence the Corso Carbonara (1.) leads down to the monumental Hospice (Albergo dei Poveri; PI. 4) with a frescoed fa$ade by G. B. Carlone. From opposite the hospice the Via Brignole-Deferrari and a broad flight of steps afford access to the church of Santa Maria del Carmine with a Gothic interior of the early 15th century. From the Spianata the long Corso Firenze bends round the mock-antique Castel Micheli and reaches the church of San Nicold (PI. 5; funicular, see p. 61), with a good interior (1559) and two paintings by G. A. Carlone. The funicular railway goes on up to Castelldccio; the splendid *View is best obtained either from the terrace of the restaurant on the left of the road, or from a point c. 7 min. up the road towards the fort of Castelldccio. Just beyond San Nicold an ascending by-road on the right leads to the Ma- donnetta, a chapel of 1695. The Corso Firenze is continued by the Corso Ugo Bassi, which passes (1.) the magnificent Castello d'Albertis (PI. 3), a reconstruction of a mediaeval Ligurian castle. In the western loggia (1.) is a group of the Childhood of Columbus, by Mon- teverde (1873). From the Corso Ugo Bassi we may follow the steep descent to the Principal Station. The Via Paleocapa (r.), or the steep Passo della L6dola which cuts across the Via Ndpoli, or the Passo Dieci Dicembre (PI. 3) lead up to the Santuario d'Oregina (1685), which is worth visiting for its splendid view, and for the pat- riotic mementoes of the expulsion of the Austrians in 1746. We may descend thence by the Salita d'Oregina (PI. 3) to reach the lower Station of the Granarolo cog-wheel railway (PI. 2-10). The railway ascends in 20 min. to the upper station (775 ft.; view) of Granarolo, whence we may proceed to (8 min.) the Porta di Granarolo, above which a little hill commands a wonderful *View of the town and its two rivers. On the descent we may alight at the San Rocco station, whence the Via N&poli leads to the rebuilt 14th cent, church of San Rocco (PI. 2). In the interior are the Death of the Virgin, by Fiasella, and the Martyrdom of St. Catherine, by Andrea Semini. Farther on is the church of Gesit e Maria or San Francesco di Pdola (PI. 1-2), whose 17th cent, interior contains numerous paintings, including, in the 3rd chapel on the S. side, Christ in the Manger, by Cambiaso. The sacristy commands a good view over the harbour. The *Staglieno Cemetery (Camposanto di Staglieno), to the N.W. of the city (beyond PI. 7), is reached by tramway from the Piazza De Ferrari (PI. 29) either by the Via Venti Set- tembre (tramways 31, 32, or 33) or by the Via Roma and the Via Assarotti (tramway 21). In either case the ascends the right bank of the Bisagno,7nannit> M.delleTane DevaiitHi' M.Caval mi ,* ^Jliyaonrro Z „• M.AIPeo [Sam Vil Berto/u Morujiiirduio pl\ *-pZujicre. / Goriena ? Dora-. VOMtW 'C/iprUl Casoni/l ibruiw*>.. \ Sattartpa - ^'^89 ^M.Collene i CosTa&nid7e ^ ?lo M.Casrello 521» ^ M.Mone&lii Jtfoncglu P^Miiriara P^Bafffe Pf dellaPwPROPR.DCLT.CJ.-RIPROD.VIET. Cimirero diSfaglieno, Prato Granarolo Monfeg"a1 P'.aS.Bernardi S.Anna Dogana /f] lomeo V^Rosazza ^Teodero Pon lc deilBlle NT"Staz. e Ponterott :.-.yaia-u Giioprill'o' Off.de! Gas WMKS^O^rA ^ ^ <% /• Incrociati Manzoni Borsa. 3 K Poste e ^Telegrafi Calata Gadda Erancia Yitt orio. 45^ GENOVA Scala di 1 : 10 000 | BagniPop. UFF. CART06R.DEL T.C.I - Capo Carregrafb : P.COFBEUINI30 39 11-12 12 0 29- 31 39-47 37-45 21 23 10-11 46 5 22-23 10 28-29 29 -45-48 22-30 28-29 20 21 20 38 28-36 12 El 37-38 39-40 Pi. 22 3 30-31 22-23 29-37 4 40 20 12 46-47 1-9 -30-31 29-30 28 38-46 39-40 29 23 14 87 9 ar- 21-22 12-13 G E NOVA. (Jhiese (Churches): Mura (Walls): Piasze (Squares): — Santo Stefano (Nuo- — San Bartolomeo (di) 15 —- Di Negro 9 va) 30 San Bernardino (di) 7-15 — Embriaci 28 — Santo Stefano (Vec- .—. Santa "Chiara 38 — Fontane Marose 21 cbia) 30 — Sant'Erasmo (di) 6 -— Fossatello 20 — Scuole Pie (d.) 28 — Zerbino (d.) 16-24 — Francia (di) 39 Collegio di Marina 3 — Zingari ( 17-25 — Reale 12 — Bezzecca 39 3-11 — Rosso 21 — Calvi 20 Galleria Mazzini 21-29 — San Giorgio (di) -20 — Caracciolo 25 Giardini Pubblici (Vil- — Serra 21 — Castelfidardo 32 letta Di Negro) 21-22 . — Spinola 21 — Cristoforo Colombo 17 Giardino Serra 30-31 — Spinola (Prefettura) 22 — Doria 10-18 Gigante (11) 2 Passi (Passages); — Embriaco 20 Istituto Idrografico 3 — Caffaro 13 — Federico Guglielmo 10-11 Largo di Via Roma 22 — Dieci Dicembre 3 Lazzaretto 34 Piarze (Squares): — Monumentale 30 Loggia dei Banchi 20-21 — Acquaverde 11 — Morosini 20 Madonnetta (La) 5 — Alessi 38 —- Paleocapa 34 Magazzini Frigoriferi 11 ' — Banchi 20 — Parodi 11-19 Magazzini Generali 19-27 Banco San Giorgio — Pila 39 Mereato 30-31 (Caricamento) 20 — Silos (d.) 11 Mercato 39-40 __ Bandiere 12 —: Spinola 20 Moll (Moles/: — Bixio 38 Porte (Gates): 27 — Duca di Galliera 34-42 — Brignole 23 — Molo (d.) — Giano ; 36-44 — Campetto 21 — Pila 31-32 — Guardiano Bacini 36 —. Cappuccini 22 — San Bartolomeo 15-16 — Nuovo j 33-34 __ Caricamento (Banco — San Bernardino 15 — Vecehio 27 S. Giorgio) 20 — Vacca j(dei) 12 Montegalletto Municipio 3 _ Carignano 37 Porto 18-19 21 — Carmine 12 Porto Nuovo 26-27 Mura ( Walls): ___ Cavalletto 38 Poste e Telegraft 29 — Cappuccine (d.) 1 47 ' — Cavour 28 Prefettura (Palazzo S] pi- — Qrazie (d.) —- Marina (d.) | 28-36 — Cipro 39 nola) 22 36-37 — Colombo 31 Sallte (Steep a. narrow St.): — Molo (d.) 27-28 — Commenda 11 — Accinelli 5-18 — Montesano (di) j 23-31 ,— Corvetto 22 — Bach em i a 6-14 — Prato (d.) 38-39 — De Ferrari 29 — Balaclava 11-12 talite {Steep a. narrow St): Battistine 21 Carbonara 12 Cavallo Eman, 5-6-13 Fieschine 23 — Fondaco (d.) 29 Madonnetta 4-5 Multedo 15 — Oregina 3 Passero (d.)' 2-10 Piccapietra (di) 29^30 — Pietra Minuta (a) 12 — Pollaiuoli 29 — Prione (d.) 29 Prowidenza (d.) 3-11 Ripalta 29 San Barnaba 4 San Bernardino 14 San Francesco da Pao- la 1-9-10 San Gerolamo 13-21 San Giovanni ll San Leonardo 29-37-38 San Matteo 29 San Nicola 4-5 San Nicolosio (a) 13 San Paolo II San Rocchino 14-15-22 -- San Simone 5 — Santa Caterina 21-22 Santa Maria della Sanita 14 Santa Maria di Ca- stello 28 4™ Sant'Anna 13-21 — Sassi (d.) 37 — Spianata di Castel- letto 13-21 Superior® Rondinella 13 Villetta 37 Jjkuola Navale Sup. (R.) ! 10-11 Seminario 1 30 Slilos 11 Spianata, Aoquasola (d.) 22-30 Spianata Castelletto 13-21 Stabilimento Bagni 45 Sstabilimento Lubriftcanti 34 Stazloni (Railway-Stat ): S^tazione 5 SStazione 13 »— Brlgnole 31 --- Caricamento 20 --- Funicolare 14 -- Funicolare 21 --••• Funicolare pel Righi 12-13 — Marittima 10-11 — Nuova Marittima 10*18 -— Principe 11 !!trada Sant'Agostino 29-37 Teatrl (Theatres): — Apollo 29-30 — Carlo Felice 29 t- Nazionale 29 — Paganiui 13 Terrazzo di San Teodoro 9-10 Torrente Bisagno 7-8-16-24-31-32-39-47 Tribunate (PalazzoLuea- le) 29 University 12 Viale 3 Noveinbre 30 Vico Casana 21-29 » Chiabrera 28 » Croce Bianca 12-20 » dritto di Ponticello 29 » Fico (d.) 29 » Indoratori 20-29 » Malatti 28 » Pace (d.) 12 » Pomogranato (d.) 87 » San Michele 30 » Sansone 30-38 » Tacconi 11 » Torre San Luca 20-21 » Vegetti 28*20 Vie (Streets) : — Accinelli 13 — Acquarone 6-6-13-14 — Albergo dei Poveri 12 — Alessi 37-38 — Alizeri 1-9 — Almeria 3 — Aroeglia 5-6 — Antiochia 40 — Arcbi Cd.) 30-38 — Archimede 31-32-89 — Arcivescovado 29 — Arsenate 3-11 — AssarOtti 15-22-23 — Avezzana 2-3 — Balbi 11-12 — Baliano 38 — Barabino 47-48 — Bernardine (d.) 38-40 — Bertani 14-22 — Bianchetti 2 — Bixio 37-38 — Bobbio 7-16 — Bologna 1 — Borgo Incrociati 24-32 — Bosco 30 — Brignole Deferrari 12 — Burlando 7-15 ~ Cabella 15 — Caffaro 13-21 — Oairoli 20 — Campo (d.) 20 — Canevari 16-24-32 — Oanneto il lungo 28-29 — Carlo Alberto 11-12-20 — Carlo Felice 21 — Casaregis 40-48 — Ceba 21-29 — Cesarea 38 — Chiappazzo 7-15-16 — Chiodo 6 — Chiossone 21-29 — Cinque Santi 3 — Clavarezza 8-16 — Collfe (d.) 29-37 — Colle Caffaro 13-14 —- Colombo 30-31 — Commercio 20 — Concezione (d.) 21 Vie (Streets) — Corsica — Cravero De Amieit ? — Doria A. ' — Durazzo 4 — Faggio (d.| — Famagosta — Fassolo — Ferltore (4) —r Ferrari — Fiasella — Fiesohi — Fiome —*■ Fontane (d.) — Foscolo 38-45 8 48 29 31 11 23 8 11-12 9-10 47 6 20-38 29-30-37 31 12 30 Francesco Ferruccio 39-47 30-38 31 21 45 28-29 22 28 23 32-40 2 40-47-48 20 21 20-21 47 37 14-22 30-38-39 28 9-10-17 46-47 32-40 — Frugoni — Gagliardo — Galata — Garibaldi — Gavotti — Giustifiiani — Goito v —. Grazie (d.)| — Gropallo i ■— Invrea — Lagaccio ( —' Lomellini $ — Luccoli | — Maddalena fd.) — Maddaloni f — Madre di ll§o — Mameli S — Maragliano % ■ — Mascheroni — Milano I — Milazzo ~r Mira Mirto (d.) 8 —■ Molo (del) 28 — Montaldo 7-15 — Montebruno • 8 — Montegalletto 3-4 — Montesano 23-31 — Napoli 2-3 — Orefici 20-21 — Pagano Doria 2-10 — Paleocapa 4 — Palestro 14-22 — Palmaria 31 — Pastrengo 14-22 — Pellico | 38 —■ Pertinace * 5-13 — Peschiera 3 22-23 —- Petrarca | 29 — Piaggio | 5-6 — Piaggio M. 22 — Pisacane ' -V. 40-48 — Pittamuli ; 10-24 — Ponte di jOarignano (al) { 37 — Ponterotto 16 — Porta d|gli Archi 30 — Porta Sanj Bartolomeo 15NERVI 11 Rte. 63 The cemetery (adm. Nov., Dec., Jan. and Feb. 10-4, ho- lidays 8-4; Mar., Apr., Sept. and Oct. 9-5, holidays 7-5: May-Aug. 8-6, holidays 7-6), designed in 1835 by C. Barabino, occupies an area of 383 acres in a small valley and on the hillside above. It is well worth a visit, both on account of its attractive garden-like disposition, and for its numerous and excellent monuments which epitomise the history of modern sculpture in Liguria. It is made up of two areas, the first a rectangle surrounded by porticoes containing some of the best tombs. In the centre is a statue of Faith, 30 ft. high, by Sante Varni, behind which a broad and lofty flight of steps leads up to the domed rotunda of the Pantheon. On the hillside, partly hidden by verdure, is the simple *Tomb of Mazzini, opposite which are the tomb of his mother and an obelisk to the memory of ' II Baxaico,' a Genoese hero of humble station. All around are monuments commemor- ating members of Garibaldi's ' Thousand.' On the hill to the right is an elegantly designed pavilion. From Genoa to Milan, see Rte. 18; to Paris (London) via Modane, see Rte. 2, vi& Marseilles, see Rte. 1; to Pisa (Rome), see Rte. 11; to Turin, see Rte. 9. 11. FROM GENOA TO PISA Railway, 102J m. (165 km.) in 4-5£ hrs. (77 1. 70, 52 1. 45, 30 1. 75 c); to Rapallo, 18^m. (30 km.) in 1-1J hr. (15 1., 10 1. 50, 6 1.45 c.); to Via- re'ggio, 89£ m. (144 km.) in 4-5 hrs. (76 1. 95, 45 1. 85, 27 1.). Restaurant (L. or D. 20 1.) and sleeping cars (berth 39 1. 25 c.) are attached to the ex- presses. — Rome Express, see p. 9. The first part of the railway route, notable for its many tunnels and viaducts, traverses the Riviera di Levante, a delightful strip of coast land in which the landscape is pleasantly diversified by olive-groves and sumptuous villas in luxuriant gardens. The view is interrupted too frequently by tunnels, but much of the discomfort of the latter will be removed when the electrification of the line, at present under construction, is completed. Beyond La Spezia the railway quits the coast and affords splendid views of the Apuan Alps (1.), dotted with marble quarries. Between Viareggio and Pisa we traverse the Pineta and enjoy a view southward of the Pis an hills. Quitting Genoa (Central Station; p. 45) we pass beneath the town by a long tunnel. —-If m. Genoa-Brignole. We cross the Bisagno. — At (5 m.) Quarto dei Mille a monument marks the starting point of Garibaldi and his gallant Thousand (' i Mille ') on their expedition to Sicily (May 5th, 1860), which ended in the liberation of Italy. —- 6Jm, Quinto al Mare (Hot. Lido, pens. 35 1.). 7J m. (12 km.) Nervi is an attractive and favourite winter resort connected by tramway with Genoa (p. 47).64 Rte. 11 SANTA MARGHERITA From Genoa Hotels (mostly closed in summer). Eden, in a fine situation with a large park, 200 beds, R. 25, B. 6, L. 18, D. 20, pens. 45 1.; Grand-Hotel, in the Gropallo park, with salt water baths, R. 12, B. 3-5, L. 12, D. 15, pens. 351.; Sav6ia, near the station, 100 beds, R. 8, D. 22, pens. 401.; Internazionale, Piazza Vittorio E- manuele, R. 8, D. 12, pens. 22 1.; Miramare Strand, R. 7, D. 16, pens. 301.; Colombo, pens. 251.; etc. Post Office, 134 Via Corvetto. — Information Bureau, Society ' Pro Nervi.' — Visitors' Tax, 301. Oct- June, 101. June-Oct. The principal attractions of Nervi are the park of tHe Villa Gropallo (palms and camellias) and the delightful esplanade along the seashore, 8f m. Bogliasco; 9J m. Pieve Ligure; 10£ m. Sori. — 13 m. Recco (Rfmts; Hot. Roma; Ligure), a starting point for the excursion to Portofino (see below), was the birthplace of Biagio Assereto, the victor of Ponza (p. 47). Motor om- nibuses run via (16 m.) Cicagna to (27 m.) Chiavari (p. 66). — 14J m. Camogli (Hot. Pens. Fenice; Milanese, pens. 20 L), with a little cliff-bound harbour and the Castello Dragone, is the nearest station to Ruta and San Rocco (p. 65). The railway traverses the base of the Portofino promontory by the Ruta tunnel, nearly 2 m. long. 17£ m. (28 km.) Santa Margherita Ligure, on the Gulf of Rapallo or Tigullio, is a favourite winter resort (3381 inhab.) and a sea-bathing station. It is the best centre-of excursions on the Portofino promontory. Hotels. *Imperial Palace, with a southern ex osure 180 beds, R. 25, B. 5, L. 20, D. 25, pens. 50 1.; ♦Grand-Hot. Continental, with a splendid park, R. 10, B. 5, L. 15, D. 18, pens. 40 1.; ♦Metropole, all these on the road to Rapallo; *Eden Grand-Hot., in an elevated situation on the road to S. Lorenzo, 120 beds, R. 15, B. 5, L. 18, D. 25, pens. 50 1.; ♦Miramare, 120 beds, R. 18, B. 5, L. 18, D. 20, pens. 451.; ♦Regina Elena, pens. 351., on the road to Portofino; Lido; Bellevue, Sta. Margherita, pens. 30 1.; Centrale, R. 10. D. 12, pens. 32 1. — Pension Roma; Cervara, 25 1. — Ristorante Bologna. Post Office, Via Sella. — Infor- mation Bureau, ' Pro Sta. Marghe- rita.' — Visitors' Tax, 10 1. Motor Omnibuses to Portofino, 4 or 5 times daily in £ hr. (11. 50 c.) ; to Ruta and Recco; to Genoa. The road between Santa Margherita and (2 m.) Rapallo (see below) passes the picturesque fishing village of San Mi- chele di Pagana, whose church contains an altarpiece by Van Dyck and other valuable paintings. The square Promontory of Portofino, S.W. of Santa Margherita, is famous for the beauty of its hills and vales. Culminating in the Monte di Porto* fino (see p. 65) it slopes gently down towards the bay of Santa Margherita, while the S. and W. slopes are steep and rugged, and covered with groups of pine trees. — The seashore road from Santa Margherita passes beneath the old convent of La Cervara, crosses the isthmus uniting the castle-rock of Paraggi to the shore, and descends to (2 m.) Paraggi (Hotel) beyond which is (4£m.) Portoflno {Splendid Grand-Hdtel, R. 10, P. 18, pens. 3Q 1, in. a firje position facing S.; Piccolo, simple; and other inns), a group of gaily-colQuredto Pisa RAPALLO 11 Rte. 65 houses delightfully situated in a rock-girt bay. Pleasant excurions may be made hence by boat to San Fruttuoso (see below) or on foot among the hills of the promontory (see below). From Recco (p. 64) a road ascends to (3 m.) Ruta (H6t. Paradis & d'ltalie, R. 8, D. 18, pens. 25 1.), a private road on the right of which leads to (4 m.) the Grand-H6tel Portofino Vetta (R. 15 D. 80, pens. 401.), standing in a large park beneath the * Monte di Portofino (2000 ft.). From the summit we command a wonderful view of the two Rivieras from the Capo Mele to La Spezia, the Apuan (S.E.) and Cottian Alps (W.), and, out at sea, Elba and (in exceptionally clear weather) Corsica. The bridle-path from Ruta to the Monte (1 hr.) leads off beside a tunnel on the road to Recco opposite the park gate of the hotel, crosses the Monte di Ruta (1407 ft.), and descends to a cross-roads, where we take the middle road. — If from the cross-roads we bear to the left we may either reach (1 hr.) the Semaforo Nuovo (1542 ft.) on a cliff overlooking the sea, or by bearing again to the left at (10 min.) the Pietre Strette descend the steep path to (If hr.) San Fruttuoso, a picturesque little village with the Gothic church and cloister of an abbey founded before the 10th cent., and the grey Torre dei Doria (boat from Portofino, see above).—The road keeping straight on from the Pietre Strette brings us to (2 hrs. from Ruta) Por- tofino (see above). The road to the right at the park gate (see above) descends to (£ hr.) San Rocco (reached also from Camogli, p. 64), 4 min. beyond which the road forks, the level left branch leading to the Semaforo Nuovo (see above), the right branch descending to (50 min.) San Nicola, beyond which is (1£ hr.) the Punta della Chiappa, a great rock 65 ft. high overlooking the sea. The view hence is re- markable for the ever-changing colours of the sea. A marble figure of the Virgin carved on the breakwater has been curiously eroded by the waves. 18J m. (30 km.) RAPALLO (7177 inhab.), in a sheltered situation at the head of the Golfo Tigullio, is frequented both as a winter and as a summer resort. Hotels. ♦New Casino, 220 beds, in a fine situation and sharing a park with the Casino, R. 25, B. 5, L. 25, D. 30, pens. 651., on the road to Santa Margherita; *Grand-H6t. Verdi, 100 beds, on the road to Recco, R. 12£, B. 5, L. 16, D. 20, pens. 55 1.; *New Bristol, on the road to Chicivar, 100 beds, R. 15. B. 5, L. 20, D. 22, pens. 35-55 1.; Savoia, Piazza del Giardino Pubblico, R. 12^, B. 4, L. 14, D. 18, pens. 301.; Riviera Splendide, a' dependance' of the last, R. 10, B. 3£ 1.; Moderno, near the sea, R. 12, B. 4, L. 12, D. 15, pens. 30 1.; Minerva, Viale delle Americhe, R. 8, D. 14, pens. 281.; Europa, Piazza Mazzini, R. 12, D. 16-18, pens. 301.; Marsala, Piazza Saline, R. 8, D. 15, pens. 30 1.; Mignon, Viale delle Palme, R. 8, D. 12, pens. 27 1.; Buon Soggiorno, Viale delle Palme; Rosa Bianca, R. 8, D. 12, pens. 30 J.; ItAlia, R. JjO, D. 12, pens. 301.; Regina, R. 8, D. 15, pens. 351.; Elisabetta, R. 10, D. 15, pens. 301.; Miramarb:, pens. 201.; Saline, simpJe* etc, Pensions. Suisse, Via Roma; degli Amici, Via Cairoli; Fedele, Piazza da Vico; Fornasier, Ligure, Piazza Garibaldi; Giardini, Via Ven6zia. Restaurants at the Casino, see below; Milano (with beds), Corso Italia. Post Office, Corso Regina Elena. — Information Bureau, 4 Pro Ra- pallo,' Corso Regina Elena. — Visi- tors' Tax, after 5 days, 301. Conveyances. Cabs, 7£I. per hr.; to Sta. Margherita, 81., return (with £ hr. waiting) 12 1.; to Portofino, 20 and 301.; to Zoagli, 15 and 201. — Motor Omnibuses run during the season to Genoa vi& Santa Margherita and Recco; and to Chidvari. Amusements. Kursaal Casino, on the road to Santa Margherita, with restaurant, concert hall, tennis courts, skating rink, etc. English Church (St. George's), services at 8, 10,15, 11.30, and 3 (Nov.-May),66 Rte. 11 L&VANTO From Genoa Rapallo has a collegiate church dating from the 12th cent., but it is visited chiefly for its beautiful surroundings. The principal excursion is that to Santa Margherita, Ruta, and Portofino (pp. 64-65). Another attractive road leads up the romantic valley of the Bogo to (1J- m. N.E.) the ruined monastery of Valle Christi, with a fine tower (1204), 20 min. beyond which are the remains of the little Romanesque church of San Tomaso. About If m. N.W. by bridle path is the sanctuary of Montallegro (Inn). The 16th cent. Church of Montallegro contains frescoes by L. Cambiaso and N. Barabino. The summit (£ hr. farther on) of Monte Rosa (2230 ft.) com- mands a splendid panorama. The return may be made (2f hrs.) towards the S.E. via Monte Castello (2171 ft.), the Madonnetta (1440 ft.), and the beautiful pine-woods of SanTAndrea (807 ft.), to the Madonna delie Grazie (607 ft.), above the road between Zoagli and Chiavari (see below). 21 m. Zoagli (Hot. Nave, R. 8, D. 11, pens. 28 1.) is picturesquely placed at the mouth of a narrow glen. — 24 m. (39 km.) Chiavari (Rfmts.; Hot. Giardini, near the station; Negrino) is a shipbuilding town (12,501 inhab.), with a wood- en bridge over the Entella, constructed by Napoleon in 1810. Motor omnibus to Recco, see p. 64. —The railway crosses the Entella short of (25J m.) Lavagna, the birthplace of Pope Innocent IV (Fieschi; 1243-54), with quarries of slate, which in Italian is sometimes called ' lavagna.' — 28J m. (46 km.1) Sestri Levante {Rfmts.; Grand-Hdtel, R. 15, D.20, pens.401.; Miramare Europa; Nettuno, pens. 251.), beautifully situated at the base of the peninsula of L' Isola, is a summer and winter resort (3681 inhab.). From the Piazza del Porto an attractive walk leads along the shore to the park of the Villa Piuma, near the end of the Isola (ring at gate No. 4; gratuity). We may mount through the park to the old Genoese castle (1134-38) which dominates the peninsula. — Another road from the Piazza del Porto leads S. to the old cemetery. — Longer excursions may be made to Monte Castello (837 ft.), 1 hr. S.E., or to (10 m. N.E.) the Passo del Bracco (2034 ft.) and (12J m.) the Osteria Baracca (1.929 ft.), whence we may either follow the main road to (35J m.) La Spizia (p. 67) or descend to the right to (21£ m.) Livanto (see below). Beyond the naval dockyards of (31 m.) Riva Trigoso the view is constantly interrupted by tunnels. — 34J m. Moneglia (Grand-Hotel Moneglia) was the birthplace of Luca Cambiaso (1527-85), the painter. — 43 m. (69 km.) L6vanto (Rfmts.; Grand-Hdtel, R. 6, D. 12, pens. 25 1.: Stella d'Italia &> Savoia, R. 7, D. 12, pens. 25 1.; Nazionale, R. 6, D. 15, pens. 251.; Excelsior. — Visitors' Tax, 20 1.), a secluded bathing resort in a little bay with an excellent beach, preserves remains of its battlemented ramparts and fort, and has a 15th cent, church. English Church Services are held in St. Columban's chapel (Jan.-Apr., 8.30, 10.30, and 3), To Sestri by road,, seq ohoye. —to Pisa LA SPtZIA 11 Rte, 67 By a further series of tunnels we penetrate the region of the Cinque Terre, five villages noted for their wine and formerly hardly accessible save by sea. — These are: (46 m.) Mon- terosso with a parish church of 1301 and a Capuchin church containing a Crucifixion attributed to Van Dyck; (48 m.) Vernazza, a quaint old village, whence a fine hill walk (6 hrs.) leads to Biassa (p. 68) above La Spezia; (49| m.) Corniglia, with an interesting church; (51 m.) Manarola, with a church of 1338; and (51^ m.) Riomaggiore, with a church of 1340. — Traversing the base of the peninsula of Portovenere by the Biassa Tunnel (2J m. long), we descend in a curve to La Spezia. LA SPEZIA (Rfmts.), at the head of a beautiful gulf, the Roman Portus Lunce, is one of the chief naval ports of Italy (62,972 inhab.V The attractions of the town may easily be exhausted between trains, but several splendid excursions may be made hence. Hotels. Reale Croce di Malta, on the sea front; ItAlia, 9 Via Chiodo, with good restaurant; Genova, well spoken of, R. 8 1.; Firenze e Conti- nentale, Via Paleocapa, R. 71.; Con- cordia, Via Genova; Giappone, Corso Cavour, simple. Restaurants at the hotels; also Rebecchino, Via Duca di Genova; dei Mille, 2 Via Felice Cavallotti; La Spezia, Viale Garibaldi. Post Office, in the Palazzo Pegaz- zano, Via Chiodo. Conveyances. Taxicabs, 3-3£ 1. per km. — Tramways to Muggiano (p. 68 ), to Cadimare (every 20 min.), on the road to Portovenere, etc. —■ Motor Omnibuses to Sesta Godano (on the road to Sestri; 15 1. 80 c.) and to Piana di BaUolla (41. 20 c.), in the Vara valley. — Steamboats to Ldrici (p. 68) and to Portovinere (p. 68). Baths (salt water). Iride, at San Bartolomeo; Selene, at Muggiano, both on the N. shore of the gulf; also at L6rici and Portovenere (see p. 68). Theatres. Politeama Duca di Ginova, Piazza Verdi; Civico, Piazza Mentana. The Corso Cavour, the principal street of the town, passes the Municipal Museum (No. 39; Roman and pre-Roman antiquities) and leads to the modern Town Hall and the 16th cent. Cathedral, in which are a large terracotta by And. della Robbia and paintings by Fiasella and L. Cambiaso. At the end of the street are the Public Gardens and the sea front whence we enjoy a fine view of the long narrow gulf with the Apuan Alps behind. On the right is the Arsenal (2200 acres), to view which special permission from the Director General is necessary. Portovenere, at the extremity of the S. arm of the gulf, is reached either by steamer from the Public Gardens (£ hr.), or by taking the tramway to Ca- dimare (27 min.) and walking or driving thence (8 m.). The tramway leaves the town by the Porta Marola and, passing the arsenal, reaches the shore at Matola. From Cadimare the road goes on through the olive groves of Fezzano, whence we enjoy a good view of the arsenal with its ships, and of the N. coast.68 Rte. 11 PORTO VliNERE From Genoa of the gulf with the Apuan Alps in the background. Beyond the Punta di Pezzina opens the charming bay called the Seno delle Grdzie (see below) on the opposite horn of which is the Lazzaretto built by the Genoese in the 18th century. On the opposite side of the gulf a cloud of smoke betrays the foundries of Per- tusola. After many zigzags around numerous little capes and bays we at length come in sight of the island of Paimaria, opposite Portovenere. — 8 m. (13 km.) Portov6nere {Hot. Nuovo Belvedere, R. 8, D. 10, pens. 20 1.; Genio), the an- cient Portus Veneris, a dependency of Genoa since 1113, is a charming village built on the sloping shore of the Bocchetta, the narrow strait (125 yds. wide) separating the Isola Palmdria from the mainland. From a little square at the S. end of the village, outside the ruined church of San Pietro, we enjoy a splendid view of Palmdria and the lofty cliffs of the Cinque Terre (p. 67). In the upper part of the village is the beautiful 12th cent, church of San Lorenzo which contains interesting paintings and sculptures. Portovenere exports the beautiful gold-veined black marble quarried in the headland and on Paimaria. Pleasant excursions may be made by boat (bargain essential) to the Blue Grotto on the seaward side of Palmdria; to Byron's Cave, a little inlet near San Pietro, whence, according to an inscription, the poet started his swim across the gulf to L6rici; or round the rugged island of Paimaria, on whose N. extremity the old Torre della Scuola, built by the Genoese in 1606 and blown up by the English fleet in 1800, now bears a wireless telegraphy installation. Lerici, on the N. shore of the gulf, is reached from La Spuria either by steamer in £-f hr., or by taking the tramway to Muggiano and walking thence. Both boat and tramway pass the shipyards of San Bartolomeo and Muggiano (tramway terminus). Thence the road goes on past the foundry of Pevtiisola and, climbing the Punta di Calandrello, reaches the beautiful bay of L6rici. The fishing village of San Terenzo, with its castle, is on the nearer shore of the bay; a little farther along, on a small cape, is the Casa Maccarani, formerly Casa Magni, the last abode of Shelley (1822; comp. p. 71), and on the farther shore (1£ m. from San Terenzo) stands the charming little town of L6rici (4053 inhab.; H6t. des Palmes; d'ltdlia; Miramare), a sea-bathing and winter resort. Adjoining the church of San Rocco is a 15th cent, campanile, and in the parish church are two good paintings by Sarzana. Before the construction of the coast road along the Riviera di Levante, travellers from Tuscany to Genoa had to embark here, carriages and all, on feluccas in which they sailed to Genoa. Castellana. From the Seno delle Grdzie (see above) a road zigzags uphill, alongside a funicular railway for carrying stone, amid plantations of meagre olive-trees. On the left is the pointed crag crowned by the fort of Muzzerone. Farther on, where we cross a little pass, the road to Muzzerone leads off to the left and we enjoy a wonderful *View of the rocky coast to the W. towards the Cinque Terre and Portofino, while N.E. are the Isola Palmdria and the lighthouse of Tino. As we mount the panorama extends to include the whole of the gulf from La Spezia to Monte Marcello, and finally at the Forte della Castellana (1625 ft.) takes in the whole of the coast as far S. as Elba. The return may be made by a footpath which follows the crest of the hills W. to Biassa (see below). Passo della Foce and Biassa, 2£ hrs. on foot, 2 hrs. by carriage to La Foce and back. The first part of the journey may be shortened by taking the tramway to Chiappa. — Taking the Strada dei Colli which zigzags up the hillside N. of the town to the Porta Castellazzo, where we cross the town wall, and thence, going first N.W., then W., and finally S., we reach (2f m.) the Passo della Foce (700 ft.) on the main road to * ienoa, by which we may return direct to the town (2 m.) vid Chiappa. It is better to continue the walk by crossing the main road and taking the by-road which ascends S. and passes beneath the summits of Monte Parodi (2185 ft.; fine view) and Monte Verrugoli (2427 ft.). From a little pass beyond the second summit a road on the right leads to (5 hrs.) Vernazza (p. 67), and farther on the Castellana path (see above) diverges on the same side. — We descend in curves to (10 m.) Biassa (1175 ft.; small restaur- ants). Hence the descent is fairly direct to the Porta Pegazzano (tramway terminus) and (18 m.) La Sp&ia»to Pisa CARRARA 11 Rte. 6$ Beyond La Spezia the railway leaves the shore. — 61 m. Vezzano Ligure is the junction for Parma (p. 272). We thread a short tunnel and enter the broad valley of the Magra, on the farther side of which rise the Apuan Alps. — 66 m. Sarzana (Hot. la Villetta) is the junction for the direct line from Rome to Parma and Milan (comp. p. 270). The ancient little town (9,705 inhab.), formerly Sergianum, fell into the hands of Genoa in 1496, and still preserves its ramparts and citadel of 1488. The Gothic Cathedral dates mainly, from 1355-1477. — 69J m. Luni stands about 1 m. N. of the scanty ruins of the ancient Etruscan and Roman town of the same name, which was once important enough to lend its name to the whole district (Lunigiana), but which was devastated by Norman and Saracen corsairs (1016) and abandoned. High up among the Apuan Alps (1.) we see the first of the white marble quarries of Carrara. —72 m. Avenza (Rfmts.), dominated by the castle (1322) of Castruccio Castra- cani, tyrant of Lucca (p. 395), is the junction for Carrara (3 m. N.E.) reached either by railway or electric tramway. The latter, in the opposite direction runs to (5 m.) Marina di Carrara (Hot. Tirreno) a small bathing resort. Carrara (500 ft.; Grand-Hdtel Carrara; Garibaldi; Lunense) is a thriving town (23,951 inhab.), famous throughout the world for its white marble. The most interesting building in the town is the Romanesque and Gothic Cathedral (ll-13th cent.). The famous Quarries well repay a visit and half a day at least should be devoted to them. They may be reached either on foot or by car- riage, or (on previous application, except on holidays) by the special passenger railway carriage which the managers of the quarries kindly place at the disposal of tourists. The station cSf the quarry railway lies to the E. of the town. It is interesting to follow up this visit by an inspection of the marble-sawing mills and sculpture workshops in the town. 76|m. (123 km.) Massa {Hot. Massa; Giappone) is a pleasant little town on the Frigido 1 m. N.E. of the station, in a sheltered situation at the foot of the Apuan Alps. The baroque Palazzo Cybo-Malaspina, now the Prefecture, which stands in the centre of the town, recalls the ancient Duchy of Massa-Carrara, once a dominion of the Malaspina. Two of the family tombs and a Madonna by Pinturicchio are preserved in the 15th cent. Cathedral, built by Giacomo Malaspina and later rebuilt. In the neighbourhood of the town are important marble quarries, and 2 m. S. W. of the station (tramway) is the small bathing resort of Marina di Massa (Hot. Bargoni, pens. 201.; It&lia, R. 14 1., pens. 40 1.). 80} m. Seravezza -Querceta. Seravezza, If m. N.E. (tram- way), is a small town with a fine Cathedral (1488, with later alterations) and a Palazzo Comunale built by Cosimo I de* Medici,70 lite, 11 VIARIiGGIO An electric tramway plies hence to (2 m.) Forte dei Mar mi (Grand-Hotel; Pens. Gobbi; Battelli, pens. 30-35 1.; Bertelli, pens. 25-30 1.; Mattioli, pens. 25-401.), a bathing resort, and thence along the coast, via (4 m.) II Fiumetto, (Hot. Lido. pens. 35-45 1.; Villa Simonetti, pens. 35-50 1.; Pens. Battelli, etc.), junction for Pietrasanta (see below), to (10 m.) Viareggio (see below). 83J m. (134 km.) Pietrasanta (Hot. Ballerini) the chief town (5209 inhab.) of the seaboard district of Versilia, is celebrated for its numerous fine buildings. The Cathedral (1330), with a campanile of 1380, contains works by the Stagi and Ferd. Tacca. Other buildings of note are the 14th cent. Gothic church of Sant'Agostino; the imposing doorway (1515) of the Palazzo Pretorio; the Rocca, a fine 12th cent, castle; and the Baptistery, with a font by Donato Benti (1509). Val di Castello, a village c. 1 m. E., was the birthplace of GiosuS Carducci (1835-1907), the poet. — Tramways run from Pietrasanta vi& 11 Fiumetto (see above) to (8 m.) Viareggio (see below), and to (3f m.) Seravezza (p. 69). 89| m. (144 km.) VIAREGGIO, the most popular seaside resort (22,228 inhab.) on the W. coast of Italy, is frequented for its gently shelving beach of fine sand, for the pleasant parks and gardens which surround its hotels, and for the magnificent pine-woods in the neighbourhood. Hotels. *Select-Palace, R. 30, B. 5, L. 25, D. 30, pens. 501., *Grand- Hotel Regina, facing the sea, 120 beds, Apr.-Oct., R. 15, B. 5, L. 20, D. 25, pens. 50 1.; ""Imperial, Viale Carducci, R. 25, B. 5, L. 20, D. 25, pens. 601.; *Royal Grand-Hotel, Viale Carducci, 200 beds., Apr.-Oct., R. 25, B. 5, L. 20, D. 25, pens. 50 1.; ♦Excelsior, Viale Ugo Foscolo, R. 15, B. 5, L. 20, D. 22, pens. 35 1.; ♦Impe- rial, Viale Carducci, 80 beds; *Me- diterran£e, Viale Carducci, R. 15, B. 5, L. 18, D. 20, pens. 30 1.; Rus- sie, Piazza d'Azeglio, R. 15, B. 4, L. 18, D. 20, pens. 351.; Astor Modern, Viale Carducci, pens. 20- 401. All the above are first class houses on or near the beach. — Sa- v6ia & Bristol, Viale Manin; Ri- viera, Viale Carducci, pens. 25-35 1.; *La Pace, R. 8, D. 14, pens. 20-35 1.; des Palmes, Miramar, Piazza Gari- baldi; Continental, Nizza, Viale Ugo Foscolo, less expensive. — Aquila d'Oro, Via Fratti; Vittoria, Via Regia, two modest establishments in the town. Pensions. Villino Solferino, 20 Viale Carducci; Pini, Viale Buonar- roti, 30-35 1.; Puccini, Via Foscolo, 301.; Palagi, Via Garibaldi; Mar- gherita, Contessi, pens. 201., Via Foscolo, and many others. Post Office, Piazza Vittorio Ema- nuele. — Enquiry Office, ' Pro Via- reggio,' 23 Galleria del Nettuno.— Visitors' Tax, 7-301., according to hotel. Baths. Nettuno, Balena, both with restaurants; Felice, etc. Tramways from the station to the beach; to Forte dei Marmi (see above); to Pietrasanta (see above). English Church (Holy Redeemer), Via Leonardo da Vinci, services at 8.15, 10.45, and 6. The fashionable promenade extends from the Piazza d'Azeglio along the Viale Manin to the Piazza Principe Amedeo. To the N, W. is the Piazza Shelley, in which is a monument, by Urbano Lucchesi (1894), to P. B. Shelley (1792-1822), 'heart of hearts' (see p. 71). Beautiful pine--Stfttale TJ4« v. I livoayrui J * k78 fiisconesis* 1 .Bianco 1027 J rs>n„ n id M.Bqcoo/ Co>H-' // (r 7/M.Zenorfe '*^-~y)itoia,\jdetti If ISalino / ™y*''n £*» • e.dM,Mnfy. M A|pI-- * BaJy°"rL m.pu^—-A ,"°,V /.761 J / M.B'astia y yj CMeiyabbro) ■v.VW,, V.g A^riirc^ai >nurrUi IMaddai lle/rtLVCJ-n SPielro SCV~/ /M.Dragnone / /IT Imaj- u'itinn •JjT,, ^Jhibola tcchiMo """M.arosftr"S^'J' ''(ipriqliolA n \„ X •' J'onza/ttVl Piano, fiQpriajiv 1 Tiv l V s*TaprioltlJ 7'mdota- Polvcra, MolPiar.ttj t fioUat/rui Ca/'iatia/LO * Kocci Guifaino Tonzano *P >stueit>lo JJX' 'St.Oi, ,/anoi ' Termeh EfiSS'llll Ji.CateNni Corni(fliii> 1 y\t -■«...4 flaesa dei Gal* vg^>/>/y; C/r't(b!)fifittiX U diOmru Telaro' )r\o\*enert> ^ Portovenere Monte Jfarceu C.Coivo I. Palm ario« dLO/himbi -EUiaCm- ., Utwinn di Cur. 31 AM PA: ANTONIO VAILAASANTHll 12 lite. 71 woods extend along the shore in either direction from the town; to the N. is the Pineta Comunale, while in the wood to the S. stands the Casino Borbone. Shelley and his friend, Lt. Williams, perished on July 8th, 1822 by the foundering of their little schooner ' Don Juan ' off Viareggio on a voyage from Leghorn to Spezia. Their bodies, washed ashore on the beach of II Gombo (p. 395), N. of the mouth of the Arno, were there cremated in presence of Trelawny, Byron, and Leigh Hunt. Shelley's ashes were collected and buried in the Protestant cemetery at Rome. From Viareggio a short branch-line runs (14 m., 28 km.) to Lucca (p. 395). Beyond Viareggio the railway follows the shore. — 92J m. Torre del Lago is 1 m. from the Lago di Massaciuc- coli. — The railway runs for 2J m. through the pine forest of (97^ m.) Migliarino. 102J m. (165 km.) Pisa, see p. 387. 12. FROM TURIN TO MILAN Railway, 93 m. (150 km.) in 3 hrs. (70 1.65, 47 1.65, 28 1.5 c.); to Novara, 62 m. (1001cm.) in 2 hrs. — This line offers little of interest except the rice plantations beyond Santhik and the view of the Alps, which may be seen on the left in the clear weather. Leaving Turin (Porta Nuova station, p. 20) the railway circles round the town, passes (3J m.) Torino Porta Susa, and crosses the Dora Rip&ria and the Stura di Lanzo. — 10^ m. Settimo Torinese is the junction for the railway ascend- ing to the Canavese region via (22Jm.) Rivarolo, whence branch lines diverge for (4J m.) Castellamonte and for (10^ m.) Pont. — We cross the Oreo and reach an important railway junc- tion at (18 m., 29 km.) Chivasso (5359 inhab.; Rfmts,; Hot. Posta Reale), the church of which (1425) contains a fine painting by Defendente Ferrari (1470-1535), a native of the town. Branch lines run from Chivasso to (32£ m.) Asti (p. 40), to (30-| m.) Casale Monferrato (p. 73) vi& (20| m.) Trino, and to Aosta, see Rte. 7. The main line crosses the Dora Baltea and reaches (29 m.) Livorno Piemonte, the birthplace of Galileo Ferraris (p. 22), the physicist. On the left rises the Serra d'lvrea (p. 33). 36^ m. (59 km.) Santhid {Rfmts.; Hot. Vittoria, pens. 25 1.; Leon d'Oro) is another important junction. The name San- thi& is a corruption of Sant'Agata, the patroness of the district. From Santhia to Arona, 40| m. (65 km.), railway in 2-3 hrs., a connectr ing link between Turin and the Simplon. We cross the Elvo and the Cervo, which flow amid rice-fields. —14£ m. Roasenda has two castles, one dating from the 13-15th cent., the other a modern copy of a feudal stronghold. —12 Rte. 12 VERCELLl From Turin 20 m. Gattinara is noted for its wine. Two paintings by Lanino are preserved here, one in the church near the station, the other in the sacristy of the parish church. — We cross the Sesia and reach (21 m.) Romagnano Sesia (Rfmts.), an important papermaking town on the line from Novara to Varallo (p. 74). — At (30£ m.) Borgomanero we cross the old Simplon line from Domod<5ssoJa to Novara vi& Orta (p. 14). The Gdttico Tunnel (2 m. 185 yds.), pierced with great difficulty through the alluvial hills of the moraine country, brings us into the valley of Lago Maggiore. — 40$ m. (65 km.) Arona, see p. 87. From SanthiA to Biella, railway in f-1 hr. —18£ m. (30 km.) Biella {Hot. delVAngelo; Caccia Reale; Centrale; Roma), on the right bank of the Cervo, is a busy textile-making town (25,245 inhab.), divided into two portions, Biella Piano (1345 ft.) and Biella Piazzo (1558 ft.), connected by a funicular railway. In the lower town are the ill-restored Gothic Cathedral of 1402, with the interesting 9th cent. Baptistery adjoining; the Town Hall with the cam- panile (10th cent.) of the demolished church of Santo Stefano; and the elegant Renaissance church of San Sebastiano (1504, with a modern facade), which contains paintings by Luini and Lanino. Behind S. Sebastiano a road mounts to the upper town in which are many old houses and palaces. — Light railways radiate from Biella to (12£ m.) Valle Mosso, to (5| m.) Mongrando, and to (7 m.) the Bagni d'Oropa (Hydropathic) and (8 m.) the Santuario d'Oropa (3872 ft.) a basilican church by Filippo Iuvara (1720). Another line ascends the Cervo valley via (5£ m.) Andorno to (8£ m.) Baltna, 4 in. above which is Piedicavallo (3402 ft.), connected by mountain passes with the Val Sesia and Val de Lys (see the Blue Guide to Switzerland). — From Biella a tramway runs to (26 m.) Vercelli, see below. From Santhik to Ivrea, see p. 33. Beyond Santhia we enter the rice-growing country, covered with water at certain seasons. 49 m. (79 km.) VERCELLI {Rfmts.; Hot. Tre Re; V alsesia; Ruota d'Oro; Aquila Nera), an interesting old town (25,680 inhab.), was famous in the 16th cent, for its school of painters, most famous of whom was II Sodoma (Giov. Ant. Bazzi, 1477-1549). On the left in front of the station is the Ro- manesque basilica of *Sant' Andrea (1219-24) with a fine facade flanked by two lofty towers, and a well-proportioned dome. The interior, with pointed arches, is noteworthy for the slenderness of its columns. The 15th cent, cloister on the left contains a lapidary museum. The Via G. Bicchieri, on the right of Sant'Andrea, leads to the Cathedral, rebuilt in 1562 by Pellegrino Tibaldi but preserving the campanile of an older church (? 6th cent.). Hence the Via del Duomo (r.), passing the 13th cent. Castle (1.), brings us to the Piazza d'Azeglio, on the left of which is the Synagogue (1878) and, behind that, the church of San Francesco (1298-1423) and the Museo Borgogna (closed in Dec. & Jan.) containing interesting paintings by Sodoma, Gaud. Ferrari, Bern. Lanino and others. The Via Borgogna ends (r.) in the Cor so Carlo Alberto which we take to the right, turning (1.) up the Via San Cristoforo to reach the church of San Cristoforo, notable for the fine series of * Frescoes by G. Ferrari (1531-33), and for the * Madonna of the Oranges (1529), behind the highto Milan NOVARA 12 Rte. 73 altar, considered his masterpiece. The first street on the left, as we return, opens into the Piazza Vittorio Emanuele, in which are the Town Hall and the church of San Paolo (1262), containing a Madonna and saints by Lanino. At the end of the Corso Carlo Alberto (1.) is the Piazza Torino, whence the Corso Garibaldi leads straight back to the station. From Vercelli to AlessAndria, 34f m. (56 km.), railway in 2 hrs. — 14J m. (23 km.) Casale Monferrato (RfmtsHot. Rosa Rossa) stands on the Po, which we cross before entering the station. The town (20,543 inhab.), with important cement-works, was the birthplace of Leonardo Bistolfi (b. 1859), the sculptor. The Cathedral, built in 1100, was extensively restored in 1859-69. — At (26 m.) Valenza we join the line from Novara to Alessandria (p. 74). -r-34f m. (56 km.) Alessdndria, see p. 42. From Vercelli to Pavia, 41£ m. (67 km.), railway in 3f hrs. — 7£ m. Palestro was the scene of a victory of the French and Piedmontese over the Austrians in 1859 (monument). —17£ m. (28 km.) Mortara (Rfmts.) see p. 133. — 32£ m. Gropello Cairoli was the ancestral home of the heroic brothers Cairoli, (see p. 86). — At (37£ m.) Cava Carbonara we join the line from Torreberetti (p. 74). — 41£ (67 km.) Pavia, see p. 129. Beyond Vercelli we cross the Sesia. — 52 m. Borgo Ver- celli. 62 m. (100 km.) NOVARA (Rfmts.; 44,564 inhab.), the capital of a province, and one of the most ancient towns in Piedmont, is celebrated for its four battles, most impor- tant of which were the first (1500) when Lodovico il Moro was taken prisoner by the French, and the fourth (1849), when the Piedmontese were defeated by Radetzky's Austrians. Hotels. ItAlia, 3 Via Bene- detto Cairoli, good, R. 8, D. 12, pens. 25 1.; Tre Re, 4 Corso Cavour, simpler but also good; de la Ville, 7 Via San Gaudenzio; Sempione, Isola Bella, 6 and 5 Corso Garibaldi, plain, well spoken of. Post Office, Corso Cavallotti. Conveyances. Cabs 2 1. per drive, 3£ 1. for the first £ hr., then 2£ 1. per £ hr. — Steam Tramways for (7£ m.) Biandrate (2 1. 40,11. 75 c.) and (20 m.) Vigdvano (51. 25, 41. 25 c.). — Mo- tor Omnibuses to Cameri Aerodrome (6J m.; 31. 60 c.) and Rdbbio (13£ m.; 51. 50 c.). Theatres. Coccia, opera during the carnival weeks; Faraggiana, co- medy and varieties. From the station the fourth road on the right (Via G. Ferrari) leads to the church of San Gaudenzio, by Pellegrino Tibaldi (1577). The dome is remarkable for its slender proportions and for the spire which surmounts it (400 ft. high), the work of Antonelli (comp. p. 23). The fine campanile is by the 18th cent, architect Alfieri. Within, in the 2nd chapel on the left, is a polyptych by Gaud. Ferrari (1514). Taking the Via San Gaudenzio and then the Corso Um- berto Primo to the right we reach the Mercato or Market Hall (1817-39), in which are a collection of antiquities and some pictures by G. Ferrari. In the Piazza behind it are the Teatro Qocpia and the remains of a Castle of the Sforza.74 Rte. 12 VARALLO Behind the theatre is the Cathedral, begun in the 9th cent., and largely rebuilt by Antonelli in 1863-65. In the imposing interior are a Crucifixion by Lanino, the Marriage of Sta. Catherine by G. Ferrari, and other interesting paintings. The octagonal Bap- tistery opposite incorporates some Roman columns, while on the S. side is a Cloister containing a lapidary museum. On the opposite side of the Via Vit- torio Emanuele are the Law Courts, occupying part of the 13th cent. Palazzo Pretorio. In the Via Cann6bio, the E. prolongation of the Via Vitt. Emanuale, is the Casa della Porta, with good 15th cent, terracottas. From Novara to Varallo, 84 m. (55 km.), railway in 2£ hrs. — We pass several unimportant stations and gradually quit the plain for the foothills. — 18i m. Romagnano Se'sia, see p. 72. — We ascend the left bank of the Sesia. — At (231 m») Grignasco diverges a branch line to (9£ m.) Cdggiola Pdrtula. — 26£ m. Borgosesia (1150 ft.: Rfmts.) is a small spinning and weaving town. —-34 m. (55 km.) Varallo S6sia (1475 ft.; Rfmts.; Hot. d'ltalie; Posta, R. 5, D. 12, pens. 251.; Sacro Monte) is a favourite summer resort (2451 inhab.) in a beautiful situation. There are several interesting churches in Varallo, but the principal attraction is the *Sacro Monte. At the foot of the slope is the church of Santa Maria delle Grazie, with a great fresco (1513) in 21 scenes, by Gaudenzio Ferrari, representing the Life of Christ. The 42 chapels which flank the road ascending the Sacro Monte contain works by Ferrari, Tabachetti, the brothers D'Enrico of Alagna, Morazzone, Lanino, and others. Most interesting are the 1st, 5th, 11th, 15th, and 38th. At the top (1995 ft.) is the Santuario (1614-49), with a modern facade. — Valduggia, 3$ m. from Borgosesia on the road to the Lake of Orta, was the birthplace of Gaudenzio Ferrari (1471-1546). A pleasant walk leads from Varallo to (3£ hrs.) the Lake of Orta (p. 14) via La Colma (3090 ft.). A motor omnibus service (16 1. 40 c.) ascends the Valgrande or Upper Val Sesia from Varallo to (3 hrs.; 22£ m.) Alagna (Hot. Monte Rosa; des Alpes, R. 6, D. 16, pens. 281.), a favourite climbing centre (see the Blue Guide to Switzerland). Another service plies to (10£m.) Fobello (71. 30 c.) in the Valle Mastallone. From Novara to Seregno, 34f m. (56 km.), railway in 2f hrs. vi& (17 m.) Busto Arsizio (p. 77) and (25£ m.) Saronno (p. 77). Novara is connected by railway with (41 m., 66 km.) Alessdndria (p. 42) via (15 m.) Mortara (p. 133), (28£ m.) Torreberetti, and (32^ m.) Valenza (p. 73). Other lines run from Novara to (23 m.) Arona (p. 87) and to (20 m.) Sesto Calende (p, 77), diverging at (10£ m.) Oleggio. From Novara to Bellinzona, see p. 15; to Borgomanero and Domoddssola, see p. 14. Beyond (68J m.) Trecate we descend to cross the Lan- gosco canal, the broad Ticino (the boundary between Pied- mont and Lombardy, p. 16), and the Naviglio Grande, a canal connecting Lago Maggiore with Milan. — 75f m. Magenta (456 ft.; tramway to Milan) is famous for the victory won by the French and Piedmontese over the Austrian s on June 4th, 1859. An ossuary and a fine monument to Marshal MacMahon, by L. Secchi (1895), commemorate the battle.—At (84J m.) Rho (p. 76) we join the Simplon line. 93 m. (150 km.) Milan, see Rte. 16.75 III. THE ITALIAN LAKES AND LOMBARDY ROUTE PAGE 13. Lago Maggiore...... Sesto Calende, 77. Saronno, 77. Lago di Va- 76 rese, 77. Locarno, 78. Bignasco, 80. Brissago, 80. Canndbio, 81. Luino, 81. Cdnnero, 82. La- veno, 82. Intra, 83. Pallanza, 83. Baveno, 84. Borromean Islands, 85. Stresa, 85. Arena, 87. 14. Lugano and its Lake ----- Varese, 88. Tesserete, 92. Porlezza, 93. Porto Ce- resio, 95. Ponte Tresa, 95. 87 15. Como and its Lake ----- 95 Brunate, 98. Camerlata, 99. Cerndbbio, 99. Ar- gegno, 100. Lanzo d'Intelvi, 100. Tremezzo, 101. Caden&bbia, 101. Bellagio, 102. MeoSggio, 103. Varenna, 103. Bcllano, 103. Gravedona, 104. C61ico, 105. Lecco, 106. 16. Milan - Chiaravalle, 124. Certosa di Pavia, 125. 106 17. Milan to Tirano ----- Chiavenna, 128. S6ndrio, 129. 127 18. Milan to Genoa...... 129 A. Via Pavia and Voghera - - - 129 B. Via Mortara and Alessandria - 132 19. Milan to Bergamo ----- San Peilegrino Terme, 135. 133 20. Milan to Verona - Brescia, 136. Iseo, 139. Peschiera, 141. 136 21. Lake of Garda ------ Desenzano, 142. Sermione, 142. Said, 142. Gar- done Riviera, 113. Riva, 144. Arco, 145. 141 22. Milan to Cremona and Mantua - 146 The Italian Lakes. Of the four great Lombard lakes, the three on the W. form a single unit from the traveller's point of view, and their shores are perhaps more visited by holiday-makers than any other part of Italy. The Lake of Garda, in its comparative isolation, demands a separate excursion. The visit to the western lakes is facilitated by an excellent and convenient system of railways, steamboats, and tramways, and may be made with equal ease either from the Swiss frontier or from Milan. Special circular and tourist tickets are issued by the Italian railway companies. For those whose time is limited the folio wing three-day itinerary may be recommended: 1st day: Milan to Como by train and thence to Cadenabbia or Belldgio by steamer; 2nd day: Visit the Villa Serbelloni or the Villa Carlotta, then to Mendggio by boat and thence to Porjezza and Lugano by railway and steamer, ending with the ascent of Mont?76 Rte. 13 LAGO MAGGIORE San Salvatore; 3rd day: By steamer to Poiite Tresa, railway thence to Luino and steamer to Pallanza, visit the Borromean Isles and Stresa; steamer thence to Arona and railway to Milan. A four-day tour may be arranged as follows: 1st and 2nd day as above; 3rd day: By steamer to Porto Ceresio, thence by rail- way to Varese, where the Monte delle Tre Croci should be visited; tramway thence to Luino, continuing as above. A 5th day may be pleasantly occupied in the ascent of Monte Generoso from Como or Lugano, or, better, of Monte Mottarone from Stresa; or a steamer excursion may be made along the wild Lago di Lecco or up the picturesque N. branch of the Lake of Como to Cdlico. 13. LAGO MAGGIORE LAGO MAGGIORE (646 ft.), the Lacus Verbanus of the Romans (whence its alternative modern name Lago Verbano), is a long narrow lake, with a deep gulf on its W. side. Its total length from Magadino to Sesto Calende is 40 m., and its greatest breadth 3 m. between Baveno and Laveno. At its deepest point, off Ghiffa, it descends to 1450 ft., and in area (82 sq. m.) it is the second largest lake in Italy (Lago di Garda, 143 sq. m.). About one-fifth of the lake, at the N. end, belongs to Switzerland. The chief affluent is the Ticino, which flows in at Magadino and out at Sesto Calende. Other important feeders are the Mdggia, which enters the lake at Locarno; the Toce or Tosa, which flows into the gulf of Pallanza, and is joined just before its inflow by the Strona, fed by the waters of the Lake of Orta; and on the E. side the Tresa which drains the Lake of Lugano and enters Lago Maggiore at Luino. These numerous tributaries, fed mostly by mountain snows, subject the lake to sudden floods, and in Oct. 1868 the normal level was exceeded by 23 ft. The tramontana blows regularly from the N. in the early morning, followed, after 10 a.m., by the inverna from the S. The mergozzo blows from the W. in the gulf of Pallanza, and the usually placid waters are sometimes lashed to fury by the maggiora. Though the W. Italian bank has belonged to Piedmont since 1743, the history of the lake is bound up with its Lombard E. shore. Since the 15th cent, the greatest power around the lake has been the family of the Borromei, who still own the islands which bear their name and the fishery rights over all the lake. Steamer Services. A frequent, service of steamers plies between Laveno, Intra, Pallanza, and Stresa, extended 8 or 4 times daily to Arona in connection with trains from and to Milan, 3 or 4 times daily to Luino, and once or twice to Locarno in connection with Bellinzona trains. A restaurant service is main- tained on the longer trips. Approaches. — From Milan to Arona vi& Sesto Calende, 41£ m. (67 km.) in ljhrs. (32 1, 25, 31 1. 85, 13 1, 20 c,). Milan, see Rte. 16. — 8J m. RhoSTA. MARIA MAGGIORE 13 Rte. 11 is the junction for Novara and Turin (comp. p. 74).—At (18 m., 29 km.) Legnano (Rfmts.; Hot. Montegazza; Commercio), an important manufacturing town, Barbarossa was defeated by the Lombard League in 1176. The mon- ument commemorating the battle is visible (r.) from the railway. — 21 m. (34 km.) Busto Arsizio {Rfmts.; Hot. del Vapore; Tre Re), another prosperous town (24,507 inhab.), is also on the line from Novara to Seregno and Bergamo (p. 74). The church of Santa Maria in Piazza (by Lonati, 1517-23) contains paintings by G. Ferrari and Luini. — 25£ m. (41 km.) Gallarate {Rfmts.; Hot. ltdlia, R. 7, D. 12, pens. 251.; Leon d'Oro), a cotton-spinning town (9577 inhab.), is a junction for Laveno (p. 82) and for Varese (p. 88). The cathe- dral is modern (1856-60), but the church of San Pietro dates from the 11th century. — 36 m. (58 km.) Sesto Calende {Hot. della Posta; Tre Re) stands at the foot of Lago Maggiore. It is said to derive its name from its market day in Roman times — the sixth day before the Calends. The station is served also by the line from Novara to BeJlinzona (p. 15). Steamer to Laveno, see p. 86. — Our line crosses the Ticino by a two storied bridge near its outflow from the lake, curves round the S. end of the lake, and, beyond (40 m.) DormeU letto, joins the Novara-Domod6ssola railway — 41£ m. (67 km.) Arona see p. 87; thence to Domod6ssola, see p. 12. From Milan to Laveno via Gallarate, 45| m. (73 km.) in 1^—2 hrs. (35 1., 23 1. 80, 14 1. 25 c.). — From Milan to (25£ m.) Gallarate, see above. — 40£ m. Besozzo is on the tramway from Angera to Varese (p. 87). — 45£ m. Laveno, see p. 82. From Milan to Laveno vi& Varese, 45£ m. (73 km.), Nord-Milano Rail- way in 2-2fhrs. (12 1. 30, 5 1. 90 c.). Milan, see Rte. 16. — 3 m. Bovisa is an important metallurgical centre. —13£ m. (22 km.) Saronno {Hot. Leon d'Oro; Commercio) is an industrial town (12,559 inhab.), noted for its mac- aroons. The sanctuary of the Madonna dei Miracoli (1498) by Vine. dell'Orto, contains frescoes by G. Ferrari, Luini, and others. From Saronno branch lines diverge for (28 m.) Val Morea on the Swiss frontier via (20 m.) Castiglione Olona, where the *Church, built by Card. Branda Castiglione (1350-1443), contains frescoes by Masolino da Panicale, and (24 m.) Malnate {see below); for Como, see p. 95; and for Novara and Seregno, see p. 74. —19£ m. Moz- zate is the terminus of a tramway from Como (p. 99). — At (28£ m.) Malnate we join the line from Como. — 3l| m. (51 km.) Varese, see p. 88. — At (38^ m.) Gavirate we cross the tramway from Angera and Ispra to Varese and touch the N. shore of the Lago di Varese, 5£ m. long and l-2£ m. wide, a sheet of water famous for its quantity of fish. Voltorre, 1m. S.E., on the shore of the lake, has an old monastery with an interesting Romanesque brick cloister. Boats ply from Gavirate to the Isola Virginia or Isolino, where a small museum contains objects found in lake dwellings. — 43 m. Cittiglio is the terminus of a tramway running N. to Bosco Valtravaglia (p. 81). — 45£ m. (73 km.) Laveno, see p. 82. From Bellinzona to Locarno, 13£ m. (22 km.) in £ hr. (3 fr. 65, 2 fr. 55, 1 fr. 65 c.). — Leaving Bellinzona (p. 14), the railway descends the left bank of the Ticino. — At (2£ m.) Giubiasco (p. 15) we leave the Lugano line on the left and beyond (5£ m.) Cadenazzo we diverge to the right from the Luino line (p. 15) and cross the broad valley of the Ticino, here called the Piano di Ma- gadino (comp. p. 80). — At (10£ m.) Gdrdola we cross the torrent of the Valle Verzasca (p. 79) and thence follow the N. shore of Lago Maggiore, among villas and vineyards. — 13£ m. (22 km.) Locarno, see p. 78. From Domod6ssola to Locarno, 31f m. (50f km.), railway in 2£ hrs. (15 1. 90 c., 8 1. for the Italian part of the railway ; 15 fr. 85, 7 fr. 95 c. for the Swiss part). This electric line, opened in Nov. 1923, connects the Simplon and St. Gotthard routes to Italy (RR. 3,5). — We cross the Toce and reach (2£ m.) Masera (1004 tt.), where there is an old church tower. The valley of the Western Melezzo narrows as we ascend. Crossing the indefinite watershed at its head we enter the valley of the Eastern Melezzo, which descends from the hills on the left (NT.). — 12 m. Santa Maria Maggiore (2677 ft.; Hot. des Alpes; della Posta; Locarno & Metropole; Vigezzo & Terminus), the chief village in the Valle di Vigezzo, is finely situated in an upland basin. —14 m. Malesco (2497 ft.; Hot.78 Rte. 13 LOCARNO Lago Belvedere & Suisse; Royal Vigezzino) stands at the divergence of a road which crosses the Passo di Finero (3100 ft.; r.) and descends to Canndbio (motor om- nibus, p. 81). — 16 m. Re (2330 ft.; small inn) has a shrine of the Madonna, which attracts many pilgrims. At (20 m.) the bold Ponte della Ribellasca (1813 ft.; custom house) we cross the frontier. Below (20^ m.) Cdrnedo the valley is joined by innumerable side streams which give the district its name (Centovalli, the ' Hundred Valleys '). On the right rises Monte Limiddrio or Gridone (7189 ft.; 6 hrs. from Intragna; descent to tfrissago, see p. 81). — 25f m. Intragna (1211ft.; Hot. Gottardo) is conspicuous by its lofty church tower. The village was the original home of the Gambetta family, whence the grandfather of Leon Gambetta emigrated to Genoa. On the left is the picturesque Valle Onsernone, joined higher up by the Valle Vergeletto (see the Blue Guide to Swit- zerland). We cross the Onsernone and, beyond (27 m.) Cavigliano, cross the Mdggia and reach (28$- m.) Ponte firolla on the Val Maggia railway. Thence to (31| m.) Locarno, see p. 80. LOCARNO (5045 inhab.; 9871 with Minusio, Muralto, etc.), beautifully situated at the N. end of Lago Maggiore, near the mouth of the Maggia, has been Swiss since 1512, but retains all the characteristics of an Italian town. Its mild and sunny climate has earned it the title of the ' Nice of Switzerland.' Its numerous hotels and villas bear witness to its popularity as a holiday resort (season: March-May and Sept.-Oct.), and its charm is further enhanced by the easy accessibility of the mountains and valleys of the Ticino Alps. Railway Stations. Federal Sta- tion, in Muralto, for trains to Bellin- zona. The electric cars of the Val M&ggia and DomodcSssola railways start just outside this station, and call at the Sant' Antonio Station, at the W. end of the town. Hotels. *Grand-Hotel Palace (200 beds), R. 6, B. 2£, L. 6, D. 7, pens. 15| fr., open Sept.-June, near the station; *du Parc (130), R. 6, B. 2, L. 4£, D. 5^, pens. 13£ fr., open Sept.- July, above the station; *Reber au Lac (100), R. 5, B. 2, L. 4£, D. 5i, pens. 12|fr.; *Esplanade (100), R. 7, B. 2£, L. 6, D. 7, pens. 15£ fr., open Sept.-June, above Minusio (motor omnibus from the station).— *M£tro- pole, R. 4, D. 5£, pens. 12 fr.; Bel- v£d£re, R. 4, D. 4£, pens. 11 fr.; Beau Rivage, R. 3£, D. 4£, pens. 11 fr.; du Lac, R. 3£, D. 5, pens. 11 fr.; de la Gare, R. 4, D. 3£, pens. 10 fr.; Kurhaus Orselina, pens. 9 fr., at Orselina. — Pensions. Qui- sisana, 10 fr.; Villa Erica, 9|lr.; Villas Camelia, Frida, Palmeria, Mu- ralto, 9 fr.; Al Sasso, at Orselina. Post Office, Via della Posta, just S. of the Piazza Grande. — Enquiry Office (Society 4 Pro Locarno '), in the Teatro Kursaal, S. of the Piazza Grande. Conveyances. Tramways from the Federal Station to Sant' Antonio Station and to Minfisio and the Esplanade Hotel. — Motor Omni- buses from the Federal Station four times daily, vict Solduno, Ascona, and Ronco, to (6£ m. in 50 min.) Brissago (1 fr. 65 c.; p. 80) and thence twice daily to Cannobio, Intra, and (26£m. in 3 hrs.) Pallanza (p. 83). — Diligence (1 fr. 50 c.) from the Post Office once or twice daily to (4£ m. in 1 hr.) Golino for Intragna (p. 78). — Funicular Railway every 15 or 20 min. to (£ m. in 10 min.) Madonna del Sasso (p. 79; up, 1 fr. 30, 90 c.; down 65 c., 45 c.; return, 1 fr. 50, 1 fr.). — Steamers on the lake, see p. 76. Theatre. Teatro Kursaal (varieties and concerts), S. of the Piazza Grande. English Church Service (Sept.- May) in the Grand-Hotel at 8, 10.30, and 5. History. Conquered by the men of Uri, Schwyz, and Unterwalden in 1512, after a fruitless assault 10 years earlier, Locarno remained a subject bailiwickMaggiore VALLE VER2ASCA 13 Rte. 1<) until 1798. Many of its inhabitants embraced the reformed religion in the early 16th cent., but in 1555, by the decree of the Swiss Diet, they were sent into exile, and were forced to cross the wintry passes in order to reach the refuge of the Grisons. From 1815 to 1881 Locarno was one of the three alternative capitals of Canton Ticino (comp. p. 90). From the railway station we descend to the left, passing the lower terminus of the Madonna del Sasso funicular railway, to the open space beside the steamer quay. Thence the Piazza Grande, the wide main street and market place, extends W. through almost the entire length of the town, with pic- turesque arcaded houses on the right, and a pretty public garden on the left, in which are the Teatro Kursaal, the Post Office, and the former Government House, now occupied by a bank. In the public school, a little farther on, is a small Museum (50 c.). The street ends at the picturesque old Castle, the seat of the Swiss bailiffs, begun in 1342 but partly pulled down in 1531. It was later used as a prison, then as a school of art, and is now being thoroughly restored. In one of the corridors is a mural painting by Luini. To the S. of the Piazza Grande, on the lake, the new resi- dential quarter stretches to the pretty Bosco dell'lsolino. On the N. lies the old town with narrow streets and interesting houses, and the parish church of Sant'Antonio, the secularized church of San Francesco, and the cemetery chapel of Santa Maria in Selva, which contains remains of 15th cent, frescoes. N.E. of the railway station is the charming suburb of Muralto, with the Romanesque church of San Vittore (12th cent.), the crypt of which displays early sculptured capitals. The Franciscan monastery and pilgrimage church of the *Madonna del Sasso on a precipitous rock above the town, is reached in £ hr. on foot, in 10 min. by the funicular railway (p. 78). The church, founded in 1480, is approached by a corridor with interesting groups in terracotta, and contains a Flight into Egypt by Bramantino and an Entombment by Antonio Ciseri. The open gallery (1165 ft.) on the S. side of the church commands an exquisite *View of the lake and the entrance of the valley of the Ticino. From the upper terminus of the funicular railway we may either regain the town via the Monti delta Trinita (1B25 ft.; view), £ m. W., or we may proceed N.E. to (1£ m.) Orselina (hotel, p. 78), whence a path ascends N. vi& (1J hr.) San Bernardo (Pens. Alpenheim) to (20 min. farther) the chapel of San Bernardo (3596 ft.), a noted view-point. A pleasant walk leads along the lake shore, E. of Locarno, vi& (£ hr.) Riva- piuna, with its tall square church-tower, and the mediaeval Casa di Ferro, to the Gratia Navegna, a popular resort on Sundays. The Valle Verzasca, whose lower reaches are most easily approached by the diligence plying from Monti delta Trinity (see above; 2 fr. 15 c.) and the Madonna del Sasso (see above; 1 fr. 50 c.). to Mergdscia (6| m. in c. 2*| hrs.) via Orselina, Brione (p. 80), and Contra (whence a road descends to G<5rdola, p. 77), is an alpine valley, narrow and picturesque near its mouth, but less interesting higher up. The upper valley may be reached by a road from G6rdola (diligence in 4f hrs.; 5 fr. 20 c.), which ascends the left bank vi& (4£ m.) Vogorno, wh nee we may ascend the Pizzo di Vogorno (8025 ft.; 5J hrs.) or the Madone (6788 ft.; 6 hrs.; both fairly easy). Or from Mergdscia (see above) we may80 Rte. IS VAL MAGG1A follow a path high up on the right bank to (3 m.) Corippo, crossing thence to (4£ m.; 6f m. from G6rdola) Lavertezzo (1798 ft.). — 11£ m. (from Gdrdola) Brione Verzasca (2497 ft.), the chief place in the valley, stands at the mouth of the dreary Vaile d'(5sola. — At (15 m.) Sonogno (2982 ft.; Inn) the valley forks. The left branch (Val Redorta) leads over in 2$ hrs. to Monti di San Carlo and Fiisio (see below); while from the Val Vigornesso, on the right, we may cross the Passo del Laghetto to Chirdnico (see the Blue Guide to Switzerland). From Locarno to Bignasco, 18$ m. (80 km.), electric railway in 1$ hr. (5 fr. 70, 3 fr. 70 c.). The electric cars start just outside the Federal Station (where tickets are taken) and run on the tramway lines, through the Piazza Grande, to (1£ m.) the Sant'Antonio Station, at the W. end of the town. — Thence the road and railway follow the left bank of the Maggia. The *Val M&ggia, with its tributaries the Valle di Campo, the Val Bavona, and the Val Peccia, is, as its name implies, the largest of the valleys that open on the N. end of the Lago Maggiore. Its lower reaches, with their numerous villages and pleasant scenery, form a broad straight trench between lofty preci- pices on either hand, which are streaked with innumerable white waterfalls; higher up the scenery becomes bolder. If m. Solduno. — 2$ m. Ponte Brolla (p. 78), where the road and railway for Domoddssola diverge on the left. — Beyond a tunnel the scenery becomes more interesting, and numerous waterfalls aire seen on both sides. — 5$ m. Avegno; 6f m. Gorddvio. — 9£m. Mdggia (1096 ft.; H6t. de la Poste) is an important village. —13 m. Someo (1220 ft.) lies £ hr. from the pretty Soladino Fall in the Val Soladino. —At (15 m.) Riveo (1293 ft.) we enjoy a view of the Soladino Fall (see above), on the left, and soon afterwards we reach (16$ m.) Civio (1375 ft.; Ristorante del Basddino, with beds) at the mouth of the Valle di Campo (see the Blue Guide to Switzerland). — Above Cevio the valley narrows and turns abruptly N., while the waters of the stream, brilliantly blue except in freshet, are overhung by wooded rocks. —18$ m. (30 km.) Bignasco (1447 ft.; H6t. du Glacier, pens. 7-9 fr., well spoken of, open March-Nov.; della Posta),' the terminus of the railway, an admirable centre for excursions in the Ticino Alps, is charmingly situated at the point where the Val Bavona (1.) and the Val Lavizzara unite to form the Val M&ggia proper. The streams descend- ing from these valleys are crossed by lofty bridges, and behind the white houses of the town the view is closed by the grim precipices of the Bas6dino to the N.W. and the summit ot the Campo Tencia to the N.E. — A diligence plies up the Val Lavizzara from Bignasco to (10J m.) Fiisio in 3$ hrs. (3 fr. 55 c.). —■ The Val Bavona affords the best approach to the Basddino (10,750 ft.), the loftiest of the Ticino Alps; see the Blue Guide to Switzerland. From Locarno to Bellinzona, see p. 77; to Domoddssola, see p. 77. From Locarno to Arona, 46| m. (75 km.) direct, steamer in 5^-6J hrs. (231. 10, 13 1. 30 c.; actual distance travelled, 65Jm.); to Pallanza, 30 m. (48 km.) in 3J-4J; hrs. (9 1. 80, 51. 90 c.). — Locarno, see p. 78. — The steamboat crosses the lake and passes the mouth of the Ticino, on the left, with its low-lying delta, known as the Piano di Magadino. — 3f m. (E. bank) Magadino (Hot. Ruffoni; Pens. Suisse), an unattrac- tive village. — 7f m. (W. bank) Ascona (Hot.-Pens. Semiramis), on the S.W. side of the wooded delta of the Mdggia, is an old town (1118 inhab.), with several quaint houses. —The steamers occasionally call at (10J m.) Ranzo, on the E. bank. —- Usually they pass between the W. bank and the two verdant Isole di Brissago, planted with exotic flowers. — 14 m. (W.) Brissago (Grand-Hdtel Brissago, 100 beds, open Mar.- Dec., du Myrte, on the lake; Suisse, Vanetti, in the village)Maggiore LUINO 13 Rte. 81 is a picturesque village (1637 inhab.), the last in Switzerland, in a delightful situation. Some ancient cypresses surround the church. — Motor omnibus to Pallanza, see p. 78. Monte Limiddrio or Gridone (7189 ft.) may be ascended hence in 6 hrs. Descent to Intragna, see p. 78. — Opposite Brissago is the Italian village of Pino Lago Maggiore. 18^ m. (VV.) Cann6bio (Hot. Canndbio e Savdia, R. 6, D. 15, pens. 25 1.; Internazionale, pens. 181.; Pens. Azzoni), a busy- place (1657 inhab.) of considerable antiquity, is the principal station of the ' torpediniere ' or motor-launches of the pre- ventive service. The Santuario della Pieta, near the pier, is in the style of Bramante, the dome and choir-vault are by Pellegrino Tibaldi (1571). On the high altar is a Bearing of the Cross by Gaud. Ferrari (1525). The Town . Hall, called II Parasio, is a 14th cent, building with 17th cent, alterations. - Omnibuses to Locarno, and to Pallanza, seep. 78. From Cann6bio to Domod6ssola, motor omnibus twice daily in 3| hrs. The road, running inland from Canndbio, ascends the Valle Cannobina, past an old hydropathic, to Traffiume, where a boat may be hired to visit the Orrido di SanVAnna, a romantic gorge with a waterfall. Thence it goes on via Finero and over the watershed to Mdlesco in the Valle di Vigezzo (p. 77), where we strike the new railway from Locarno to Domod<5ssola (see p. 77). Road and railway descend side by side to Domod3ssola (p. 11). 21m. (E.) Maccagno Superiore and (21J m.) Maccagno Infer io^e (Hot. della Torre), at the narrowest point of the lalkey* lie on either side of the mouth of the Giona, which waters the Valle Vedasca. Above the second village is the picturesque Santuario ^della Madonriina, supported by two lofty archfesr while higher still is an old watch-tower. ji W& Lkgo dtizHo (§035 ft»; 2 Hrs^ N.E.) lies J hr. E. of the summit of Monte Borgw (3806 £t.) which affords -a good view of the lake. 24J m. (E.) Luino (station, p. 15; H6t. Suisse 6- de la Poste; Ancora &Bellevue, R. 5, D. 141.; Elvezia; Rest. Ver- bania, Due Scale) is a small industrial town (4661 inhab.), lying a little N. of the junction of the Tresa and Margo- rabbia, which unite to flow into the lake at Germignaga. Near the landing stage is a statue of Garibaldi, commemorating his gallant attempt, on Aug. 14th, 1848, to renew the struggle against Austria with a handful of 1500 men, after the armi- stide which followed the defeat of Custozza. The Town Hall occupies a 17th cent, palazzo. On the landward side of the town is the important international station (with custom- house) of the Bellinzona-Novara railway (see p. 15). From Luino to Varese, 16| m. (27 km.), electric railway in 1£ hr. — From the station, which lies half-way between the landing stage and the international station, the line ascends the Valtravdglia, down which flows the Margorabbia. — 3 m» Bosco Valtravdglia is the terminus of a tramway which runs via the Val Cuvio to (8f m.) Cittiglio (p. 77). — At (8 m.) Gtiirla (Inns) we are joined by 382 Rte. 13 LA VENO LagO a line from Ponte Tresa (p. 95). We pass the Lago di Ghirla (£ m. long) and beyond (9£ m.) Ganna (Hot. Valganna), the little Laghetto di Ganna, both of which are favourite winter skating-grounds of. the Milanese. On the left of Ganna rises Monte Piambello (3701ft.), a fine view-point for the Lake of Lu- gano. We descend the narrow Valganna, the valley of the Oiona. —13£ m. Jnduno Olona (p. 89). — 16f m. (27 km.) Varese, see p. 88. From Luino to Ponte Tresa. see p. 95. 211m- (W.) Cannero (Hdt. d'ltalie, R. 6, D. 14, pens. 25 1.; Cannero e Liguria, R. 5, D. 10, pens. 20 1.) lies in a sheltered and sunny position at the foot of Monte Cdrza (3668 ft.). Off the coast are two rocky islets (rowing boat 10 1.) on which stood the castles of Malpaga or Cannero (12-14th cent.), once the stronghold of the five robber bro- thers Mazzarditi. The existing ruins are part of a villa built by Ludovico Borromeo in 1519. On the hill above the town is the church (14-15th cent.) of Carmine Supe- riore, built on the summit of a precipice, and containing some good ceiling- paintings and a triptych of the 14th cent. Lombard school. — Monte Zeda (7177 it; p. 83) may be ascended from Cannero in hrs. To the S.W. of Cannero is Oggiogno, high up on its rock, and farther on, by the lake side, is the favourite villa of the statesman Massimo d'Azeglio (1798-1866), where he wrote most of his memoirs. On the hillside above rises the lofty campanile of Barbe.—30 m. (W.) Oggebbio (Hot. Posta; R. 5, D. 10, pens. 20 1.), scattered among chestnut groves. Above Oggebbio is the little oratory of Cadessino, with 15th dent, frescoes, while above the lake, half-way to Ghiffa (see below), is the little 13th rcent. church of Novdglio, exhibiting a curious mixture of Lombard and Gothic architecture. 33 m. (E.) Porto Valtravdglia has important glass-works. The conical hill (1246 ft.) to the S., is crowned by the Rocca di Caldd, the 10th cent, castle of the Marquesses of Ivrea, which was destroyed by the Swiss in 1518. — 35| m. (W.) Ghiffa (Hot. Ghiffa; Centrale, pens. 20 1.), another scattered village, clusters round the fine Castello di Frino. The steamer crosses the lake to (38J m.; E.) Laveno (Hot. Bellevue & Poste, R. 10, D. 16, pens. 301.;- Laveno, good cuisine), an important lake-port (2095 inhab.), strongly for- tified by the Austrians in 1849-59. Of its two railway sta- tions the chief (Ferrovie dello Stato; p. 15) is over \ m. from the lake; the Nord-Milano station for Varese, Milan, and Como adjoins the pier. A monument in the piazza by the waterside commemorates the Garibaldini who fell in an at- tempt to capture the town in 1859. The Villa Pulle, on the site of an Austrian fort, on the Punta di San Michele, to the N.W., contains a small Garibaldian museum. The *View from Laveno, which extends as far N. as Monte Rosa, thesMi* schabel group, and the Fletschhorn group, is seen to better advantage by ascend- irfg (2£ hrs.) the *Sasso del Ferro (3484 ft.), the beautiful hill to the E. StillMaggiore PALLAN ZA 13 Rte. S3 wider is the panorama from * Monte Nudo (4052 ft.), 2hrs. farther E. — A favourite excursion from Laveno follows the shore past (2 m.) Cerro to (4£ m.) the 15th cent. Carmelite convent of Santa Caterina del Sasso, which stands in a commanding position above the lake and affords a good view of the gulf of Pallanza and the Borromean Isles. From Laveno to Milan, see p. 77; to Novara, see p. 15; to Sesto Calende by steamer, see p. 86. Leaving Laveno we recross the lake, enjoying a magnificent view to the N. and W. To the left Monte Mottarone rises above Stresa, with Monte Rosa in the distance on its right hand. Opposite us lies Intra with Monte Rosso to the S. of it, Monte Orfano behind, and the snows of the Mischabel- horner and the Weissmies on the horizon. To the N. is the prominent Rocca di Cald&, backed by Monte Tamaro. 41J m. (W.) Intra (H6t. de la Ville & Lion d'Or, R. 7, D. 10, pens. 25 1.; Intra, pens. 25 1.; Agnello, simple), a busy industrial town (8366 inhab.), lies between the mouths of the San Giovanni (N.) and San Bernardino torrents. To the N., close to the lake, are the beautiful gardens of the Villa Barbd (adm. on holidays; gratuity) and the Villa Ada, while to the S., between Intra and Pallanza, are the Villa San Remigio, likewise with fine gardens (adm. on hol- idays; gratuity), and the 12th cent, church of San Remi- gio, altered in the 16th century. A . motor omnibus (101.) plies twice daily to (6 m.) Miasxina (2360 ft.), the best starting-point for the ascent of (5 hrs.) * Monte Zeda (7177 ft.). — Motor omnibus to Pallanza and Locarno, see p. 78. A popular excursion from Intra is the ascent which leads N. (motor omnibus) via (2£ m.) Arizzano and (8£ m.) Bte (Hot.-Pens. B6e) to ($f m.) Prenteno (2630 ft.; Hot.-Pens. Premeno, pens. 301.; Vittoria, pens. 27 1«), a favourite summer resort commanding a fine view. The steamer rounds the Punta della Castagnola, on the hill above which are the villa and park of San Remigio, passes the Isola San Giovanni (p. 85), and approaches the hotels and gar- dens of Pallanza. At the head of the gulf opens out a splendid view of the Fletschhorner and the Mischabelhorner, with Monte Crfano and the Cima di Capezzone in the foreground. 47£ m. (W.) PALLANZA (4391 inhab.), charmingly situated in full view of the Borromean Islands, is somewhat sun-baked in summer, but is delightful in spring and autumn and enjoys a mild winter climate. The flora of the neighbourhood is luxuriantly beautiful. Hotels. *Grand-H6tel & de Pallanza, fm. S.E. of the pier; *Gran£>-H6tel Eden, 200 yards farther on, two large hdtels de luxe (both closed in 1924) on the Punta della Castagnola, witb extensive gardens; M£tropole & Poste, R. 8, D. 18, pens. 351.; Bellevue, R. 18, D. 15, pens. 351.; Simplon; San Gottardo, R. 7, D. 15, pens. 251. Post Office, 12 Via Cavour. — In- formation Office (Society Pro Pal- lanza). — Cook's Office, at the Banca Popolare. Cabs. Per drive (course) 5 1., per hour 15 1.; to Intra 7$, Fondo Toce84 Rte. 13 BA VBNO Lago Station 15, Antoliva 17£, Cdnnero 35, Orta 601. (return, in each case, hali fare extra). Rowing Boats. 1-2 pers., 81. per hr., each addit. pers. 2 1.; to the Isola Bella and Isola Madre (3£ hrs.), 201., Isola Pescatori 181., Lavend 271. — Motor Boats, 6-10 pers., 60-901., waiting 20-301. per hr. English Church, open from Easter to Mav and in Sept. (services at 8.30, 10.45,'and 5). The pleasant lake-front is planted with magnolias. Near the pier is the Piazza Garibaldi, the market-place, with the Municipio and the modernized church of San Leonardo (15th cent.), the tall tower of which was completed in 1689. Built into the wall of the church of Santo Stefano is a fine Roman cippus; and in the Palazzo Dugnani is a small Historical- Museum. The Via Cavour, leading N. from the Piazza Garibaldi, is continued by the tree-shaded Viale Principe Umberto to (f m.) the fine domed church of the Madonna di Campagna, which was begun in 1522 and contains frescoes by the brothers Procaccini and by Bern. Lanino. A road diverging to the left c. £ m. beyond Madonna di Campagna ascends to (5i m. from Pallanza) the top of the Monte Rosso (2273 it.; small restaurant). From the summit the road goes on to (3 m.) Cavandone, whence we may return to Pallanza via Suna. Light Railway from Pallanza (starting at the pier) to (5 m.) Pallanza- Fondo-Toce and (11m.) Omegna, see p. 12. After leaving Pallanza a few of the steamers call at (48J m.) Suna (Hot. Pesce d'Oro), a western extension of Pallanza. — 51J m. Baveno (784 inhab.), beautifully situated on the S. shore of the gulf of Pallanza opposite the Borromean Isles. Hotels. *Grand-H6tel Bellevue, 150 beds, open March-Nov., R. 15, D. 22, pens. 401.; * Palace & Grand- Hotel, 110 beds, open Apr.-Oct.; Simplon & Terminus, open March- Dec., R. 12, D. 15, pens. 301.; Beau- Rivage, open March-Nov., R. 10, pens. 30 1.; Suisse & des Iles Bor- rom£es; Continental; Helvetia. Baveno is a favourite resort of the English and Americans and possesses an English church (services Apr.-Oct. daily at 10; Sun. at 8, 11, and 5), The famous shore-road between Baveno and Stresa, affording a charming view of the Borro- mean Isles, is flanked by elegant villas, among which is the large plain Villa Clara or Villa Branca, built by Mr. Henfrey, the exploiter of the Sardinian lead-mines, and occupied by Queen Victoria in the spring of 1879. To the N.W. of Baveno rises *Monte Camdseio (2920 ft.), reached by a road ascending through the village of Oltrefmme and climbing the S. side of a large granite quarry. — A shady road mounting the hillside S. of Baveno leads in 1£ hr. to Levo (1916 ft.; Hot. Levo), going on thence in 20 mm. to the Hdtel Bel- levue Alpino (p. 86). Monte Mottarone (-1892 ft.; p. 86) may be ascended m c. 3 hrs. from Baveno, either vi& Levo or by the right side of the Selva Spessa valley. On leaving Baveno the steamers touch at the Isola dei Pescatori and the Isola Bella, see p. 85.M.Camo&cio If/Worn OHri'li. itolino (li Ripa Afpe Wdabbia >•AlpcFram« ■ ^67J rW Jfo/ite M.Zu£hero 1230<0 xtipeXuo\-D Vaqtrreaia JBelloni Alpe Curti lAlpe Cwra STRESA Galimberti t+r^^z^PallaxiciTio Y^Maria /^L diSeearufliit %A. Cfiiesa.. 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Mo risSoloy ^___* Dorirgo'' [Scax^no ,30 -J Cassino*1 /a«5«O »#«.// jlVxPuncettu ijufjfk CbUmgrL\ „ CASTt'OICANNERO Caruiero ,M/-:PA0A) . m. 194- siil mare i 'Vi^dMegUo A Luino J 6V7 7// /// na!!a;^^^k '•®r 'JMLWwoni, mrczz\ Jdi Bftfmp f, M. \ Imprada r40 478 V; A-Busai jny&cyyio nfionogno tffmglio Porto 572- Vallraruglu 1 fasalmwju ^Cttqalio c 17 ,-/ o. Conbe/uk /C^j) xvv V//Y^"^vvT'isa/izc, X^"eUA^m, °> fmlonenf Ct! 51 Taioruio. PROPR.DEL T.C.I.- RIPROD. VIET. STAMP* ANTONIO Seal a di 1 : 250000 WMaggiore A RON A 13 Rte. 87 the picturesque old church of Arolo. — 59J m. (W.) Lesa (Villa degli Aranci, pens. 25 1.), opposite I spy a (p. 15), is famous for the quality of its fish. The Palazzo Stampa here was a residence of Manzoni (p. 106). Between Lesa and Meina, a little inland, is Massino, with an old castle and church, commanded by the deserted hermitage chapel of San Salvatore (2656 ft.), which affords a good view towards Varese and Como. As we approach (62 m.; W.) Meina (Hot. Meina, pens. 30 1.; Verbano, pens. 25 1.), the chapel-crowned hill of San Quirico (1352 ft.) is prominent on the left. Beneath it is (64 m.; E.) Anger a (Hot. della Posta; Due Spade, both plain), an- ciently a place of some importance, and possessing a fine old castle of the Visconti, which passed to the Borromei in 1439, and was extensively restored in the 16-17th cent. A tramway runs from Angera via (7| m.) Besozzo (p. 77) and (10£ m.) Ga- virate (p. 77) to (17£ m. in If hr.) Varese (p. 88). — Angera railway station (p. 15) is If m. inland. On the right appears the colossal statue of San Carlo (see below). — 65| m. (W.) Arona (Hot. St. Gotthard Terminus, Ita- lia e Posta, R. 7, D. 14, pens. 30 1.; Simplon de la Gare, R. 7, D. 12, pens. 25 1.; Milano), the terminus of the steam- er service, is an ancient city (4998 inhab.) and an im- portant railway junction (comp. p. 12) with direct services to Milan, Turin, and Genoa, as well as to Domodossola and the Simplon. In the church of Santa Maria the Borromeo chapel contains an * Altar Piece of six panels by Gaud. Fer- rari, representing the Holy Family, the Eternal Father, eight saints, and the donor, Countess Borromeo. In the neigh- bouring Gothic church of the Santi Martiri is a Madonna by Borgognone over the high altar and the crystal reliquary of SS. Fedele and Carpoforo (comp. p. 99). The palace of the Podest& dates from the 15th century. To the N. of the city, above the Simplon road, stands the San Carlone, a colossal statue of San Carlo Borromeo (1538-84), the worthy archbishop of Milan, who was born in the castle of the Borromei now lying in ruins near Arona. The statue, 75 ft. high, on a 40-foot pedestal, was erected in 1624 by a nephevv of the saint. The pedestal may be ascended by an outside stair, but the stuffy internal staircase leading to the head of the statue has been closed. From Arona to Domoddssola, see p. 12; to Sesto Calende and Milan, see p. 12; to Santhict for Turin, see p. 71. 14. LUGANO AND ITS LAKE The LAKE OF LUGANO (722 ft.; Lago di Lugano or Lago Ceresio) is a very irregularly shaped sheet of water comprising three main reaches and the deep narrow bay of Capolago, Its total length from Porlezza to Agno is about 22 m., while88 Rte. 14 VARESE Lake of the width is never more than 2 m. Of its area (20 sq. m.) a little more than half is politically Swiss; the N.E. arm, the S.W. shore between Ponte Tresa and Porto Ceresio, and the little enclave of Campione, nearly opposite Lugano, belong to Italy. The greatest depth (945 ft.) occurs off Albogasio. None of the streams which feed the lake are of much import- ance and the surface-level is therefore more constant than that of its larger neighbours. The waters of the lake drain into Lago Maggiore by means of the river Tresa, which flows out at Ponte Tresa. Except for the noontide breva, the lake is not exposed to periodic winds; but the tempestuous caronasca (named from Carona, p. 92) occasionally sweeps the central reach from the W. The scenery of the shores, except for the bay of Lugano, is far wilder and more desolate than that of the greater lakes; and grim mountains hedge in the N.E. arm between Gandria and Porlezza. Steamer Services. Steamers of the Society Navigazione Lago di Lugano ply five times daily, in both directions, between Lngano and Porto Certsio, and twice daily between Lugano and Porlezza. The steamers go on twice daily from Porto Ceresio to Ponte Tresa, in connection with the electric railway thcnce to Ghirla (p. 81) and to Luino, where the steamers on the Lago Maggiore may be joined. At Porlezza the steamers connect with the trains to Menaggio (p. 94) for the Lake Como steamers. — Tickets are taken on board and fares may be paid in Swiss currency or in Italian, currency (subject to variations in the rate of exchange). Tickets issued in Italy are subject to stamp-duty. Luggage is examined on board the steamers. There are restaurants on board the afternoon steamers. The steamer service to Capolago is at present suspended. — Motor Launches to Monte Caprino. see p. 92. Approaches. — From Milan to Lugano via Como, 48£ m. (78 km.) railway in 2£-3|- hrs. (to Chiasso, 25 1.25, 17 1.25, 10 1.50 c.; Chiasso to Lugano, 4- fr. 30, 3 fr., 1 fr. 95 c.), see pp. 15-18. From Milan to Porto Ceresio, 46 m. (74 km.), railway in 1^-2 hrs. (35 1. 45, 24 1. 10, 14 1. 40 c.). — From Milan to (25£ m.) Gallarate, see p. 76. — The Lago di Varese (p. 77) soon comes into view on the left. 37£ m. (60 km.) VARESE is a flourishing town of 15,555 inhab., whose pleasant surroundings are much frequented as a summer residence by the cit- izens of Milan. Railway Stations. State Railway Station, with buffet, E. of the town, for trains to Milan vi& Gallarate. — Nord-Milano Station, farther N., for Como, Laveno, and Milan via Sa- ronno. The Electric Railway to Luino starts from beside the State station. Hotels. In the town: Europa, R. 10, D. 16, pens. 30 1.; Italia, plain but good. At Casbeno, J hr. W. of the town, *Grand-Hotel Excelsior (200 beds), with a park and an English chapel (services Apr.-June & Sept.- Oct), R. 20, D. 25, pens. 55 1.; ♦Pa- lace Grand-H6tel, a little N. of the latter on the Coile dei Campigli (funicular railway), R. 15, D. 25, pens. 50 1.; these two closed in winter. Post Office, 3 Via Luigi Sacco. — Information Bureau (T.C.I.), 1 Corso Roma. Electric Tramways ply to Prima- Cappella-Vellone for the funicular railways to the Sacro Monte and the Monte delle Tre Croci; to Bobbtate, on the Lake of Varese; etc. — Cab from the station to the town, 41.te. M.di Qrino ■ Luinoj, FftTresa" " Scala di 1:65000 I lOOO 1300 ! Monte C&nj>o dei Fiori -.12*6 M.Ti-c OriK ARClS&Tf .Monarco A del Monte '^^Gattardo bntallegro I\lMGQ Bxdnao ^ If iY'l'CT. Velato CBtughiera ^C.Bertaxjnd, C.Pian 'yj'U'Cassu^| 'delta . f'C"V °CciXuo! V-, •C.Sel iV«]ate::'^ iZMoiijeixte^n «Wm lorio CaNciaaXiw^ jc i onara ilasnag« 'usebiQ Ponte. mOmc "arrfiireggio C.Mo^mc^O , . 'V.^.tar W5 4iT!''7 /Moi^soloi r- $mf£ ^v?5c: m%\ ■ & Ofigora, C.%ale >. f# iWl (/ xi ^ Vejeito FaidO Gaggio \.. di Varese^ c,i •""■< Gallarate-Milacic ilano-Como PROPR. DEL T. C. I.- RIPROD.Lugano LUGANO 14 Rte. 89 From the stations the Via Morosini leads to the Piazza Venti Settembre, at the beginning of the most animated thoroughfare of the town. This com- prises the Via Garoni, its continuation the Corso Roma, which leads to the Piazza Porcari, and, on the right beyond the piazza, the Corso Vittorio Ema- nuele Secondo. On the right of the last-named street an archway leads to the Basilica of San Vittore, built on the site of an older church in 1580-1615, irom the designs of Pellegrino Tibaldi. The facade dates from 1795. The adjoining 17th cent. Campanile (246 ft.) commands a fine view (for adm. apply to the sacristan). The Baptistery beside the Basilica dates from the 12th century. From the Piazza Porcaxi the Via Verbano leads to the Via Luigi Sacco, in which is the Palazzo Municipale or Town Hall, formerly known as La Corte, and built by Francis III, Duke of Mc5dena, in 1768-80. The Public Gardens, formerly the duke's private grounds, commas a fine distant view of the Alps. The favourite excursion from Varese is the ascent of the Sacro Monte and the Monte Campo dei Fiori, which may be easily combined in one expedition. A tramway pHes from the State station to Prima Cappella and Vellone (2070 ft.), at the foot of two funicular railways. On the right is the line to (£ m.) the Sacro Monte (see below); on the left the longer ascent (1000 yds.) to the Monte delle Tre Croci (3389 ft.; *Grand-H6tel Campo dei Fiori, open May-Sept., R. 20, D. 20, pens. 45 1.). The station is a few minutes below the summit (3600 ft.), which commands a wonderful view. About 1 hr. W. is the summit of Monte Campo dei Fiori (4023 ft.), with an even more extensive prospect. From the hotel a pleasant road leads to (i hr.) the Sacro Monte (2887 ft.; funicular railway, see above), on which is the 16-17th cent, pilgrimage church of Santa Maria del Monte, called the Madonna del Monte. Flanking the road leading down to the village of Oronco are a statue of Moses and 15 shrines repre- senting the mysteries of the Rosary (17th cent.). From Varese to Como, see p. 99; to Laveno, see p. 77; to Luino, see p. 81; to Milan via Saronno, see p. 77; to Ponte Tresa, see p. 95. Beyond Varese we cross the Olona and reach (40 m.) Induno Olona, at the foot of Monte Monarco (r.; 2818 ft.). —Near (41 m.) Arcisate-Brenno, in 1848, a handful of Garibaldini withstood for four hours an Austrian force of 5000. — 43£ m. Bistischio-Viggiic is the station for (l£ m. E.; electric tramway in J hr.) Viggiti (1585 ft.; Hot. Viggiii, R. 10, D. 15, pens. 301.; Angelo, R. 7, D. 14, pens. 25 1.), a small holiday resort, connected by diligence with (2| m. S.E.) Stdbio (p. 16). — We descend the valley of the Brivio. The station of (46 m., 74 km.) Porto Cerisio (p. 95) adjoins the steamer quay. From Belunzona to Lugano, see p. 15 and the Blue Guide to Switzerland. LUGANO (905 ft.), the largest town (13,440 inhab.) of the Swiss Canton Ticino, though no longer its capital (comp. p. 90), is charmingly situated on a bay of the lake which bears its name, and lies at the mouth of the Cassarate torrent, between the commanding heights of Monte Bre (E.) and Monte San Salvatore (S.). The character of the old town, with its narrow streets and closely-packed dwellings, is thoroughly Italian, but all round it, on the shore and on the hills behind, has sprung up a new settlement of hotels and villas, giving the place a cosmopolitan air. The S. suburb of Para- diso is composed almost entirely of these great pleasure houses. Railway Station (PI. C 2), above the town, to the E., connected with the town by a funicular railway, and by tramway. — Steamer Quays. Lu- gano-Centrale (PI. B 2), for all steamers; Lugano-Paradiso (PI. E 1), for Para- diso and Monte San Salvatore ; Lu- gano-Castagnola (beyond PI. B 3), for Castagnola, Cassarate, and Monte Br6. Hotels. *Grand & Palace (PI. af 3 -a90 Rte. 14 LVGANO History £ 3), with 250 beds, R. 6, B. 2& L. 6$, t>. 7pens. 16$ fr.; *Park (Pi. ah; E 3), 160 beds; *Splendide (PI. ai; F 2), 120 beds, same charges, all first class. — ♦Bristol (PI. ad; D 3), R. 5, D. 6$, pens. 14 fr.; *Continental Beauregard (PI. p; D2); ♦Lloyd & National (PL y; D 2); ♦St. Got- thard & Terminus (PL ab; D 3), R. 4, D. 5$, pens. 12 fr. — *Inter- national au Lac (PL be; D 3), R. 3$, D. 5, pens. 11 fr., open March-Nov.; Adler (Pl. k; C 3), R. 3h D. 4$, pens. 11 fr. — At Paradiso: ♦Vic- toria au Lac (PL au; G 2); *du Lac (PL az; G 3), R. 3, D. 3&, pens. 8 fr.; ♦Meister (Pl. at; G 2), R. 4, D. 5J,pens. 12fr.; *Bellevue (Pl. ak; F 2), R. 3£, D. 5, pens. 11 fr.; *de l'Europe et Villa TivoLi (Pl. as; F 2); ♦Beaurivage (Pl. av; G. 3). — At Cassarate (p. 91); ♦ Villa Cas- tagnola au Lac, R. 5, D. 6$, pens. 14 ir.; Pens. Diana, pens. 8-9 fr. — At Castagnola (p. 91): Eldorado, R. 3£, D. 4$, pens. 10 tr.; Elysee-Villa Singer, Schloss-Hotel Riviera, Villa Meurice (all closed in July and Aug.), R. 3|, D. 4$, pens. 10 fr. Lake Baths (PL F 3), Riva An- tonio Caccia. Restaurants. At the hotels; also Walter, Cafe-Brasserie Riviera & Sportsman, both Riva Vincenzo Vela; Biaggi, Via Pessina; Gambrinus, Piazza della Riforma; Orologio, 2 Via della Scuola. — Caf£s-Restaurants. Huguenin, Kursaal, both Riva Gioc. Albertolli; Riviera & Sportsman, see above; Jacchini, della Citta, Piazza Giardino. — Confectioners. Hu- guenin, see above; Conza, Via Lu- v'ini Perseghini; Ddbeli-Forster, Via Canova; Vanini, Via Nassa; Dami- Post Office (PL C 8), Via della Posta. — Information Bureau, Piaz- za Giardino, adjoining the Town Hall; Cook's Tourist Office, Riva Vincenzo Vela. — Booksellers. Arnold, Via Luvini Perseghini; Wega, Riva Vm* cenzo Vela. Conveyances. Horse Cabs, pec drive (course), 1-2 pers. 2$ fr., 3 pers. 3 fr.; at night, 1 fr. extra; trunk 1 fr. Taxi-cabs, 1 fr. 20 c. per km., at night 1 fr. 60 c. per km.; trunk 1 fr. — Tramways from the Piazza Giardino (Pl. B 2), to the Station, to Paradiso, to Cassarate (for Monte Br6), and to Molino Nuovo and the Cemetery.— Funicular Railways from the rail- way station to the town (Pl. C 3; up 15 c., down 10 c.); from the Piazza Guglielmo Tell (PL D 3) to the Via Clemente Maraini, near the English Church (15 c.); from Paradiso (Pl. G 2) to Monte San Salvaiore, see p. 92; from Cassarate to Suvigliana and Monte Br I, see p. 92.— Motor Omnibuses to (4f m.) Agra, four times daily (1 fr. 60 c.). Steamers on the lake, see p. 88. — Motor Boat Services, see p. 92. Amusements. Apollo Theatre (Pl. C 4) variety, performances in winter; Kursaal (PL C 4), Riva Gioc. Alber- tolli, open in summer for afternoon concerts and evening entertainments. — Boating. Motor Boats, 15-20 fr. per hr.; Rowing. Boats, 1-2 pers., 1 fr. 20 c. per hr., 4-8 pers. 2 fr. per hr.; with rower, 4 and 5 fr. per hr. English Church (Pl. D, E 2; St. Edward's), Via Clemente Maraini; services 10.30 and 5 (Nov.~Feb>) or 5.30 (Mar.-Oct.), British Vice-Consul, Dr. Vivanti, 19 Via Pretorio. wlli, 6 Via Pretorio. History. Like Locarno Lugano was taken from Milan by the Swiss in 1512 and was ruled as a subject district until the dissolution of the old Swiss Con- federation in 1798. It vigorously repulsed an attempt to bring it under French domination, choosing rather to remain " free and Swiss "; and in 1803 became part of the new canton of Ticino. lTntil 1881 Lugano shared with Bellinzona, and Locarno the privilege of being the cantonal capital for alternate periods of six years (comp. p. 14). From 1848 to 1866 Lugano was Mazzini's headquarters during the struggle of the Italians to throw off the Austrian yoke in Lombardy., The Railway Station (Pl. C 2) is situated on a terrace com- manding a beautiful view of the town and its picturesque: surroundings. Immediately below stands the church of San. Lorenzo (Pl. C 3), or the Duomo, which has a faouJ Besso ^ «[' ® w n 0 e p W Stay.A i Korcov m "• Semiiutrio Diocesano mcnmg: ■ » Clijiiai , iU Morten Eft). 0 Lcoianr SSaroadero Centrale eizmiico Montariua irniftr.ioni. Tassina SORENGO / I, ore to f Jiaant Rrossaiu>Ua- rii p • U H0, P ianna . \> k\. 1 »osta •?* ax Geretla Staz.Fumcalare S.Salvalore BreiUino Chiasso UFF.CARTOGR.DEL T.C.I. C»po C«rtogr«fo■ P.COHBEILINI Lata dx o Vela 3D — d. Gottardo 3BC Museo Civico di Belle Sassa 3A — Lambertenghi 4B Arti 2-3E Scuola 2C — Lavizzari 5BC Museo Storico 4C Scuole 3-4C — Loreto 2-3E Officina Gas 4B Seniinario Diocesano IC — Lucchini 4BC Ospedale Civico 4-5AB — Soldino IB — Maraini 3D 2E » Italiano 5B Sorengo IE — Massagno 2-3B Palazzo di Giustizia 3-4C Stazioni (Railway-Stat.) — Mazzini 2E Panera IE — Ferroviaria 2C — Moncucco ID Paradiso 2-3G — Funicolare S. Sal- — Monte Carmen 3-4A Parco Civico 4-5C vatore •2G — MontecSneri 2B Pensioni:(Boarding Hs) Strada Cantonale 3G — Nassa 3D —■ Edelweiss (v. Mon- Tassino 2D — Ospitale 4-5B tarina) 2D,n Tiro a Segno 5A — Peri 3C — Induni (v. al Col- Ufficio Informazioni 3D — Pocobelli 3CD le) 3B,c Vescovado 3D — Pretorio 3C — Ruesch (v. Ber- Viali (Alleys): — Regazzoni 2-3C taccio) 3C,i — Cattaneo 4-5C — Rodari 2C — Villa Minerva (v. — Franscini 4AB — San Pietro Pam- Montarina) 2D,o — San Salvatore 2FG bio 2-3G — Zweifel (v. Ber- Vie (Streets): '— Sassa 3A taccio) 3C,g — Balestra 4-5B — Sorengo r 1 2C ID Piazze (Squares): t — Bella Vista 8CD — Stazione 3C —- Dante 3C —• Besso IB 2C —- Tassino 3D — Punicolare 3C — Bossi E. 4C — Tesserete 3A 2B — Giardino 3-4C 3D — Canonica 4-5C — Trevano 4A — Indipendenza 4C — Canova 3-4C — Vanoni 3-4A — Maghetti 4C — Cantonale 3B Ville (VillasJ - — RezzGnico 3D — Cassarinetta 2F 1-2G —• Luvini 3A — Riforma 3C —• Circonvallazione — Maraini 3B Tell 3DE 2BCD —■ Monaco 3B Posta 2-3C — Ciseri 3-4B » 3C — Colle (al) 3-4A 3B » 3G -— Coremmo 2BC Restaurant Sports- | — Cortivallo 1C man (Riva V. — Dufour 3-4B Vela) 3D,2 — Fontana 2F Lugano PORLEZZA 14 Rte. 93 to (5 m.) Mdglio di Colla (inn) at the foot of the Pizzo Camoghb (p. 15; ascent in 4$ hrs). From Lugano to Ponte Tresa, 7£ m. (12 km.), electric railway in £ hr. (3 fr. 5, 1 fr. 90 c.), starting at the main railway station. — Steamer route, see p. 94. — After parsing through two tunnels the train emerges beside the La- ghetto di Muzzano, and after a long curve to the N. crosses the Vedeggio to reach (3| m.) Bidggio, whence a diligence plies in 50 min. to Cademdrio (Kurhaus Ca- demario, pens. 10 fr.). — 4f m. Agno lies at the head of the dull W. arm of the Lake of Lugano. — 6i m. Magliaso is at the foot of the Val Magliasina which leads up to (B m.) Novdggio (2113 ft.; H6t. Beau-S6jour; Lema), at the foot of Monte Lema (5322 ft.) on the Italian frontier, whence we may descend to Luino (p. 81). —m. Ponte Tresa, see p. 95. Interesting ascents may be made from the stations on the Dino line among the hills to the E., most interesting of which are the Colma Re'gia (4967 ft.) and the Sasso Grande (4899 ft.). For the ascent of Monte Tdmaro, see p. 15; of the Pizzo Camoghb, see above. From Lugano to Bellinzona, see p. 14; to Como and Milan, see p. 15. From Lugano to Porlezza and Menaggio, 19 m. (31km.). Steamer to Porlezza, 11m. (18 km.), twice daily in 1J hr. (3 fr. 80, 2 fr. 15 c.); railway thence to Menaggio, 8 m. (13 km.) in 50 min. (7 1. 10, 41. 75 c.).—From the Lugano Centrale pier (p. 89) the steamer steers to (2J m.) Lugano-Castagnola (p. 91). The N. shore of the lake, stud- ded with hotels and villas on the sunny slopes of Monte Bre, is in strong contrast with the uninhabited S. bank. — 5 m. Gdndria (Inn) is the last Swiss village. We enter Italian waters and reach (5f m.) Santa Margherita, on the opposite bank. A funicular railway (suspended) ascends hence to ($■ m.) the *jBelvedere di Lanzo (2904 ft.; restaurant), a fine view-point connected by road with (10 min.) the ruins of the Grand-H6tel Belvedere (3015 ft.), from which the view is even more extensive. An attractive road leads from the upper station to (| m.) Lanzo d'Intelvi (p. 100), served by a motor omnibus from Argegno on the Lake of Como. — A livtle W. of the funicular and the road is the wire fence protecting the frontier against smugglers. We cross once more to the N. bank and touch at (6£ m.) dria, once the home of Antonio Fogazzaro (1842-1911), the author, pass Albogdsio, and reach (8 m.) the picturesque village of San Mamette (Stella d'lt&lia), with a 12th cent, campanile. Above stands Castello, finely placed at the mouth of the unfrequented Val Solda. — As we cross to (9J m.) (Jsteno (modest inns) we obtain a fine view of the head of the lake, dominated on the N. by the Monte dei Pizzoni (4275 ft.); while ahead are the jagged Monte Pidaggia (4938 ft.) and the mountains of Lake Como. Close by are the Orrido, a narrow ravine accessible only by boat, and some stalactite caverns. — An interesting road runs inland up the Telo vailey, past Laino with its 12-14th cent, church, to (3| m.) Pdllio in the Val d'Intelvi (p. 100), and thence to (10 m.) Argegno (p. 100). 10J m. Cima lies close under the rocks of Pizzoni. — 11m, (18 km,) Porlezza {Mdt. du Lac, R. 3, D. 10, pens. 20 I.;94 Rte. 14 CAMP ION E Lake of Italian customs), at the head of the lake, is the starting- point of the railway to Menaggio. The Val Cavargna, down which flows the Ciicc.io, descending from the N., is little visited, but affords access to many passes leading into the Cassarate valley (p. 93), while from its upper end the Pizzo di Gino or Menone (7366 ft.) may be ascended. The trains for Men&ggio leave Porlezza in connection with the steamers. We cross the Cuccio and, passing the lonely Lago del Piano (915 ft.), ascend to (5 m.) Grdndola (1237 ft.), the railway summit and the nearest station to the Men&ggio golf-course. — 8 m. Men&ggio, see p. 103. From Lugano to Porto Ceresio and Ponte Tresa, 15 m. (24 km.), steamer twice daily in c. 2 hrs. (3 fr. 80, 2 fr. 15 c.); to Porto Ceresio, 9f m. (15 km.), five times daily in 70 min. (2 fr. 75, 1 fr. 60 c.). — Leaving the Lugano-Centrale pier (p. 89) the steamboats call at (1J m.) Lugano-Par adiso (p. 89) and then, doubling the Punta San Martino at the foot of the Monte San Salvatore (p. 92), steer out into the lake. The view behind us is delightful as we leave the W. shore. Monte Bre, with its many villas, stands up boldly in the foreground, while more distant, at the head of the lake, are Monte Brenzone and the pointed Pizzoni; to their right, farther off, appear the Cima la Grona and the distant Legnone. — 2J m. Campione, a small Italian enclave, is famous for its 14th cent, sculptors and architects (' Maestri Campionesi'). The Oratory of St. Peter (1327) is a good example of their work. In the church are some 15th cent, reliefs. On the left beyond Campione is seen the baroque fa$ade of the chapel of Madonna dei Ghirli. — The steamer lowers its funnel to pass under the causeway which carries road and railway across the lake (comp. p. 15). Ahead open the two S. arms of the lake, divided by the hill of San Giorgio (p. 95). —4J m. Bissone, at the E. end of the causeway, was the birthplace of Stefano Maderno (1576-1636), the sculptor of the famous statue of St. Cecilia in Rome. A monument on the shore commemo- rates him and many fellow-artists who were natives of Bissone. We cross the lake to (5 m.) Melide (Inn; railway station, see p. 15), the birthplace of Domenico Fontana (1543-1607), the architect of the royal palace at Naples. Leaving on our left Monte Generoso and the Capolago arm of the lake, we touch at (6'j m.) Brusino Arsizio and cross thence to (7£ m.) Morcote (Villa Olivella) at the foot of Monte Arbostora (2753 ft.), on whose slope stands the frescoed chapel of Madonna del Sasso, From Morcots to Lugano vi4 Carcmas gee $2.i « 250 000 Jl km. f Motto rotondov"'rmv>wV |I96«a ■toy-' M.Tamaro Leyuc . WU^tmtnnikb/ W Moncucco \ ]., o mo uoi.i fli/i.(..|nlVI;Caval Drossa. , l;U, ( ? J/&M.Butiio/;V,^vw 1Sje . j. v' \ Me'/'snvirttZdflfi^'lZent> &'• » ; WldlAfch >• V»1 /%r ■' /F Giuv^aJw^^^SSm^mtiwrtnoJi' PJaiy#w^l9,w . /A&$#>M.Bronzone 3?3®^Z(7/L^ iM M Apinmrnone^ fi.iioANo ...... risfbct^ w 1A! ITAnu U'onm^—\ f f' Sa,]""1'™ _jbl.__ ^ Brusuiipiant ' / JfA- - ...■•:// jffij&ia 'ii/Uuie 2fr*SH 'M, ."•« / -NCSSI Hm /WfcArbostotp Mdrttqqu r Mary.in ' . W-VotS- * '" (h/vttru 'v. %, ■h j ram; Arsizio Ii, tsst) *{,Mo (100* Sr;>5. .VY/^/v/w j-^ i%«Zi S. Vital M.Prav£llo Pot/liana -1" ■& / jgf w|/( i •"> <■ # Trtisso *• - , „ « -> Hti>'iiu£eUa&"rdona w///«/w?^u ; ^vvi_ r «.»*"%» ft,„>Jf^AW0 7 Colmegnone < UUSUIUa rff . , x 'us B^rryLugano PONTE TRESA 14 Rte. 95 At Morcote the lake makes a sharp bend to the N. and we enter the W. arm of the lake, the left bank of which belongs to Italy, the right to Switzerland. — 9^ m. (15 km.) Porto Cer6sio (Pesce, Ceresio, both plain; Italian customs), the terminus of the railway from Milan via Varese (see p. 88), stands at the foot of Monte San Giorgio (3600 ft), which is easily ascended and commands a fine view. The rest of the journey is less picturesque, though Monte San Salvatore stands up boldly on the right. — 12-|- m. Figino; 13 m. Brusimpiano. — 13|- m. Caslano is at the mouth of the bay of Agno. We double back on our course for a short distance and enter a land-locked bay. — We call first at the Swiss pier, then at the Italian pier of (15 m., 24 km.) Ponte Tresa (Hot. Crivelli), which consists of a Swiss and an Italian village sepa- rated by the Tresa, the effluent of the lake, which here marks the frontier. From Ponte Tresa to Ghirla, 6f m. (11 km.), electric railway in $ hr. (1L 15 c., 65 c.) along the Val Marchirolo.— 6f m. Ghirla is on the railway from Luino to Varese (p. 81). From Ponte Tresa to Luino, 8 m. (13 km.), electric railway in 40 min. (81.). The railway follows the Italian side of the Tresa. — 3§ m. Cremenaga is opposite Ponte Cremenaga, whence a diligence descends the Swiss bank of the river to Ponte Tresa. — 6i m. Creva. — 8 m. Luino, see p. 80. 15. C0M0 AND ITS LAKE The LAKE OF COMO (652 it.; Lago di Como) is Virgil's Lacus Larius, from which is derived the alternative name of Lago Ldrio. The lake is formed of three long harrow arms which meet at Bell&gio, one stretching S.W. to Como, another S.E. to Lecco, the third N. to Colico. Its total length is 31 m from Como to Gera, its greatest breadth 2J m. just N. of Bellagio, its greatest depth 1345 ft. off Argegno, and its area 50 sq. m. The chief feeder is the Adda, which flows in at C61ico and out at Lecco. The lake is subject to frequent floods and is swept regularly by two winds, the tivano (N. to S.), in the morning, and the breva (S. to N.) in the afternoon. Steamer Services. A frequent service of steamers is maintained between Varenna, Mendggio, Beildgio, and Tremezzo, extended 5 times daily to Como and thrice daily to Cdlico. The service from BelMgio to Lecco runs 2 or 3 times daily (once or twice from Varenna). Motor Boats ply from Como to Torno, tTrio, and Carate Ldrio; and from Lecco to Malgrate, Abbadia, Mandello, and Onno. Approaches. — From Milan to Como viA Monza, 29 m. (18 km.), railway in 1 hr. (23 1. 45, 16 1. 10, 9 1. 75 c.), see p. 17. From Milan to Como vi& Saronno, 23$ m. (46 km.). Nord-Milano rail- way in 1~1£ hr. (91. 20 c,, 61), From Milan to (13£ m.) Saronno, see p. 77, — Thence we proceed via (25$ m<) Grandate-BrtcQia to (28$ m.) Como-Lago (p. 96).96 Rte. 15 COMO History From Milan to Lecco and C6lico, 56 m. (90 km.), see p. 127. From Milan to Canzo-Asso, 32£ m. (52 km.) railway inlf hr. (111. 80, 6 1. 85 c.). 3 m. Bovisa (p. 77). — 11 m. Bovisio Mombello. In the wood of Barlassina, 2-m. N., St. Peter Martyr was murdered in 1252 (comp. p. 124). — At (21f m.) Inverigo, where the Castello Crivelli has a fine avenue of cypres- ses, we enter the fertile Brianza, a thickly-populated region, with many im- posing country houses. — At (25 m.) Merone-Pontenuovo, we cross the line from Corno to Lecco.—(27£ m.) Erba-Incino.— 32^ m. (52 km.) Canzo-Asso at the foot of the Vnlassina is connected by road with Onno (p. 105) and with Beltegio (comp. p. 102). From Lugano to Como, see p. 15. COMO (700 ft.), beautifully situated at the S.W. extremity of the Lake of Como, is a manufacturing town (37,537 inhab.), the capital of the province which bears its name, and the seat of a bishop. Conspicuous to the N. is Monte Bisbino (p. 99), while to the S. rises the tower of Baradello (p. 99). The principal industry is the weaving of silk, long a domestic occupation, but nowadays mainly concentrated in factories. Bail way Stations. State Railway Station or San Giovanni (PI. B 1), W. of the town, for trains to Milan, and to Lugano and the rest of Switzerland. — Como-Lago (PI. B 3) and Como- Borghi (PI. E 3), on the Nord-Milano railway, for trains to Varese and Laveno, and to Milan via Saronno. Hotels. *Plinius Grand-Hotel (pl. C 3); *Metropole & Suisse (PI. a; B 2), R. 12, D. 18, pens. 35 1.; Volta (PI. d; B 3), R. 12, D. 15, pens. 35 1.; Stazione; San Gottardo, pens. 30 1.; Forcati's (PI. b; B 2; meubl6), R. 81. Restaurants. Barchetta, Piazza Cavour; Plinio, Piazza Cavour; San Gottardo, Piazza Volta. Baths in the lake near the Public Gardens (PI. A 2). Post Office (PI. B 1), ViaT. Gallio. — Information Bureau and Tour- ing Club Italiano, Piazza Cavour. Tramways run from the State Railway Station to the Funicular Railway; other routes radiate from the Piazza Cavour (PI. B 3) to Cerndb- bio, Chiasso, CantU, etc. — Funicular Railway from the end of the Lungo Lario di Trieste (PI. A 4) to Brunate (p. 98). — Motor Omnibuses ply to (1£ hr.) Mendggio via Argegno and Cadendbbia; to (1£ hr.) Belldgio via Nesso: to (3£ hrs.) Cdlico via Mendg- gio; to (1J hrs.) Varese, etc. Steamers on the lake, see p. 95. — Motor Boats and Rowing Boats according to bargain. Amusements. Theatre Sociale (ope- ra in winter), Piazza Verdi (PI. C 3); Politeama,Piazza Cacciatori delle Alpi. — Rowing Regatta on Sept. 2nd. History. Originally a town of the Insubrian Gauls, Como was captured and colonized by the Romans in the 2nd cent. b.c. under the name of Comum; but it was not until the time of Julius Caesar that the tovra was finally rid of Gallic incursions. The town appears as a republic in the 11th cent., but in 1127 it was destroyed by the Milanese. Frederick Barbarossa, however, rebuilt it in 1155 and secured its independence by the Peace of Constance (1183; p. 16). In the struggles between the Torriani and the Visconti (comp. p. 99) Como fell to the latter in 1335, and it became a fief of the Duchy of Milan. A centre of strife during the French wars in the 16th cent., the town suffered for two cen- turies under Spanish oppression, and in 1714 was assigned to Austria, along with the rest of Lombardy. In 1799 it was declared part of the short-lived Cisalpine Republic, and after the stormy years of the struggle for independence against Austria, was finally liberated by Garibaldi on May 27th, 1859. Among the most famous natives (' ComaSchi') are the Jjlder and the Younger Pliny (23-79 a.d. and 62-120 a.d.), Paulus Jovius (1483-1552), the historian, and Alessandro Volta (1745-1827), the physicist.Cathedral COMO 15 Rte. 97 From the Railway Station (PI. B 1) the Via Tolomeo Gallio and the Via Garibaldi (tramway) lead to the Piazza Volta, just beyond which is the Piazza Cavour (PI. B 3), the chief tramway centre. The N. side of the square is open to the lake and adjoins the steamer quay. In the opposite direction (S.) the short Via Plinio (tramway) leads to the Piazza del Duomo, in which are the cathedral (see below), the Broletto or Town Hall (1215; PI. C3), built in alternate courses of black and white marble, with a few red patches, and the Communal Tower of the same period, used a campanile since the addition of the top story in 1435. The Cathedral (Santa Maria Maggiore: P. C 3), built entirely of marble, and declared by Symonds to be " perhaps the most perfect building in Italy for illustrating the fusion of Gothic and Renaissance styles ", dates in its present form mainly from 1426, when it replaced an 11th cent, basilica. The rebuilding, financed mainly by public subscription, was entrusted first to Lorenzo degli Spazzi, who, like his many successors, worked under the patron- age of the Milanese court. The W. Front (1460-90), designed by Florio di Bontk, and executed by Luchino Scarabota of Milan, is in a Gothic style, with a fine rose window, though the three main doorways are unexpectedly round-arched. It is decorated with reliefs and statues (c. 1500) by Tomaso and Filippo Rodari of Mar6ggia, and others. The seated figures of the two Plinys (p. 96) on either side of the main doorway are probably by Amuzio da Lurago. The two lateral doorways, likewise decorated by the Rodari, are wonderful examples of detailed carving. The N. door is known as the ' Porta della Rana,' from the carved frog once at the foot of the jamb. The work of rebuilding continued through the 16th (choir) and 17th cent, (transepts), and ended with the completion of the dome in 1770 by Filippo Iuvara of Messina. Interior. The cathedral is 285 ft. long, 190 ft. wide across the transepts, and 246 ft. high under the dome. — The aisled Nave of 10 bays is covered with a groined vault. Two lions at the W. end, now supporting holy-water basins, are survivals from the ancient basilica. In the S. Aisle are figures of saints and six reliefs of the Passion by T. Rodari (1482). Beyond the S. door is the *Altar of Sant'Abbondio, finely decorated with gilded woodcarving, and flanked by a * Flight into Egypt, by Gaud. Ferrari and an * Adoration of the Magi, by Luini. Farther on is a *Virgin and Child with four saints, also by Luini. — In the N. Aisle, between busts of Innocent XI and Bp. Rovelli, is a relief by T. Rodari of the Virgin and Child with St. Louis and St. Stephen. Beyond the N. door is a sarcophagus of 1293, above which is the funerary urn of Benedetto Giovio (1471-1544), the historian, brother of the more famous Paulus Jovius (p. 96). Beside the next altar are the ^Nativity by Luini and the *Marrikge of the Virgin by Ferrari. The Deposition from the Cross, farther is a fin$ work by the Rodari (1498).98 Rte. 15 BRUNATE Lake of Behind the cathedral the handsome Theatre (1813-49) stands on the site of the old castle, and in the Piazza Roma to the N. is the ancient little church of San Provino. The Via Vittorio Emanuele leads S. from the cathedral to the Municipal Buildings (PI. C 3), in a 17th cent, palace, opposite which is the five-sided apse of the ancient church of San Fedele (probably 7th cent.), which at one time served as the cathedral. The N.E. doorway, with remarkable bas- reliefs, shows Byzantine influences. Farther along the street is the Museo Civico (PI. D 3), with Roman and prehistoric antiquities, and a room devoted to souvenirs of Yolta. Continuing to follow the tramway lines we pass (1.) the Liceo, or Classical School (PI. D 2), which incorporates some Roman columns and contains a Natural History Museum and the Town Library, and leave the old town by the Porta della Torre, which is surmounted by a: toof J102. , Two other towers of the old fortifications remain on this section, of the. wall; that on the E. (r.) is the Torre M San Vitqle, that on the S.W. the Torre 44 Porta Nuova. The central gateway is kno>vn also as the Porta Vittoria, as it was the Scene of the retreat of the Austrian garrison in March .1848. The event is com- memorated by the Garibaldi Monument in the Piazza outside. Outside the gate we turn to the right and keep straight on as far as the little river Cosia. We ascend the stream to the right for c. 200 yds., and then cross it by the dye-works to reach the Basilica of *Sant'Abbondio (PI. E 1), an 11th cent, building, well restored in 1683, and dedicated to St. Abondius, third bishop of Como. The oldest church on this site was probably founded by St. Felix in the 4th cent., and received its present name on the death of Abondius in 469. The existing building, with its altar to the W., consists of. five aisles, despite its comparatively small size. In the apse is a 15th cent, fresco, and beneath the floor iare tombs of early bishops. Outside the E. front may be seen relics of the pillars which formerly supported the narthex. We may return to the Piazza Cavour either by the Viale Yarese, passing the 16th cent. Church of the Crucifix, which contains a much venerated cross of reputed miraculous power ; or by the Via Alessandro Yolta, in which is the house where the scientist lived and died (tablet; comp. p. 96). In the Piazza Volta (PI. B 2) is his statue, on the pedestal of which are represented his most famous inventions. A pleasant walk leads along the Lungo L&rio di Trieste through Borgo SanfAgotUno, with a 14th cent, church, to (20 min.) the Villa and Park of Geno% pleasantly situated on a little cape. From the Borgo Sant'Agostino (Pi. B 4) a funicular railway (up 3 1. 40; down 21. 50; return 51. 15 c.) ascends to (f m.) Brunate (2339 ft.; Grand-H6tel Milano, open April-0«t. R. 12, D. 18, pens. 401.; Bellavista), 3 m. from Como by road. The village commands a fine view of Como and its lake. About | hr. above Brunate (motor service in sumrqier) is San MauHzio (2858 ft.^ Paradiso), on the road to which is the *Hot,. Mirdndola. 'RIPROD. VIET. (It oym t/ihitiitito ■ m 'i(U, Ch iasso Cernobbio tg&i Campo "*-/ : .. Uaribnldi (iinuclino ^ Ihi bl)I ii'o.c j 'ftcalo •duoci •jimv >$ Socfi'irytrti Sta/..^ i Perrons fllStaio IIdteiWu\ I'll III US vjj a ftla/ziiuo" \i I i f*ta Cinqtrr Ginrr , v I i ^ /- (7//? hrrtpfnyhr " 'J EL H JSh Jrrrf t f'KJ: vffurirmtf 'iazxa. i ;i n o " m,, ffrfwiil&,sM I p J;* ^ V-teaP »*MOdiu| fa ' '*•»*««/ I l'f« I'ltofm&Cros&V T-'^r »5 JFlfc 1 AVrv*/VJ 'JUKI KM a Hi no MiwUBeJ K<:.7, ■J / $qorS% " Hjfllij/1' tjgl.o rn P i) / >^f ft?,, j POl tysJLV .J , _i TjH;Epba CO M 0 Scaladi t: 15 000 S.CIMWH. Trarrwie Saronno- Milanoj Morua;Milano 1 M oiz ate' 'Contu UFF. CARTOGR Otl. T C.I - Cspo Carr,>qr-»fo PCORBtlllNlCOMO. Alberghi (Hotels) J Monum. Garibaldi 2D Viali (Alleys): — Bellevue Restau- j Municipio 3CD — - Varese 2CD rant Bristol (p j Museo Civico 3D Vie (Streets): Cavour) 2B,c Officine Gas ID — - Alighieri 3DE — Forcati's H6tel Ospedale 1-2D — • Anzi 4D d'ltalie et d'An Piazze (Squares): Barelli 1CDE gleterre (p. Ca — Caceiatori delle — Benzi ICD vour) 2,Bb Alpi 2BC — • Borgo Vico 1AB — MStropole et Suis- — Castello 3C ■ Borsieri 1-2C se (p. Cavour) 2B,a — Cavour 3B Brambilla 4BC — Plinius 3B — Croggi 3-4B • Briante 3-4E — Volta (p. Cavour) — Duomo (del) 3C Cantu 2D 3B,d — Grimoldi 3C Cinque Giornate 2-3C Arena 3C — Mazzini 2C Colli 4E Bagni 2A Roma 3BC Dottesio 3-4E Banca d'ltalia 2D — San Bartolomeo • 2E Ferrari 3-4D Borghi (Suburbs) -— Umberto I 3-4B — Fontana * 2-3B — San Bartolomeo 2E — Verdi sc Gallio IB — San Giuli&no 3-4CD — Yittoria 2D Garibaldi 2BCJ — San Martino 3-4E — Volta 2B — Giovio 2-3D — San Rocco 1-2F Porta Torre 2D — Giulini 2-3E — Sant'Agostinc 3-4B Porto 2-3B — Grossi 3-4D — Vico IB Pogte e Telegrafi 2C — Guanella L. 3-4E Campo Garibaldi i.A Poste e Telegrafi — Indipendenza 2-3C Cantiere Lariana 1A (Nuovo Palazzo) — Lambertenghi 2C Casa di A. Yolta 2D in costruzione) 1B,1 — Lucini ID Caserma 1A Prefettura 1-2C — Luini 2-3C Ca8erma 2-3D Rimessa Tramvie 1C Manzoni 3C Chiese (Churches): Rimessa Tramvie ID — Mentana 2EF — Sacro Cuore 4D Scalo 2B — Milano 1F2E — San Bartolomeo 2E Scuola 3D —. Mon*i 3-4C — San Fedele 2 3C Scuola di Setiflcio 2-3D — Morazzone 2EF — San Filippo Neri 3D Seminario Maggiore 3D — Natta 2 CD — San Giorgio 1A Seminario Minore ID Odescaichi 21) — Sant'Abbondio IE Stazioni (Railway Sta- — Ospedale 2DE — Santa Chiara 1-2E tions) : — Paririi 21) — Santissima An- — Como Borghi 3E — Pessina 3-4C nunciata (S. Cro — Ferr. dello Stato IB __ Recchi IB eifisso) ID — Funicolare (Bru —. Regina 1CDE Cimitero 1EF nate) 1AB — Rezia 2E Collegio Gallio 1BC — Nord Milano 3B ,—. Rezz6nico 3-40 Diga 2-3B Teatri (Theatres): — Rovelli 2-3D Dogana ID — Polfteama 1-2B — Rubini 2B Duomo 3C — Sociale 3C — Rusconi 30 Giardino Pubblico 2A Tintoria Comense ID — Sant'Abbondio IE Istituti (Institutes): Torrente C6sia 2FalB — Sirtori 3DE — G. Carducci 2B Tribunale 2D — Torno 4AB — Tecnico 2D Uffici SocietH La- — Torriani ICD Lago di Como 1-2- 3-4A riana 2B .— Unione 2CD Lieeo 2D Viali (Alleys): — Ventisette Mag- Lungo Lflrio di Le- — Battisti 2-3D gie 1A vante 3-4B — Cattaneo 2D — Venti Settembre 2-3E Lungo L&rio di Po- — Cavallotti 2AB — Vittani 2C nente 2B — Geno 4 A — Vittorio Eman. 3CD Molo Sant'Agostinc 3B — Leceo 3CD — Volta 2CDComo CERN6BBI0 15 Rte. 99 About 1 m. S. of Como (tramway) is Camerlata, a village dominated by the interesting church of San Carpoforo, which claims, like Sant' Abbondio, to have been founded by St. Felix, whose tomb is in the crypt. The present nave probably dates from the early 8th cent., and the apse and the campanile are in the Lombard style of the ll-12th century. In the sacristy is preserved St. Felix's crozier.—The Monte Baradello (1417 ft.), above the church, is crowned by the conspicuous tower of Castello Baradello, the solitary remnant of a stronghold occupied by Barbarossa on the night before his defeat by the Milanese at Legnano in 1176 (p. 77). In 1277 Napo Torriani and some members ot his family were exposed here in cages after their defeat by the Vis- conti. The castle was dismantled under Charles V. We may descend hence in c. 20 min. to the station of Albate-Camerlata (p. 16). From Como to Cern6bbio and Chiasso, 6i m. (10 km.), tramway every hr. — The line traverses the suburb of San Giorgio, beyond which we diverge to the right from the direct line to Chiasso, and pass (1.) the Villa delVOlmo {1780-82; fine park.) — At (2b m.) Cerndbbio (see below) the tramway turns inland to ascend the valley of the Breggia to (4f m.) Maalidnico, beyond which ft follows the frontier S. to (6J m.) Chiasso (p. 16). From here we may return to (3 m.) Como by a direct tramway or by railway (p. 16). From Como to Lecco, 26 m. (42 km.), railway in If hr. (17 1. 20, 111. 65 c., 71.). — 3 m. Albate-Camerlata (p. 16). — 1\ m. Cantii (p. 17). — 13^ m. Merone- Pontenuovo is connected by railway with Canzo-Asso and with Milan (p. 96). On the left lies the Lago di Pusiano (not seen from the train). Bosisio on its shore was the birthplace of Giuseppe Parini (1729-99), the poet. — 17J m. Molteno and (19£ m.) Oggiono are connected by branch lines with Monza (p. 17). — We skirt the little Lago d'Annone.— Above (22£ m.) Civate is (1 hr.) the sanctuary of San Pietro, a late 10th cent, chapel remarkable for having an apse at either end, a rare feature in Italy. — On the right rises Monte Barro (p. 106). — 26 m. (42 1cm.) Lecco, see p. 106. Other railways run from Como (Como-Lago Sta.) to (18 m.) Varese (p. 88), and to (28£ m.) Milan via Saronno (p. 95). Tramways ply to Cantii (p. 17), to Erba Incino (p. 96,) and to Mozzate (p. 77). From Como to Lugano, see p. 15; to Milan via Monza, see p. 16. From Como to Colico, 55 m. (88£km.), steamer thrice daily in 4-44 hrs. (23 1. 50, 13 1. 15 c.); to Belldgio, 28J m. (46 km.), 9 times daily in lf-3 hrs. (17 1. 20, 9 1. 30 c.); to Mendggio, 31J m. (50J km.), 7 times daily in 2-3 hrs. (18 1. 5, 101. 20 c.). — The steamboat keeps at first to the W. bank, affording a view of the Villa dell'Olmo (see above). On the right is the Punta Geno with the public gardens (p. 98). -—2 m. (W.) Cerndbbio (*Grand-H6tel Villa d'Este, situated in a splendid park, open March-Oct., R. 40, D. 35-45, pens. 75 1.; Regina Olga, pens. 35-50 1.; Milano) lies at the foot of Monte Bisbino (4347 ft.), ascended hence in 3 hrs. The Hot. Villa d'Este occupies a villa built in 1568 by the beneficent Card. Tolomeo Gallio (1527-1607), a native of Cerndbbio. In 1816-20 it was the home of the unfortunate Queen Caroline of England. Tramway to Como, see above. —- On the opposite bank is the scattered village of BUvio, with a villa that belonged to the famous dancer Taglioni (1804-84). At Perlasca, the northernmost hamlet of this village, was born Benedetto Qdescalchi {16n~89}»100 Rte. 15 LANZO D' INTELVI Lake of afterwards Innocent XI. — 4 m. (W.) Moltrasio (Hot. Cara- mazza), at the mouth of a picturesque valley, has a Roman- esque church. — 4f m. (E.) Torno (Hot. del Vapore) is a picturesque village with two old churches. In the bay to the E. is the Villa Pliniana (1570), named after an inter- mittent spring which is described in the letters of the younger Pliny. — Almost continuous with Moltrdsio are the villages of (5£ m.) iJrio, (5f m.) Carate Lario, and Laglio, with their attractive villas and gardens. The Buco delVOrso (Bear's Den), a cavern 2 hrs. above L&glio (key at Alb. Minoretti), in which many remains of the cave-bear have been discovered, has lost much of its interest since the exploitation of the spring within it for electric power. On the opposite bank, above the pier of (7 J m.) Riva di Palanzo, lie the villages of Molina, Lemna, and Palanzo on the slopes of Monte Palanzone (4712 ft.), and farther on are (8m.) Pognana and Quarzano. On the W. bank, at the narrowest portion of the lake, is (9 J m.) Torriggia (Ristorante Torriggia). Opposite lies the three-cornered village of (10 m.) Careno, and farther on is (11J m.) Nesso, at the mouth of the Orrido, a deep ravine with a waterfall. — 12J m. (W.) Brienno lies among chestnut groves. — 15 m. (24 km.; W.) Argegno (Hot. Lago & Belvedere, open Mar.-Oct., pens. 25 1.) is at the foot of the Val d'Intelvi. A motor omnibus plies 4 times daily vi& (3| m.) Castiglione d'Intelvi, (5 m.) San Fedele, and (6J m.) Pellio, to (10£ m.) Lanzo d' Intelvi (*Palace Hdtel Bella Vista, open May-Oct., R. 7, pens. 351.; Villa Annunciata, pens. 351.), a summer resort, connected by road with (f m.) the Santa Margherita funicular (p. 93) and with Mardggia on the Lake of Lugano (p. 15). — From Pellio to Osteno, see p. 93. — From Argegno to Como by motor omnibus, see p. 96. We touch at (7 m.) Colonno (W.) and reach (18 m.; W.) Sala (Pens. Sala) with a good Gothic campanile, partly con- cealed by the I sola Comacina, a favourite resort of political refugees during the disturbed mediaeval history of Lombardy, The island was captured and laid waste by the men of Como in 1169. In 1919 it was presented to the King of the Belgians, who has handed it over to the Academy of Milan as a rest- house for artists. The strait between Comacina and the mainland is called the Zocca delV(5lio.— 20 m. (E.) Pescait. —■ 20J m. (E.) Lezzeno (Rist. Lezzeno) is near the Grotta del Bulgaro, artificially darkened to resemble the Blue Grotto at Capri (accessible by boat; adm. 51.; March-Nov.). The shore at this point is so steeply overshadowed by the Monte San Primo (5528 ft.) as to be almost without sun in winter. — m. Campo-Ossuccio lies between the Isola Comacina and the Punta d'Avedo or di Balbianello, a headland on which standsComd CADENABBlA IS Rie. 101 the Villa Arconati (1790), once the home of Silvio Pellico (1788-1854), the famous author of ' Le Mie Prigioni.' 24 m. (W.) Lenno (Hot. Regina &> San Giorgio, R. 10, D. 18, pens. 401.), whose name, perhaps derived from Lemnos, is one of those cited to prove the colonization of the shores of the lake by Greek subjects of the Roman Empire, lies at the mouth of the Acquafredda, at the S. end of the Tremezzina (see below). The church of Santo Stefano has an interesting crypt and an old octagonal baptistery adjoining. Here on the shore was the site of Pliny's villa ' Comoedia,' so-called from its lowly position as compared with the ' Tragoedia ' at Bellagio (p. 102). Above is (| hr.) the Madonna del Soccorso (1375 ft.), approached by a road lined with 15 chapels recalling the Sacro Monte at Varese (p. 89). Beyond Lenno the steamer coasts the smiling Tremezzina, the fertile green shore dotted with villas and gardens, which extends along the foot.of Monte di Tremezzo (see below), as far as Nobiallo, N. of Menaggio. We pass (24f m.) Azzano (Pens. Svizzera) and reach (25|m.) Tremezzo (*Hot. Tremezzo, R. 18, D. 24, pens. 45 1.; *Bazzoni &> du Lac, R. 12^, D. 20, pens. 301., with its annexes Villa Erminia and Belvedere; * Villa Cornelia, R. 12, D. 18, pens. 321.), which consists almost entirely of villas. On the shady road between Tremezzo and Caden&bbia is the *Villa Carlotta (adm. every £hr.; 51.), formerly Sotnmariva, built in 1747 by the Marchese Giorgio Clerici and surrounded by a magnificent park. The collection of modern sculpture within includes Thorwaldsen's frieze of the Triumphal Entry of Alex- ander into Babylon, cast in plaster for Napoleon in 1811-12 and intended for the throne-room at the Quirinal. After the emperor's downfall the work was continued at the expense of Count Sommariva, who is represented, along with the artist, at the end of the frieze. Canova is represented by *Cupid and Psyche, the Repentant Magdalen, Palamedes, and other works. — Near the water's edge is a little memorial chapel with an attractive Pieti by Bened. Cacciatori. 25f m. (W.) Cadenabbia, 2 m. S. of Menaggio (p. 103; hotel omnibuses). Hotels. *Bellevue, 160 beds, open March-Oct., R. 10, D. 28, pens. 55 1.; ""Britannia, 110 beds, open all the year, R. 15, D. 22, pens. 401.; *Belle-1le, open Feb.-Dec., R. 12, D. 18, pens. 35 1.; Hot. Pens. Vit- toria. Information Bureau. Society Pro Tremezzo e Cadenabbia. English Church Services in the church of the Ascension; services at 8.30, 10, 11, and. 6. Golf Course, see p. 94. Caden&bbia, a favourite holiday resort though only a hamlet in the parish of Griante, lies in a sheltered position be- neath the Sasso di San Martino (2792 ft.; ascended in 3 hrs.). A fine walk from Caden&bbia ascends the successive summits of (5 hrs.) Monte Crocione (5368 ft.), (5§ hrs.) Monte di Tremezzo (5578 ft.), and (6 hrs.) Monte Calbiga (5568 ft.), which commands a fine *View including the Valais Alps, Milan, and seven lakes.102 Rte. 15 BELLAGIO Lake of Leaving Cadenabbia the steamer crosses the most beautiful part of the lake to (27 m.; E.) San Giovanni di Bellagio„ where the church contains an altar-piece by G. Ferrari. To the N. is Loppia, with a half-ruined church romantically placed beside a great grove of cypresses. 28| m. (E.) BELLAGIO (920 inhab.), ideally situated on a headland at the division of the lake, not merely shares with Cadenabbia the favour of most of the foreign visitors to the Lake of Como, but also retains much of the picturesque aspect of an old Lombard town. There are local industries of silk- weaving and olive-wood-carving. Hotels. *Grande-Bretagne (200 beds), with a fine park; *Grand-Hotel BellAgio (250 beds), with a garden on the lake and a dependance at the Villa Serbelloni (see below), R. 20, D. 30, pens. 551.; *Genazzini & M£tropole, with a small garden on the lake, R. 8, D. 16, pens. 38 1.; these three open March-Oct.; ♦Grand-Ho- tel Splendide des Strangers, open Feb. 15th-Oct. 31st, R. 16, B. 5, L. 16, D. 201.; Florence, open Feb. 15th- Dec., with a small garden on the lake and a caf6-brasserie, R. 10, D. 18, pens. 351.; du Lac; Suisse, pens. 281.; Belvedere. Post Office, Lungo Ldrio Umberto Primo. Rowing Boats, 5-101. per hour. English Church (St. James), open Apr.-June and in Sept. and Oct.; services at 8, 10.30, and 5. The church of San Giacomo, dating from the 12th cent., is reached by the Via Garibaldi, to the left of the pier. Above the town, reached by a steep lane ascending opposite the Hot. Genazzini, is (20 min.) the * Villa Serbelloni (adm. 2 1. 50 c.; free to guests at the Hot. Bellagio), now a hotel, standing in a fine park, and reputed to occupy the site of the younger Pliny's villa ' Tragcedia,' so-called by its owner in contrast with the low-lying ' Comoedia' at Lenno, (p. 101), being raised above the lake as it were on a cothurnus, the high buskin worn by tragic actors. On the road to Ldppia (see above) is the * Villa Melzi (better reached by boat), standing in a fine park. Farther on are the Villa Balzaretti, with a mausoleum of the Gonzagas, and San Giovanni (see above), with the fine gardens of the Villa Troiti. — The Villa Giulia (adm. daily in summer, at other times on Sun. and holidays only), standing amid beautiful gardens on the crest of the ridge, commands a wonderful *View of the lake. It is reached by a turning on the left from the main road to Asso (see below). From BellAgio to Asso via Civenna, 11J m. (19 km.), motor omnibus in 1£ hr. — The road ascends S., passing the cemetery and (i.) the Villa Giulia (see above). At (3J m.) Guello a*bridle path on the right offers the quickest ascent to (4 hrs.) Monte San Primo (5532 ft.).—5£ m. Civenna (Hot. Bellevue, open March-Nov., pens. 241.) is to be connected with Vassena (p. 105) by a funicular railway. — From (6£ m.) the chapel of Madonna del Ghisalio (2474 ft.), the highest point of the road, we obtain a *View of the Lake of Lecco (1.) with the two Grigne beyond, and of Bell&giu behind us. — 7 m. Magrds.Ho (Hot. Monte San Prirno; Nord) is another starting-point for the ascent of (3£ hrs.) Monte San Primo (see above). We descend the steep Valassina to (llf m.) Asso, which is almost continuous with Canzo, the chief place in the valley. — From Canzo-Asso to Milan, see p. 96. — Another motor service plies along the W.Coma MenAggio n me. io3 bank of the Lake of Lecco, via Limonta, Vassena, and Onno (p. 105) to (p. 102), whence il goes on to Erba Incino (p. 96). From Bellagio to Lecco by steamer, see p. 105. Leaving Bellagio the steamboat crosses the lake to the W. bank.—31J m. Men&ggio (*Hot. Victoria, 120 beds, open Feb. 15th-Nov. 30th, R. 25, D. 20, pens. 45 1.: *Grand-H6tel Menaggio, open March-Nov., R. 10, D. 18, pens, 35 L; Couronne, pens. 27 1.; Belvedere; Bellavista), a cheerful little town (1692 inhab.), much frequented by English and American tourists in passage, has two piers at which the steamers call, the principal one near the Hot. Menaggio and the railway station, the other to the N., near the Hot.Victoria. There is an 18-hole golf course at Gr&ndola (p. 94). English Church Servi- ces (March-June, Aug.-Oct.) are held in the Hot. Victoria. A pleasant walk crosses the Sanagra river and ascends to (1 hr. N.W.) Lovsno (1040 ft.), near the church of which is the Villa Vigoni (adm. on application to gardener; gratuity), with a garden pavilion containing sculptures by Thorwaldsen. Hence we may go on to (1| hr.) PUsio (1970 ft.) and (2 hrs.) Madonna di BrSglia (2575 ft.), above which the Belvedere di San Domenico (2690 ft.) affords a wide view. — From the graveyard of Breglia an easy path ascends to the chapel of Sant% Amato (5319 ft.), on the crest of the ridge to the N.W., from which 1 hr.'s walk S. brings us to the Cima la Grona (5788 ft.), while li hr. N. of the chapel is *Monte firegagno (6913 ft.), commanding a wonderful prospect of the lake. The descent may be made to Rezzinico (p. 104). Delightful drives may be taken along the shore from Men&ggio to Acquasdria (p. 104) via the bay of Nobiallo and the tunnels in the Sasso Rdncio, the ' orange rock ' coloured by a ferruginous spring, or along the Tremezzina to Cadenabbia (p. 101). From Menaggio to Porlezza and Lugano, see p. 94. Opposite Mendggio is (33Jm.) Varenna (Hot. Royal Victoria open March-Nov., peris. 35 1.; Olivedo, simple, pens. 25 1.; railway, see p. 128), pleasantly situated at the mouth of the fisino torrent, which descends from Monte Grigna (p. 105). English Church services are held at the Royal Victoria Hotel at 8, 11, & 5 on Sunday. The neighbouring quarries yield black marble and green lumachella, or shell-marble. — On the same bank, a little farther N., is the railway station of Regoledo, connected by a short funicular railway (ascent 1 1. 50 c.) with the Casa di Cura di Regoledo (1424 ft.; 150 beds; open May-Oct.), a finely situated hydropathic establishment. From Varenna a good road (motor omnibus) .ascends the right bank of the fisino to Perledo (1342 ft.) and (2 hrs.) £sino Inferiore (2750 ft.; Inn), whence a path leads via the Alpe Cainallo (4085 ft.) and the Alpe Moncodetto (5528 ft.) to (6 hrs.) the Monsa Refuge (5932 ft.; open July-Sept.) and thence by a fatiguing slope to (8 hrs.) the Grigna Vetta Refuge (small Inn, June 15tn- Sept. 30th), on the summit of *Monte Grigna Settentrionale (7907 ft.), or Monc6~ deno, a dolomitic peak commanding a wonderful view. — The descent may be made to Mandello (p. 105). 36J m. (E.) Beilano (Hot. Tommaso Grossi, recently modernized; Cavallo Bianco), a small manufacturing town104 me, n vedoma Lake of with silk and cotton mills, lies at the mouth of the Pio- verna, which, in its lower course, runs through a deep gorge. The church of Santi Nazaro e Celso, restored in 1906, is a good example of the 14th cent. Lombard style. Bellano was the birthplace of Tommaso Grossi (1790-1853), the poet, who is commemorated by a monument on the shore. From Bellano to Lecco, 28 m. (38^ km.), motor omnibus twice daily in 2£ hrs. (161.). — This route traverses the ValsAssina, the valley of the Pio- verna, which affords pleasant excursions amid picturesque scenery. Near its principal village, Intrdbio (11 m. from Bellano), a few barytes mines are exploited. 39 m. (W.) Acquaseria (Inns) lies at the foot of the Cima la Grona (p. 103), while to the S. rises the Sasso Rancio (p 103). Farther N. on the same side are the scattered communes of Cremia and Pianello Ldrio, among the nearest of whose hamlets is (40J m.) Rezzdnico, with a 10th cent, castle, the cradle of the powerful family which bore its name and: num- bered Pope Clement XIII among its famous sons. — 41 i m. (E.) Dervio, with a ruined castle and an old campanile, is the best point for starting the ascent of the prominent Monte Legnone (8563 ft.). The ascent (guide desirable) is made in 7 hrs. vi& (3£ hrs.) the Rdccoli Lorla Refuge (4800 ft.; Inn in summer), and (5f hrs.) an abandoned refuge hut (7008 ft.) — Descent to Delebio in the Valtellina, see p. 128. — A little N. of Dervio is the ruined castle of Corenno; and 5 min. from the station is a 9-hole golf course. 43 m. (W.) Cremia. Beside the pier is the old church of San Vito, with a fine Madonna and angels by Ambr. Borgo- gnone. Higher up is San Michele, with an altarpiece of the patron saint by P. Veronese. — 44 m. (W.) Pianello. — 44f m. (W.) Musso is overlooked by the almost impregnable Rocca di Musso, the stronghold of the piratical Gian Giacomo Medici, surnamed ' II Medeghino,' who levied tribute from the traders of the lake and the neighbouring valleys until his overthrow by Francesco Sforza in 1529. — On the same (W.) bank is (45J m.) Dongo (Inn), which, with Gravedona and S6rico (see p. 105), formed the independent Republic of the Three Parishes (Tre Pievi), which endured until the Spanish occupation of Lombardy. The 12th cent, church of Santa Maria in the adjacent hamlet of Martinico preserves an interesting door- way. — 48J m. (W.) Gravedona (Hot. d'Italia; Gravedona) is the principal village (1008 inhab.) of the upper lake. The great square Palazzo Frova or del Pero, with its four corner towers, was built in 1586 by Pellegrino Tibaldi for Card. Tolomeo Gallio (p. 99). To the S. is the church of San Vincenzo, with a very ancient crypt, possibly of the 5th century. In the sacristy are preserved a silver-gilt proces- sional cross and an enamelled chalice of the 15th century.<-a Sffig"0 \ubouj aJ&mo Cilo^^^=i^Iolti>asio P_ J. Duji,^V^r^aI'' t.di Tamo Wl TM^mzano ^o,| r^*^jt$ScaPn-Kl rorno\" « G,&W7\Z *1 .Cxirova ^ 'I, vi>3fe C'ernobbio „ 7&pZ[uco OX/"-"' Porto^fflxzmico Scalo Scalo^ Ll^r,,n ^ L \ vft„ c xi'vl \ \\$ a0tf10 R£?%'l'J<>stiuo^ feC0MQ. innialc /Tlongio Porte Hotel . Scalo 1 BELLAGIO ■■ J3Sfe£ GranBretagju&r& 0 * n/HotelBelle lie- V°' -'\.JzPadonabbia ' \JZfScalo ho JW^Carlotta y&pDtel Tremezzo ^Tremezzo otel Bazzoni \cardano\ 'mno\ ^dfiHaCroce? Bolvei I PROD. VIET Hdtel Scalo BELLAGIO Hotel +/• GranBretagn^^Como CdLICO 15 Rte. 105 Near by is the little church of * Santa Maria del Tiglio, a 12th cent, building with one eastern and two transverse apses. The W. tower, square in its lower stories, becomes octagonal higher up. Opposite Gravedona is Piona, at the mouth of the land- locked bay called the Laghetto di Piona. The key of the little 12th cent, cloister here is kept by the priest of Olgiasca, 1 m. S.W. — 50 m. (W.) Domaso, at the mouth of the Livo, is overlooked by the chapel of Madonna di Livo. At the extreme N. end of the lake, where the Mera flows in, are the villages of (52J m.) Gera and Sdrico (see p. 104). — 55 m. (E.) Cdiico (Hot. Risi; Isolabella; Croce d'Oro, all unpretending; Ristorante Sport, at the station; Railway Buffet) is important mainly as the meeting-place of the routes over the Splugen and Stelvio passes, and stands in a plain near the mouth of the Adda. From C61ico to Chiavenna, see p. 128; to Lecco, see below; to Milan, see p. 127; to Tirana, see p. 128. From Colico to Lecco: A. By Electric Railway, 24£ m. (39 km.) in 1-1£ hr. (16 1. 5, 101. 90, 6 1 60 c.), see p. 128. B. By Steamer (21 1. 45, 11 1. 65 c.), 40f m. (65Jkm.). To (26|m., 42£ km.) Belldgio in 2 hrs. (141. 65, 8 1. 20 c.); thence to (14J m., 23 km.) Lecco in 1J hr. (13 1. 90, 6 1. 95 c.). Steamers are changed at Bellagio, and do not run in connect- ion. — To (26| m.) Belldgio, see pp. 104,103. Leaving Belldgio. we cross to the E. bank; on the left is the waterfall of Fiume- latte. We enter the lesser (S.E.) branch of the Lake of Como, usually called the Lago di Lecco. — 2J m. (E.) Lierna (Ristor- ante Unione) lies at the foot of Monte Paldgia (5083 ft.). Opposite, on the unfrequented W. bank, is (4J m.) Limonta (Hot.-Pens. Cervieri), to the S. of which is (6J m.) Vassena, whence a funicular railway to Civenna (p. 102) is projected. Passing (E.) Olcio we reach (7^m.; W.) Onno, whence we cross to (8Jm.; E.) Mandello L&rio (Hot. della Torre; della Grigna, both modest), which stands on the projecting delta of the Meria, and is almost united with Tonzdnico (rail, sta., p. 128). Mandello is an excellent starting point for the ascent of the Grigna Setten- trionale (7907 ft.; 7£ hrs.; see p. 103) and of the Grigna Meridionale (7166 ft.) or Monte Campione. The Passo Bttco di Grigna (5912 ft.) leads between the two Grigne into the Vals&ssina (p. 104). — Opposite Mandello is Onno, con- nected by road with Asso (p. 102). 10J m. (E.) Abbadia sopr'Adda lies at the foot of the interesting route which ascends to the Carlo Porta Refuge (4264 ft.; Inn, open July-Sept.). — The W. bank of the lake, opposite, is uninhabited; at the foot of the steep Monte106 Rte. 16 MILAN Stations Moregallo (4187 ft.) are a few limekilns. — As we approach Lecco, Monte San Martino (4764 ft.) rises on the left. On the right is Malgrate, beyond the month of the Ritorto which drains the Lago d'Annone (p. 99). 14J m. (23 km.) Lecco (Hot. Croce di Malta e Italia; Mazzo- leni, opposite the landing stage, pens. 25 1.) is a manufacturing town (12,702 inhab.) standing at the S.E. end of the Lake of Como, at the outflow of the Adda. Dominating the town from the E. is the saw-shaped Monte Resegone (6152 ft.; ascent in 2 hrs. by a red-marked path). On the W. is the detached Monte Barro (3025 ft.; Inn), a fine view-point. The recently enlarged Ponte Grande, which spans the Adda, was built in 1336-38 by Azzone Visconti, but has now lost most of its original character. A monument by Confalonieri commemorates Alessaridro Manzoni (1785-1873), the novelist, the scene of whose famous novel ' I Promessi Sposi' is laid partly around Lecco and Monte Resegdne. From Lecco to Bergamo, see p. 139; to Como, see p. 99; to Milan, and to Tirano, see p. 128; to the Valsdssina and Bellano, see p. 104. 16. MILAN MILAN or Milano (360-400 ft.), the second town in Italy for population (712,844 inhab.) and the most progressive in commercial and industrial development, is situated in the Lombard plain. It is often entitled ' the capital of Italian progress '; but although economic considerations play so large a part in the life of the city, it is also a rich storehouse of artistic treasures. Railway Stations. Centrale (♦Buffet; PI. 5-11), to the N. of the town, the largest station in Italy (360 trains daily), for all services of the Italian State Railways. The main Booking Office is in the main entrance hall; tickets for slow and local trains on the lines to Bergamo, Venice, Bo- logna vi& Piacenza, and Genoa vi& Pavia are sold on the E. side of the station. Hotel omnibuses and taxi- cabs meet the principal trains; elec- tric tramways (Nos. 1, 2, 25, 29, and 30), see p. 103. - Stazione dei Treni Elettrici (electric trains), on the W. side of the Central Station (entrance in the Via Galilei; tramway No. 5), for electric trains to Porto Ceresio via Gallarate and Varese, and for steam trains for the Simplon line and for kaveno and Luino via Gallarate. — Stazione Ticinese (PI. 31; tramways Nos. 25 and 28), a secondary station for trains to Genoa via Aless&ndria (no hotel omnibuses). — Stazione Nord (PI. 14; Nord-Milano Railway; tramways Nos. 12, 15, 25 and 27) for Como and Novara vi& Saronno, Laveno vi& Varese, Seregno, Canzo- Asso, etc. Hotels. On the Piazzale della Stazione Centrale: Palace (PI. i; 11), 165 beds, R. 20, B. 7, L. 22, D. 30, pens. 70 1.; du Nord & des Anglais (PI, d; 10), 130 beds, R. 18, B. 6, L. IS, D. 22, pens. 541.; Concordia (PL h; 10), Ri 16, D. 14, pens. 451.; Terminus (PL ac; 11), R. 12, D. 20, pens. 401.; Poste & Suisse, R. 10, D. 15, pens. 451.; ItAlia (PL bk; 4-10), R. 14, D. 18, pens. 451. Near the Central Station; PtfPPleffuTT^. 7 v X-iUfz/A; nw , . i Mtemofi RSassoC^nale // { —«>v 191 litres 1 cj a. Ovuyuw) M. Be r1 3U^Tk»T« d.Suai-dia (>wf Vi>88 / «J i ' * M.Cardi/ie!lo§M Dam^ri -<*LAr, /HS? 1 L BoechettAdiSUuiiio isk % /V96 .J W.DuiW ^P*"di£ 5// ' AVy Do/go* Gordw Curasao^ rura, w 4v®' Wascio a Peledo igiigiai jtmpoii .Piaghedo^ *1454 ypintda BoiipneA P!°di GirioilVlenone) 224& Corticit sroso \ tlwl Gfmanna J lam .Aimanno. Urienna M.Bina 'M Hib'iYato-UQjSfU rdona «h?Fl I Col meg none >y\ m\i"k^u&aT^8£ *°rrigm o W^" H Gi'iinanellX)}jj \Ifruy.eUqr* M. Bis6i no *Vla^totabuZZ> -i:!;1.'. +^nJ^u(>LtnxoW(G Qj\ iiedgio 0tw R~y 1 Momrasip At alio Ri»cW/ itTorrarj r JrPerUun-w ^^'mj/Cp/nob[/Oizr.mm Bterto ? /, iL^ray^/bw'''''',l!^W Uccakfera Bolesto lJjV' SV/W/^sv T.D.BRONCINO' Biicoilp w Turati, V Zezxq •:u/iatc \ % . PuimUf K42S Tamil: mixn IV/fcipomtr W-ana/vm'-y^Hotels MILAN 16 Rte. 107 Parc (PI. bh; 10), Via Princ. Um- berto, 100 beds, R. 16, B. 6, L. 18, D. 20, pens. 45 1.; Bristol Schmid (PI. ae; 10), 16 Via Marco Polo, R. 10, D. 16, pens. 381., two 2nd class hotels; Locarno, 15 Via Aldo Manuzio, R. 14, D. 16, pens. 45 1. Near the Giardini Pubblici: Cavour (PI. ad; 17), 10 Piazza Ca- vour, 120 beds, R. 20, P>. 6, L. 25, D. 30, pens. 70 1.; Manin (PI. af; 16), 7-9 Via Manin, R. 12, D. 16, pens. 421., well spoken of. On or near the Corso Vittorio Emanuele: De la Ville (PL m; 23), 34 Corso Vitt. Em., 150 beds, with winter garden, R. 30, B. 7, L. 25, D. 30, pens. 75 1.; Bertolini's H6- tel Europe (PI. q; 22), 11 Corso Vitt. Em., 100 beds, R. 20, B. 5, L. 20, D. 25, pens. 55 1. — Roma (PI. r; 22), R. 14, L. 16, D. 20, pens. 45 1.; FrAncia (PI. n; 22), R. 11, D. 16 1.; Victoria (PI. j; 22), R. 12, D. 17, pens. 381., Nos. 7, 19, & 42 Corso Vitt. Em.; Agnello & du Dome (PI. u; 22), 2 Via Agnello, 120 beds, R. 12, B. 4*, L. 15, D. 20, pens. 451.; Commercio (PI. x; 22), 5 Piazza Fontana, 150 beds, R. 11, B. 4$ 1., large Italian restaurant; In the Via Manzoni: Conti- nental (PI. v; 16), 200 beds, R. 45, B. 6, L. 25, D-30, pens. 801.; Mi- lan (PI. ah; 16), 150 beds, R. 25, J3. 6, X. 25, D. 30, pens. 751., both houses ; of tfie 1st order. Near the Piazza del Duomo: M£tropole (PI. e; 32), at the corner of the Via Rastrelli, 130 beds, R. 18, B. 6, L. 20, D. 25, pens. 55 1.; Re- gina & Rebecchino (PL a; 22), 16 Via Santa Margherita, 100 beds, R. 20, B. 6, L. 15, D. 20, pens. 55 1.; Bella Ven£zia (Pl. ar; 22), 1 Piazza San Fedele, R. 15, L. or D. 14, pens. 50 L; Falcone & Spagna (Pl. ak; 21-27), 9 Via Falcone, R. 10, D. 15, pens. 351.; Suisse Excelsior (Pl. bf; 28), 20 Via Rastrelli, R. 12, D. 16, pens. 381.; Cappello (Pl. bd; 21-22), 20 Via Carlo Alberto, R. 11 1.; Gran Bretagna, 11 Via Spadari (Pl. 21), R. 11, D. 15, pens. 401. Hotels MeuM6s. *Majestic Diana (Pl. bi; 12-18), in the Kursaal Diana, Piazzale Ven^zia, R. 25, B. 7 1.; Splen- dide Corso (PL p; 22), 15 Corso Vitt. Emanuele, above the Trianon theatre, R. §0, B. 6? pens. §0 1.; Marino & National (Pl. z; 22), 5 Piazza Scala, R. 14, B. 6; Como (Pl. bl; 11), R. 12, B. 4^ 1., near the central station; Moderne (Pl. y; 22), 16 Via Carlo Alberto, R. 8-111.; Ancora & Gi- nevra (Pl. s; 22), 3 Corso Vittorio Emanuele, R. 11, B. 3-i 1. Pensions. Bonini~ Piazza del Duomo; Inglese, 8 Via Cappuccini; Delia Valle, 4 Via Cesare Cantu; Finzi, 7 Via Moscova; Bassi, 8 Corso Vitt. Em. Restaurants. *Cova, Via Giu- seppe Verdi, beside the Scala Theatre, a 1st class house with gardens and music; Campari, Savini (good cui- sine, Biffi (with concert), all popular restaurants in the Galleria Vitt. Ema- nuele; Fiaschetteria Toscana, Via Berchet, near the E. end of the Gall. Vitt. Emanuele; Carminati (with concert), Orologio (behind the Duomo), in the Piazza del Duomo, all much frequented; Diana, Eden, near the theatres of the same names; U- nione Cooperativa, 9-11, Via Me- ravigli. Ca!6s. *Cova, Campari, Biffi.I, see above; Grande Itdlia (formerly Gambrinus), Gall. Vitt. Emanuele; Carminati, at the W. end of the Piazza del Duomo; Montetordo, in the park; Montemerlo, in the public gardens. — Qafis Chantants, see p. 108. Brasseries. Grande Itdlia, with concert, see above; Spatenbrau, 2 Via Ugo Foscolo; Borsa, 2 Via Cordusio; Puntigam, Corso Buenos Aires; Birr a Itdlia, at the brewery of the same name, 79 Corso Sempione. Post Office (Pl. 21), Via della Po- sta, near the Bourse. — Central Te- lephone Office, 12 Via Orefici (Pl. 21). — Police Station (Questura; Pl. 22), 2 Piazza San Fedele. — Cham- ber of commerce, 2-4 Via Mercanti (Pl. 22). British Consulate, 1 Via Rasori, (crossing the Via Scarpa, Pl. 19). — United States Consulate, 3 Via Bocchetto (PL 21). Touring Club Italiano (Pl. 27), 10 Corso Itdlia. — Club Alpino Ita- liano, 6 Via Silvio Pellico (Pl. 22) — Information Bureaux and Tourist Agents. E.N.I.T. (cotnp. p. ciii), 16 Via Santa Margherita; Cook & Son, 7 Via Manzoni; International Sleeping Car Co., 6 Via Manzoni; Chiarif & Sommariva, 7 Via Dante;108 Rte. 16 MILAN History Navigazione Generate Italiana, 1 Via Mengoni. Horse-Cabs (with taximeter). The first 262 metres or 6 min., 11. 60; each extra 131 metres or 3 min. 20 c. Between 10 p.m. and 6 a.m., 50 c. is added. Cabs may be engaged (51.) at the kios que on the right of the entrance to the Call. Vitt. Eman. in the Piazza del Duomo. — Taxicabs. The first 750 metres or 12 min., 2 1.; each extra 250 metres or 4 min., 50 c. Each package carried outside, 11. Electric Tramways. The most important services for the tourist are: 1. Duomo-Via Manzoni-Central Sta.; 2. Corso Vitt. Emanuele-Corso Ve- nezia - Central Station; 6. Duomo- Scala-Brera-Cimitero Monumentale; 12. Duomo-Stazione Nord-Corso Sempio- ne); 13. Duomo-Porta Magenta (Santa Maria delle Grazie); 19. Duomo-Porta Ticinese (San Lorenzo, Sant' Eustor- gio); 25 (" Linea Interstazionale "). Central Station - Brera - Castello - Staz. Nord-Milano-Via Carducci-Staz. Porta Ticinese; 29-30 (" Circonvallazione tour of the former fortifications). Suburban Tramways. To Monza, every 20 min. from the Porta Vene- zia (PI. 12); to Torre del Mdngano (for the Certosa) and Pavia, 5 times daily from the Porta Ticinese (PL 83). Motor Omnibuses daily from the Largo Cairoli(P1.15) for Como, Argegno, and Menaggio. Theatres. Scala (PL 22), on the piazza of the same name, opera and ballet in winter; Manzoni (Pl. 22), Piazza San Fedele, comedy in winter and spring; Lirico Internazionale (Pl. 28), Via Larga, opera, pperetta, and comedy; Dal Verme (Pl. 21), Foro Bonaparte, opera in autumn and at the carnival season, operetta and comedy at other times; Carcano (Pl. 28), Corso di Porta Romana, opera, operetta, and comedy; Filodramma- tici (Pl. 22), Piazza Ferrari; Olympia (Pl. 15), Via Cairoli, usually comedy; Kursaal Diana (Pl. 12-18), with good restaurant and large garden for con- certs, pelota, etc., comedy and ope- retta. Ca!6s-Chantants and Varieties. Trianon, 15 Corso Vitt. Eman. (Pl. 22); San Martino, 5 Via Beccaria (Pl. 22); Apollo, Portioi Settentrionali. Baths. Albergo Diurno Cobianchi, Via. Silvio Pellico; Terme, Foro Bona- parte, with swimming and Turkish baths; TreRe, 24 ViaTre Alberghi;etc. Race Courses. Ippodromo di San Siro; trotting-races at the Ippodromo di Turro. History. The Celtic centre on the site of Milan was captured by the Romans in 222 b.c. and, as Mediolanum, reached a high level of prosperity under the Empire. The famous Edict of Milan (313) is a landmark in Christian annals, and the great bishop Ambrose (c. 340-397) left so strong an impress on the history of his time that the epithet 4 ambrosiano' has become synonymous with ' Milanese.' The commune of Milan, which arose after the barbarian in- vasions, soon came into conflict with Pavia, Como, and Lodi, and later with Barbarossa, who twice starved out the city, and, in 1162, almost completely destroyed it. Rebuilt, the city took its place at the head of the Lombard League, beat Barbarossa at Legnano (1176), and by the treaty of Constance (1183) gained the recognition of its independence. The town rose to a great height of wealth and magnificence under the sway of the Visconti (1227-1447), famous among whom was Gian Galeazzo (1372-1408), founder of the Duomo and of the Certosa of Pavia. Their rule ended with Filippo Maria (1412-47), and after three years of the Ambrosian Republic, Francesco I Sforza, the celebrated condottiere, and son-in-law of the last Visconti, proclaimed himself duke. He was succeeded by his son Galeazzo Maria, and then by his infant grandson Gian Galeazzo, under the regency of his mother Bona di Sav<5ia. But the power was usurped by the child's uncle Lodovico il Moro, who brought untold wealth and beauty to Milan, thanks to his patronage of the fine arts. The expedition iri 1494 of Charles VIII of France began a succession of foreign invasions. Between 1499 and 1535 Milan saw her dukes fall thrice from power, and passed alternately into the hands of the French and the Spaniards, finally becoming, under Char- les V, capital of a province of the I mpure. In 1713 it became Austrian, but in 1796 Napoleon entered its gates, proclaming it three years later capital of the Cisalpine Republic, and again in 1$0$, after a brief occupation by the AustrianArt MILAN IB Rte. 109 and Russians, capital of the Italian Republic (1802) and of the Kingdom of Italy (1805). The fall of Napoleon brought back the Austrians, who ruled the city with a hateful tyranny against which the Milanese rebelled during the glorious ' Cinque Giornate' (March 18-22, 1848). Milan at length found li- berty on its union with Piedmont in 1859. Among famous Milanese are Federigo Borromeo (1616-73), Cesare Bec- caria (1738-91), Carlo Porta (1775-1821), Alessandro Manzoni (1785-1873), Carlo Cattaneo (1801-69), and Felice Cavallotti (1842-98). Giuseppe Parini (1729-99), of Bosisio (p. 99), and Cesare Cantii (1804-95) of Brfvio may likewise be called Milanese, on account of their long residence in the city. Art. Milanese Architecture, already advanced in the 11th cent., gave a stereotyped form to the Lombard basilica (comp. p. 118). At the close of the 14th cent., the attention of the artists of Milan was concentrated on the Duomo. Towards the end of the 15th cent, the Renaissance was brought to Milan by Filarete, Michelozzo, and Bramante, while Amadeo and the Mantegazza, among sculptors, and Borgognone and others among painters were inspired by the Paduan school. Milanese art was completely transformed by the advent of Leonardo da Vinci (c. 1483); during the last two decades of the century his great figure was the centre of the new artistic and scientific movement, which ended with the fall of II Moro (1499). But the painters Cesare da Sesto, Marco d'Oggiono, Boltraffio, Salaino, Giampetrino, Andrea Solari, Bernardino Luini, Gaudenzio Ferrari, and the sculptors CrMoforo Solari and Bambaia, had felt the stimulus of the genius of Leonardo; and after a period of quiescence painting once more revived under the Procaccini of Bologna, Crespi, and Morazzone, and architecture under Galeazzo /ilessi and Pellegrino Tibaldi. In the 18th cent. Milan offered hospitality to Tiepolo and Piermarini, who were followed by the domination of the neo-classics Cagnola and Canonica, and the painter Appiani. In the 19th cent. Milan became the centre of the artistic schools of Hayez, the Induno, Cremona, Vela, Barzaghi, Paul Trubetzkoy, Mengoni, and others. I. Central Milan. Starting from the Central Station (PI. 5; tramway No. 1), about to be replaced by a larger one, we cross the square in front of it, pass under the Bastione Venezia, and follow the Via Principe Umberto. Here rise (1.; No. 32) the Palazzina della Societa per le Belle Arti, by Luca Beltrami (1865), and(r.) the monument of the patriot physician Bertani, by Vela. Beyond the Piazza Cavour (with a monument to Cavour, by Tabacchi), and the arches of the Porta Nuova (1156-58), with sculptures by Giov. Balduccio of Pisa (1330), arid Roman funerary stones set in the walls, we proceed by the Via Alessandro Manzoni, the Piazza della Scala, the Via Santa Margherita, and the Via Giuseppe Mengoni, to the *Pfazza del Duomo (PI. 22), the centre of the city's life and movement (tramways, see p. 108), in which rises an eque- strian statue of Victor Emmanuel II, by Ercole Rosa (1896). The * Duomo (PI. 22), the most imposing building in Milan, a structure in the Northern Gothic style but showing the infc)e34^6i of other schools, was begun in 1386, under duke Gian Galeazzo Visconti, by an unknown architect. The work was continued under the direction of various Campio- nese, French, and German master-masons, and later, of theiio lite. 16 MILAM Cathedral architects Filippino degli Organi, Guiniforte Solari, Filarete, Cesare Cesariano, Giov. Antonio Amadeo, Bern. Zenale, Giov. Dolcebuono, Cristoforo Solari, and Pellegrino Tibaldi. The total length is 486 ft., the width across the transepts 289 ft.; the area is 14,000 sq. yards; it is built of sarizzo ghiandone, a stone resembling granite, but is cased throughout with white marble from Candoglia and Ornavasso (p. 12). The marvellously rich effect of the 135 pinnacles, the 2300 statues, the festoons and the frettings, gives an impression of fan- tastic beauty, notwithstanding the incongruity of the style of the fa9ade. Exterior. The best points from which to view the ensemble are the right hand side of the Palazzo Reale and the beginning of the Corso Vittorio Ema- nuele. As we walk round the church the ends of the transepts and the poly- gonal apse with its three immense windows, the largest in the world, by the Frenchman Nicolas d@ Bona venture, should be noticed. The Facade (183 ft. high, 201ft. wide) was begun by Richini (1606) from a design by Pellegrino Tibaldi (end of the 16.th cent.); the grand lines of the baroque porches and the sculptures of the pillars give it dignity and a certain beauty. The double pillars at the sides of the great doorway were the work of C. Buzio (1655) who returned to the Gothic style. The upper portion, an unsuccessful hybrid. Gothic creation, was added by order of Napoleon 1 and is the work of Zanoia and Amati (1805-13). The magnificent central door of bronze, with scenes from the Life of the Virgin, is by Lodovico Pogliaghi (1906). For some time past a plan has been under discussion for reconstructing the upper part of the fa$ade, but disagreements among experts have so far prevented its fulfilment. The Interior is in the form of a Latin cross, and has a nave (height 157 ft.) and four aisles (the transepts have two only) separated by 52 huge columns which have circles of figures in canopied niches in place of capitals. The pavement is by Tibaldi. The immensity and lofty lines of the struc- ture, the semi-darkness, and the stained glass produce an unforgettable impression of grandeur and solemnity. — S. Aisle: Tomb, of Abp. Ariberto da Intimiano (d. 1045); above, a Crucifix, bas-relief in copper (11th cent.); Tomb of Abp. Ottone Visconti (d. 1295); Tomb of Marco Carelli, by Filippino da Modena (1406); Monument of Canon Giovanni Vimercati (d. 1540) by Bambaia.—S. Transept: Tomb of G. G. Medici, by Leone Leoni (1563-65); altar of San Gio- vanni Bono (18th cent.); next, Presentation of the Virgin, by Bambaia, and beneath, Birth of the Virgin, by Cristoforo Lombardo; a little further, statue representing St. Bartho- lomew flayed and carrying his skin, by Marco d' A grate (1562). — On the pendentives of the impressive Dome are medallions with busts of the Doctors of the Church, by Cristoforo Solari. On the high altar, beneath, is a large bronze ciborium by Tibaldi, From the Ambulatory a doorway on the right,Cathedral MILAN 16 Me. Ill with sculptured decoration by Johannes Fernach, admits to the South Sacristy. The sacristy contains the Cathedral Treasury (apply to the sacristan), which includes a diptych of the 5th cent.; two gospel covers; a Byzantine diptych; a little ivory bucket of the 10th cent.; a paten attributed to Caradosso; the crozier of St. Galdino (1150); an ivory chalice (14th cent.); a golden cross; Christ at the Column, by Cristoforo Solari; etc. Farther on in the ambulatory are a statue of Martin V, by Iacopino da Tradate (1421), and the Tomb of Cardinal Caracciolo (d. 1538) by Bambaia. The three great windows are filled with stained glass representing subjects from the Old and New Testaments and the visions of the Apocalypse; they were almost entirely re-made by Giov. Bertini (c. 1836). Next come two frescoes of the 15th cent., and then the doorway of the North Sacristy, by Giacomo da Campione (1395) and Giovannino de' Grassi (?); within is a pavement by Marco da Carona (1404-07). The Crypt (adm. 1 1.; free before 10 a. m.) is decorated with stucco reliefs by Tibaldi; in the adja- cent octagon lies the body of San Carlo Borromeo. In the middle of the N. Transept stan^ a remarkable bronze ^Candelabrum in the form of a tree with seven bran- ches; the foot is French work of the 13th century. The *San Carlo Window, at the end on the right, is a fine work from the studio of Giov. Beltrami (1910).—N. Aisle: 3rd chapel, the Repentance of Theodosius, by Barocci; 1st chapel; wooden crucifix carried in procession by San Carlo Borromeo during the plague of 1576; eight figures of Apostles (c. 1155), from the church of Santa Maria Maggiore which formerly stood on this.site. The Baptistery, contains a canopy by Tibaldi. The entrance (11.) to the Roof and Tower is a small door in the corner of the S. transept, near the Medici tomb. We ascend 158 steps to the roof of the transept, whence we survey the forest of pinnacles and flying buttresses. Passing westwards to the facade, we ascend (staircase) to the gallery above it, whence we have a good view of the piazza far below. We now proceed to the dome. Turning to the right and walking along the south side of the apse, we pass th? statue of Eve (school of Crist. Solari). At the angle facing the end of th6 Corso is the Carelli Spire, the oldest pinnacle, which terminates in a figure of St. George, by Giorgio Solari ^1404). In the neighbouring gallery is the *Statue pf Adam, by Crist. Solari. The Dome, the construction of which was studied by both Bramante and Leonardo, was the work of ^madeo (1490- 1500), who planned also the four turrets, but finished only that at the N.E. angle. Ascending the S.W. turret (by Pestagalli, 1844-46) by an exceedingly narrow staircase, we reach first the platform of the dome and then the topmost gallery, whence rises the central spire, surmounted by the Madonnina (354 ft. from the ground), a statue of gilded copper 13 ft. high. From this height we have a magnificent *View of the city, the Lombard plain, the Alps from Monte Viso to the Ortler (the outstanding peaks being the Matterhorn, Monte Rosa, the two Grigne, and Monte Resegone), and the Apennines. To the S. of the cathedral is the former Palazzo Reale or Royal Palace, given by the Crown to the municipality of11a Rte. 16 MILAN La Scala Milan in 1918; it was entirely transformed in 1771-78, principally by Gius. Piermarini, and again in the 19th century. Among its sumptuous apartments the most remarkable are the rooms decorated by Hayez and the *Salone delle Ca- riatidi, with monochrome paintings by Appiani. From the Via del Palazzo Reale, we get a view of the apse and ♦Cam- panile of San Gottardo (formerly the palace chapel), the latter a very graceful structure by Francesco Pecorari (1330-36). On the N. side of the Piazza del Duomo is the Gallekia Vittorio Emanuele II (PI. 22), a lofty glass-roofed arcade in the form of a cross, lined with cafes, restaurants, and fine shops. It was designed by Mengoni (1865), who fell from the top and was killed the day before that fixed for the opening (1878). From the N. end of the Galleria we emerge in the Piazza della Scala, embellished with a monument to Leonardo da Vinci (by P. Magni, 1872) surrounded by figures of his pupils, Boltraffio, Salaino, Cesare da Sesto, and Marco d'Og- giono. On the N.W. side of this piazza is the externally unimpressive Te&tro della Scala (3600 seats), by Piermarini (1776-78), famous in operatic art. The Museo del Teatro (1913) on its left side contains a valuable collection relat- ing to its history. On the N.E. side of the piazza is the ♦Palazzo Marino, or Town Hall, an admirable building by Galeazzo Alessi (1558-60), with a fa$ade by Beltrami (1880). The interior court is picturesque, and in the splendid Sala del Consiglio are frescoes by Andrea Semini. The other side of the palace faces the Piazza San Fedele, in which are a statue of Manzoni (p. 106) and the church of San Fedele, by Tibaldi (1569), completed by Martino Bassi, with a good fa5ade, a remarkably designed north side, and a sumptuous interior. At the 2nd altar on the right is a Transfiguration by Bernardino Campi, and in front of the high altar two bronze candelabra by Annibale Fontana (16th cent.). The Via Omenoni (so called from the caryatids on the house of the sculptor Leone Leoni) skirts the N. side of the church and ends in the Piazza Belgioioso, No. 3 in which was occupied by Manzoni. The Via Morone leads to the *Museo Poldi-Pezzoli (PI. 16), formerly the house of G. G. Poldi-Pezzoli, and bequeathed by him to the city (1879) with his priceless art-collection. The museum is open 9- 4.30 in summer, 10-4 in winter; adm. 2 1.; Sundays and holidays 9 or 10-12; adm. 11. Vestibule: Watercolours. — 1st Room: *63. Astyanax, plaster group, by Lor. Bartolini; on the right is the Library, containing MSS. and incunabula. — By an artistically de-Poldi-Pezzoli Mu$. MILAN 16 Rte. 113 signed staircase, with a fountain, we ascend to the first floor. —- On the left is the Sala Verde, with marriage coffers, helmets and armour, Flemish tapestries, small paintings by Guardi, sketches by Tiepolo. — Sala Dorata: 551. Girol. Boccati, Madonna and Child, with the young St. John; *367. Bernini, Bust of Ulpiano Volpi; *156. Botticelli, Madonna; *157. Ant. Pollaiolo, Portrait of the wife of Giov. Bardi; Persian *Carpet of the 14th cent.; needlework from designs by Botticelli; jewels and cameos; enamels; Phoen- ician and Greek antiquities (Athenian glass of c. 510 b.c.); porcelain, etc. — The small room at the end contains works by Lucas Cranach and Brueghel. — Saletta Nera: 478. German School, Polyptych; 473. Luca Signorelli, Mary Magdalen; 474. Borgognone, St. Catherine; *488. Statue by Bartolini, repre- senting Faith in God; 477. Mariotto Albertinelli, Mary Magda- len and two saints. — Camera da Letto: Prie-dieu, by Andrea Fantoni; three portraits by Fra Galgario; glass from Murano, etc. — Gabinetto Dante (decorated by Scrosati and Gius. Bertini): Bronzes; mediaeval cross; enamels. — Sala degli Specchi: 552. Botticelli (attr. to), Descent from the Cross; 560. Palma Vecchio, Portrait. — Sala del Perugino (on the right): 577. Vittore Carpaccio (?), Samson and Delilah; *605. Perugino, Virgin, with two angels; 600. Cosimo Tura, Episcopal saint; 601. Francia, St. Anthony; *598. Piero della Francesca, St. Thomas; 696. Iacopo Bellini, Madonna; 598. Ant. Vivarini, Madonna; 581. School of Verrocchio, Madonna.—Gabinetto dei Veneziani: Bariolomeo Mon- tagna, *617. St. Jerome, *618, St. Paul; 619, School of Murano, Virgin and angels; Carlo Crivelli, 620. Christ and St. Francis, 621. St. Sebastian; *624. Giov. Bellini, Piet&; 610. Marcello Fogolino, Madonna; 627, 628. Fr. Bonsignori, Portraits; *625. Andrea Mantegna, Madonna; 686, G. B. Cima, Triumph of Bacchus and Ariadne; 611. And. Cordegliaghi, Portrait; 614. Lorenzo Lotto, Madonna and Child, with SS. John and Zacharias. — Sala dei Lombardi: Andrea Solari, *602. Virgin, 636. St. John the Baptist, 638. St. Anthony Abbot, *637. Ecce Homo; 640. Borgognone, Virgin and Angels; 641. Ambrogio de Predis, Portrait; 642. Boltraffio, Virgin; 643. Foppa, Virgin; 644. Marco d'Oggiono, St. Sebastian; 645. And. Salaino, Holy Family; And. Solari, 653. St. John the Baptist, 657. St. Catherine, *655. Repose in Egypt; Bernardino Luini, 652. St. Jerome, *659. Christ on the way to Calvary, 663. Betrothal of St. Catherine; 576. Sodoma, Madonna and saints; 667. Cesare da Sesto, Madonna and Child. — Sala delle Armi: Arms and armour. 4114 Rte. 16 MILAN San Satire To the S.E. of San Fedele is the Piazza Beccaria, containing a fine monu- ment to Cesare Beccaria by Giiis. Grandi (the original statue, now in the'museum, is here replaced by a bronze copy), and the Palazzo di Giustizia (left of the door is a plaque with the names of those condemned to the fortress of the Spiel- berg). Just to the W. is the Piazza Fontana, with the Archbishop's Palace (PI. 22), rebuilt successively by Tibaldi and Piermarini, with an inner court in formal style. In the quarter S.E. of the cathedral is the Ospedale Mag- giore (PI. 28), founded by Francesco Sforza and built by Filarete (1456), who executed also the rich terracotta decora- tions of the right wing. The central portion dates from the 17th cent., the fine interior court from the end of the 16th. Just beyond is the church of Sail Nazaro (Pl. 28), rebuilt in the 12th cent., and altered in 1578. In 1518 the Trivulzio Chapel was added alongside the fa$ade either by Bramantino or Fr, da Briosco; it contains tombs of the Trivulzio family. The church is in the form of a Greek cross. In the Chapel of St. Catherine (entered from the N. transept) is a large fresco representing the saint's martyrdom, by Bernardino Lanino (1546). From the side door of the chapel we follow the Via Pantano and the Via Tre Alberghi to the picturesque church of *San Satiro (PI. 21). rebuilt in the Renaissance style by Bramante (c. 1478); the fayade, in the Via Torino, is by Giuseppe Vandoni (1871). The interior is T-shaped. By a clever perspective device the straight E. wall gives the perfect illusion of a semi-circular apse, a pleasant invention of Bramante. At the end of the left transept is the ancient baptistery, altered by either Battaggio or Bramantino, with graceful decoration and a Piet& in terracotta, by Agost. de Fondutis (1483). The campanile is in the 9th cent. Lombard style. Reached from the Via Torino by the Via delle Asole is the restored Lombard church (1030) of San Sepolcro (PI. 21), containing terracotta groups. Leaving the church we keep to the left along the flank of the Biblioteca to reach the Piazza della Rosa, in which is a monument to the poet Fel. Cavallotti (1842-98), by Ern. Bazzaro. Entered from the piazza is the Biblioteca Ambroslana (PI. 21), founded by Cardinal Federigo Borromeo at the beginning of the 17th cent., and containing a most interesting collection. The Pinacoteca, or Picture Gallery (adm. 10-3 or 4; 2 1. Sundays and holidays, 1-3 or 4; 50 c.) occupies 8 rooms. Room A; 6. German School, Epiphany; 17. Raphael Mengs, Pius VI. — Room B: 1, 5. Butinone, Saints; 28. Marco Basaiti, Redeemer. — Room C: paintings by J. Brueghel. — Room D; 15. Botticelli, Adoration of the Child; 17, 21. Borgognone, Saints; 18. Bramantino, Triptych; 19. Bar- tolomeo Suardi, Adoration of the Child; 23. Borgognone,Bibl. Ambrosiana MILAN 16 Rte. 115 Virgin and Child with saints and angels; model of a Trium- phal Arch, by Cagnola.— Room E: Raphael, *Cartoon for the School of Athens (fresco in the Vatican); 44. Moroni, Portrait; 16. Ant. Solario, Head of St. John; 43. Bonifazio Veronese, Holy Family; 42. Titian, Adoration of the Magi; 40. Iacopo Bassano, Adoration of the Shepherds; 35. Titian, Portrait; Tiepolo, 33. Circumcision, 36. Portrait of a Bishop; pictures by Francesco Guardi; 23. Bartolomeo Ve- neto, Portrait; *19. Leonardo da Vinci, Musician; Luini, 10. St. John; *9. Salvator Mundi, 3, Holy Family; *8. Arnbr. de Predis, Portrait; *2. And. Salaino, St. John the Baptist, .—r. Room F: Miniatures; 67. Barocci, Manger.— Room G: Drawings and pastels by Leonardo and his pupils; the famous ' Codice Atlantico,' a collection of Leonardo's drawings and notes. — Room H: Drawings, engravings, etc. In the Museo Skttala, at the foot of the main staircase, are the collection, of antiquities, instruments, and natural history, made by Manfredo Settala (1600-80). — The Library contains 250,000 volumes, including about 3000 incunabula, and 20,000 MSS., among them *Petrarch's Virgil, palimpsests, etc. The quarter to the N.W. is the business centre of Milan, with the Banco, d\'Italia, the General Post Office (PI. 21), the Borsa, the Palazxo del Credtto Italiano, and other banks. The Casa dei Borromei (1; PI. 21) a fine specimen of 15th cent, domestic architecture, is no longer open to the public. — In the Via Mercanti, leading from the Piazza Cordusio (monument to the satiric poet Parini) to the Piazza del Duomo are (1.) the Palazzo dei Giureconsulti (1561-4), now the seat of the Chamber of Commerce, and (r.), the Pa- lazzo della Ragione (13th cent.), behind which is the Piazza dei Mercanti, with the Gothic *Loggia degli Osii (1316), and the baroque Palazzo delle Scuole Palatine (1650). —From the back of the Chamber of Commerce the Via Santa Margherita leads N.E. At the monument to Carlo Cattaneo (6; PI. 22) we turn to the left. No. 5 in the Via Clerici (straight on; PI. 21). is the Palazzo Clerici, in the hall of which a *Ceiling-painting by Tiepolo (1740) shows the Sun lighting the World and giving birth to Industry. II. — Western Quarters. The wide and busy Via Dante (PI. 21) leads from the centre of the town to the Largo Cairoli (monument to Gari- baldi, by Ximenes) and the Piazza Castello. Here rises the *Castello Sforzesco (PI. 14-15; open 9-4 or 8-6), erected by Francesco Sforza (1450) on the site of the castle of the Vis- conti (1368) destroyed by the Ambrosian Republic. It now contains historical and artistic collections (adm. 1 1., 10-12 and 1-3.30 or 2-5; free on Sun.; closed on Mon.). The decoration of the principal tower was entrusted to Filarete, the Flo- rentine architect. The Castello was, later, enriched with works by Bramante and Leonardo; later still, it was converted into barracks, and ultimately restored by Luca Beltrami (1893-1911). It is square in plan; on the facade are three towers, the chief of which is the Filarete Tower, rebuilt in 1901-5, in accord- ance with the supposed design of the original, which had been destroyed by an explosion of powder due to lightning. On the south side is a graceful loggia by Bramante.116 Rte. 16 MILAN Castello Sforzesco In the interior is the large and picturesque courtyard, the old Piazza d'Armi; at the E. angle stands the ancient Pusterla dei Fabbri (Smiths' Postern), likewise restored; on the opposite side, to the right, is the Cortile Ducale, a particularly fine court, the work, in part, of Bened. Ferrini; on the left is the Rocchefia, with the Torre di Bona di Savdia. In the Corte Ducale, on the ground floor, is the *Museo Archeologlco. —Room I: Pre-Roman and Roman antiquities, including fragments of a throne of Neptune and of a statue of Venus. — Room II: Fragments from the ancient church of Santa Maria d'Aurona, from Sant'Ambrogio, and other Romanesque remains. — Room III: *Tomb of Barnabo Visconti, by Bonino da Campione (1370-80); Doorway of the church of San Gottardo (14th cent.). — Room IV: *Tomb of Regina della Scala, by a Campionese master; remains of the fa5ade of the church of Santa Maria di Brera, by Bal- duccio da Pisa (1347); statues by the same artist, from the tabernacle on the E. gate of Milan; *Rusconi Tomb> from Coriio.—Arcade: Doorway of the Banco Mediceo, by Michelozzo; Renaissance capitals from the palace of Car- magnola, rebuilt by Bramante. — Room V (Chapel): Frescoes of the mid-15th cent., in a bad state of preservation; sculp- tures of the first half of the 15th cent. — *Room VI (Sala delle Asse), with frescoed decoration imitating oak foliage with round shields hanging at intervals, the work of Leonardo da Vinci (c. 1497), restored by E. Rusca (1901-02). — Room VII: Coats-of-arms of Galeazzo Maria Sforza; *1086. Ta- bernacle by Ant. Rizzo; 1089. The Tiburtine Sibyl announ- cing to Augustus the birth of Christ, by Agostino di Duccio; sculptures from the cathedral, from Lodi-Vecchio, etc. — Room VIII (Sala delle Colombine): Fresco decorations with the arms of Bona di Savoia (p. 108); sculptures by Amadeo, Rodari, and Crist. Solari. — Room IX: Sculptures by And. Fusina and Bambaia, including the * Effigy of Gaston de Foix, with fragments of his tomb. — Room XI: Decorative terracotta work, from Milan and Cremona. A staircase leads to the 1st floor, with a graceful Loggetta, leading to the *Museo Artistico. Room A: Italian and for- reign ceramic wares; glass; leather-work. — Rooms B, C, D (left): Furniture of the 14th and 18th cents.; tapestries; coffers; ' Boulle' Furniture; bed-canopies; sedan-chairs.— Room E: Textiles and costumes. — Room F: Furniture of the 18th and 19th cent. — Room G. (right): Ecclesiastical jewels, 14-17th cent.; Lombard crosses; Venetian basin; bronzes by Caradosso, Riccio, and Giambologna; a reliquary of 1406; Head of Michelangelo, from his death-mask, by Daniele da Volterra (1564): ivories; enamels; tapestries; etc.Cenacolo MILAN 16 Rte. 117 — Room H: Paintings of the Venetian School (15th and 16th cents.); Gonfalon of Milan (1564). — Room I: 412. ♦Berenice, by Bern. Strozzi; paintings by Moretto. — Room L: Paintings and frescoes of the Lombard School; paintings by Borgognone; 283. Sodoma, St. Michael; *64. Tintoretto, Portrait; 253. Correggio, Virgin and St. John; 249. Antonetto da Messina, Portrait; 78. Tiepolo, Communion of St. Lucy (a sketch); *196. Ribera, St. Jerome; works by Fra Galgario, Francesco Guardi, J. Brueghel, Greuze, etc. In the court of the Rocchetta, beneath the arcades, is an epigraphic col- lection. On the first floor are housed the historic Archives of the Commune, and also the *Museo del Risorgimento, a copious collection illustrating the history of Italy from 1796 to the present day, and particularly rich in material relating to the events of 1848. Beyond the Castello lies the ♦Park (116 acres), which presents a very ani- mated aspect on Sunday afternoons. In it are the Aquarium (PI. 14; open 9 or 10-12 and 2-5 or 7,50 c.; Sun. and holidays 10-5, or 9-7; 25 c.), containing a fine collection of fresh-water fish; the Arena (PI. 8-9), a huge elliptical amphi- theatre by L. Canonica (1806-07); and the *Arco della Pace (PI. 8), by L. Ca- gnola (1806-38). The last is a triple arch of marble, 82 ft. high, on the model of that of Septimius Severus, at Rome, with statues and bas-relief by Bened. Cacciatori and others; it is surmounted by a six-horsed chariot, by Abbondio Sangiorgio, and at the angles are Victories by Giov. Putti. The arch was begun in honour of Napoleon (1806), but was finally dedicated, under the Austrians, to Peace (1838). It marks the beginning of the historic Corso Sempione or Simplon Road, constructed by Napoleon's order ' cere italo' (similar inscription on the Simplon Pass). On the S.W. side of the park is the Nord station, beyond which the Via Venti Settembre and the Via Mascheroni (1.) bring us to Santa Maria delle Grazie (PI. 19-20), a church of brick and terracotta, with a very beautiful exterior, erected in 1465, and partly rebuilt by Bramante (1492-9), to whom are due the striking tribune and the W. porch. Interior. In the 4th S. chapel are frescoes by Gaudenzio Ferrari (1542); in the apse are fine stalls of carved and inlaid wood. The Cloister and Sacristy are fine examples of Bramante's work. At the end of the left aisle is the Chapel of Madonna delle Grazie, with the sepulchral steles of Branda Castiglione and Cardinal Arcimboldi, by Bambaia. In the Refectory ot the convent (entrance on the left of the fagade: admis- sion 9.30 or 10-4.30 or 5, 21.; Sundays and holidays, 10 to 1, free) is Leonardo's world-famous *Cenaeolo or Last Supper. This is a tempera painting, not a true fresco, and the inferior durability of this technique, together with the dampness of the wall, has caused great damage to the picture, which had, in fact, considerably deteriorated by the middle of the 16th century. It has been recently restored by L. Cavenaghi. In all Italian art there is no work so pro* foundly dramatic in character as this painting, which represents the tragic moment when Jesus uttered the words foretelling his betrayal. On the op- posite wall are the portraits, now nearly effaced, of Lodovico il Moro and his wife Beatrice d'Este, also by Leonardo (comp. p. 126), Tramway No. 15 crosses the Piazza Giovane Italia (PI. 19; passed on the way to Santa Maria) and goes on to the Piazza Michelangelo Buonarroti, where are the Verdi Monument by Enrico Butti, and the House of Rest for Musicians, founded by Giuseppe Verdi (1813-1901), and containing the tomb of the com* poser and his secQntf wife, and also a Verdi Museum,118 Rte. 16 MILAN Sant'Ambrogio From Santa Maria delle Grazie the Via Zenale and the Via San Vittore (1.) lead to the basilica of * Sant'Ambrogio (PI. 20-26), the most important mediaeval building in Lom- bardy. Founded by St. Ambrose, Bishop of Milan (386-89) it was rebuilt between 789 and 859, altered in 1098-1128, and restored 1865-99. The very fine rectangular Atrium (c. 1150) is similar in form to the older one which it replaced. The facade consists of a Narthex surmounted by a gallery of five open arches graduated in height to correspond With the lines of the gables. Beneath the arcade of the atrium are tombstones, inscriptions, ancient capitals, and fragments of frescoes. The great Doorway is made up of fragments from the 9th and 12th cent, buildings; the wooden jambs embody some fragments of the time of St. Ambrose, while the doors themselves, of bronze, belong to the 9th century. The S. campanile is probably of the 8th or 9th cent., the higher one on the N. is a fine Lombard tower of 1128. The apse is best seen from a little E. of the N. door, which admits to the Portico della Canonica, an un- finished arcade by Bramante (1492). The Interior is especially interesting as the prototype of the Lombard basilica. It has a nave and aisles, with galleries and transverse vaulting. In the Nave, on the right, is a statue of Pius IX by Confalonieri; on the left, a *Pulpit (c. 1000), and, beneath it, a late-Roman Chri- stian sarcophagus. — In the S. Aisle: 1st bay: sarco- phagus of Abp. Ansperto (d. 881); 1st chapel, frescoes, Descent from the Cross, by G. Ferrari, and the Road to Calvary, by Luini; 2nd chap., large painting by Lanino; 3rd chap., statue of St. Marcellina by Pacetti (1812); 6th chap., Legend of St. George, by Lanino. The 7th chap., in the ba- roque style, gives access to the Sagrestia delle Messe, with a *Ceiling Fresco by Tiepolo, the Glory of St. Bernard. The next arch leads to the * Basilica Fausta, or San Vittore in del d'Oro, rebuilt in the 5th cent, and altered later; in the dome are 5th cent, mosaics representing St. Victor, St. Am- brose, etc., and the remains of two large detached frescoes by Tiepolo. In the Baptistery (N. Aisle) is a fresco of the Redeemer, by Borgognone. — In the Sanctuary, under the dome, which was rebuilt in the 13th cent., is the great Ci- borium, reconstructed at the same time; the shafts of the columns are probably of the time of St. Ambrose, however, while the capitals are of the 9th century. The four sides of the 13th cent, baldacchino are decorated with bas-reliefs in the Italo-Byzantine style. The altar has a magnificent and justly celebrated casing, presented by Abp. Angilberto II, made of gold and silver plates sculptured in relief, with enamel and gems, the work of Volvinius (835)> and repre- senting scenes from the Lives of Christ and St. Ambrose (fee of 5 1. for uncovering). In the apse are mpsaics pf the late Igth century.San Maurizio MILAN 16 Rte. 119 The Crypt contains the bodies of SS. Ambrose, Gervase, and Protasius, in a shrine of 1897 (shown on St. Ambrose's day). The Treasury in the N. Sacristy, contains a 12th cent, cross; the Reliquary of the Innocent*, (early 15th cent.); missal of Gian Galeazzo Visconti (1395); two 15th cent, monstrances, etc. Outside the sacristy are a triptych by Zenale and Christ in the midst of the Doctors, by Borgognone. From the Piazza Sant'Ambrogio we follow the Via Santa Agnese, which ends in the Corso Magenta, opposite the baroque Palazzo Litta, by Richini (1648). On the right is the church of San Maurizio or of the Monastero Maggiore (PI. 20), begun by Dolcebuono (1503) and completed by Crist. Solari in 1581. The harmonious *Interior is divided transversely by a wall which is carried up as far as the spring of the barrel vault. The anterior or W. portion, which has small chapels below and a graceful loggia above, contains *Frescoes by Luini and his school (2530 et seq.) executed by order of Bentivoglio. Note especially, in the 3rd S. chapel, a series of frescoes by Luini himself, representing the life of St. Catherine; also, on the dividing wall, his SS. Cecilia, Ursula, Apol- lonia, and Lucia, and the two lunettes. In the E. portion, formerly the nuns* choir (entered from the 4th N. chapel), are five more frescoes by Luini. A staircase behind the choir leads to the loggia, where are 26 fresco medallions containing half-length figures of holy virgins by Boltraffio (1505-10). III. — Northern Quarters. A little E. of the Castello, and reached from the Duomo by the Via Broletto, is the late 14th cent, church of Santa Maria del Carmine (PI. 15), attributed to Bernardo da Ve- nezia, with a facade not finished until 1879. From the farther end of the Via del Carmine we enter the Via Br era, in which are (No, 15) the baroque Palazzo Cusani and (No. 28) the * Palazzo di Br era (PI. 16) by Richini (1651-86), with a doorway by Piermarini (c. 1780), flanked by a small piazza with a monument (1890) to the painter Hayez. The heroic bronze statue of Napoleon I, by Canova (1809), in the centre of the imposing Courtyard, was hidden in a cellar of the palace during the Austrian Restoration, and was placed on its present site in 1859. Between the columns of the arcades and on the landings are statues and busts of famous men of letters. Since 1776 the Brera has been the official centre in Lombardy of science, litera- ture, and art; here are housed also the Library (9-5 or 7 on Sun; 8.30-12.30 on holidays), containing 350,000 volumes, c. 100,000 pamphlets, 1800 incuna- bula, and 2000 MSS., the Cabinet of Coins, and the Observatory. On the library staircase is a fresco by Callisto Piazza. The *Pinacoteca or Picture Gallery (adm. 9 or 10-3 or 4, 31.; holidays 9-12, free), on the first floor, is one of the finest existing collections for the study of Italian painting of the 15-18th centuries. At present (1924) only 7 of the total of 35 rooms are open, but in those are temporarily collected the finest works. The ensuing list follows the present order. Room I (Venetian and Tuscan Schools to the 16th cent.): 228. Ant. Vivarini and Giovanni d'Alemagna, Polyptych; 173, 4Ivise Vivarinii Piet&; 475, Gomli* Miracte of St, £>q*120 Rte. 16 MILAN Pal. Brera minic; 497 Gentile da Fabriano, Coronation of the Virgin with saints, polyptych; 165. Bart. Montagna, Virgin and Child with saints and angelic musicians; 212. Pietro Ala- manno, Polyptych; Carlo Crivelli, *206. Madonna della Candeletta, 202. Coronation of the Virgin (1493), in the lunette, Pietk, 201. Virgin and Child with saints (1482); 504. Nic. da Foligno (1465), Virgin and Child with angels, Andrea Mantegna, 19*8. Polyptych, Virgin and Child sur- rounded by Cherubim, *199. II Cristo morto (celebrated as a study in foreshortening), 200. Pieta with saints, an early work; *449. Fr. del Cossa, St. John the Baptist and St. Peter; Giov. Bellini, *214. Pietci (a famous work of great feeling), 215. Virgin and Child (1510), 216. Virgin and Child (early style); Vitt. Carpaccio, 169. Marriage of the Virgin, *170. St. Stephen disputing with the Doctors (1514), 171. Pre- sentation of the Virgin; 428. Ercole dey Roberti, Virgin and saints; G. B. Cima, 174. St. Peter between St. Paul and St. John the Baptist, 175. Holy Family with saints and donors (triptych), 176. SS. Peter Martyr, Nicholas, and Augustine; 223. Stef. da Zevio, Adoration of the Magi. — Room II (Various Schools): 448. Francia, * Annunciation; 455. Fr. Zaganelli, Virgin and two saints; Bramante, *Frescoes from the Casa Panigarola, Heraclitus and Democritus, Singer, Man at Arms, Man with the Club; *472, Raphael, Marriage of the Virgin (' Lo Sposalizio,' 1504), the masterpiece of his Umbrian period; 100. G. B. Moroni, The magistrate Ant. Navagero; 99. Torbido, Portrait of a man; Dosso Dossi, 431. Fr. d'Este as St. George, *432. St. John the Baptist, *433. St. Sebastian; Correggio, *788. Nativity (early work), *427. Adoration of the Magi, an early but characteristic work; 429. Lor.t Costa, Adoration of the Magi; 452. Nic. Rondi- nelli, St. John the Evangelist appearing to Galla Placidia; 565. Bronzino, Andrea Doria as Neptune; Luca Signorelli, *476. Scourging of Christ, *477. Virgin and Child; *510. Piero della Francesca, Virgin and Child with angels, saints and Federigo da Montefeltro; 468. Marco Palmezzano, Christ in the manger; 177. Liberale da Verona, St. Sebastian; Lor. Lotto, 188. Pieta, 183-187. Portraits. — Room III (16th cent. Venetian School): 179. Palma Vecchio, SS. Constantine, Helena, Sebastian, and Roch; 91. Moretto, Virgin in glory and three saints; *136. lac. Bassano, St. Roch visiting the plague-stricken; 114. Savoldo, Virgin in glory with four saints and two angel musicians; Bonifazio de' Pitati, *144. Moses rescued from the water, 145. Woman taken in adultery; Tintoretto, *149. Descent from the Cross, 143. The bodyPal. Brera MILAN 16 Rte. 121 of St. Mark sought and found at Alexandria; Veronese, *139. SS. Anthony Abbot, Cornelius, and Cyprian, 140. Supper in the house of Simon; Paris Bordone, *104. Holy Family, 105. Venetian lovers; Titian, 180. Count Ant. Porcia, *182. St. Jerome. — Room IV (Lombard School): 310. Unknown, Virgin and Child and Doctors of the Church, Lodovico il Moro, Beatrice d'Este, and their children; Borgognone\ 783. Virgin and Child, *250. Virgin and Child, St. Clara, and a Carthusian, *257. St. Roch, 258. Assumption (1522, his last work); 790. Ambr. de Predis, *Portrait of a man; Def. Ferrari, 718. St. Sebastian and St. Catherine, 719. St. An- drew (two panels); 307. Foppa, Polyptych; Ces. da Sesto, 754. St. Jerome, 276. Virgin and Child; *263. Giampetrino, Mary Magdalen; Gaud. Ferrari, *321. Martyrdom of St. Catherine, 277. Virgin and Child; And. Solari, 285. Virgin and Child with SS. Joseph and Jerome, *282. Portrait of a man; 280. after Leonardo, Head of Christ; *319. Boltraffio, Portrait of the poet Casio; 286. Sodoma (?), Virgin and Child; Luini, 289. Virgin of the rose-tree, 288. St. Catherine borne by angels; 281. Boltraffio, Two portraits. — Room V (17th cent.): 727. Bern. Strozzi, Knight of Malta; 381. Cerano, Morazzone, and G. C. Procaccini, Martyrdom of SS. Seconda and Ruffina; *345. Procaccini, Marriage of St. Catherine; 394^ Fr. del Cairo, Fulvio Testi ; 415. Daniele Crespi, Dead monk; 398. Nuvolone, Family of the painter; *513. Albani, Dance of Amorini; *583. Sassoferrato, Virgin and Child; 556. Guercino, Expulsion of Hagar. — Room VI: *613, Ribera, St. Jerome; *614. Rembrandt, Portrait of a lady (1632); 319. Battistello, Woman of Samaria; Van Dyck, *700., Amelia de Solms, *701. Virgin and Child with St. Anthony of Padua; *699, Jordaens, Abraham's sacrifice; 680, 681, Jean Fyt, Dead game; *679, Rubens, Last Supper; 757. C. Dolci, David with the head of Goliath; 569. Pietro da Cortona, Virgin and saints; 600. Preti, Mother commending her children to Christ. — Room VII: *766. Largilliere, Portrait of a lady; *242, *243. Fr. Guardi, Grand Canal, Venice; P. Longhi, *780. Dentist, 781. Family Concert; 235. Bern. Bellotto, La Gazzada, near Varese; 706. Mengs, Dom. Annibali; 782. Evaristo Baschenis, Musical instruments; 230. Tiepolo, Battle; 321. Rosalba Carriera, Portrait; G. B. Pittoni, Refusal to worship idols; 759. Piazzetta, Old man praying; 410. Fra Galgario, Portrait of a painter. The church of San Marco (PI. 16), N. of the Brera, dates from 1254, and was enlarged in the 14th century; the modern fa$ade preserves a 14th cent, doorway. 4-a122 Rte. 16 MILAM San May CO The largely modernised interior contains frescoes by Lomazzo (1st and 3td S. chapels) and Campi (5th chap.). In the N. chapels are (2nd chap.) Holy Family and Saints, by Procaccini', (3rd chap.) Mary Magdalen with saints, by Palma Giovane; (4th chap.) Life of the Virgin, by Campi; (5th chap.) Trans- figuration, by Procaccini. —S. Transept: Tomb of the early Augustinian Lan- franco da Settala (d. 1264) by Balduccio da Pisa (14th. cent.). In the choir are (r.) SS. Ambrose and Augustine by Procaccini; (1.) Baptism of Augustine by Cerano. In the sacristy is a carved altar by Bernardino Campi. The Lombard church of San Simpliciano (PI. 15) contains in its apse a Coronation ot the Virgin by Borgognone. A good way to the N. (tramway No. 6) is the Cimitero Monumentale (PI. 2; open 6.30 or 8 to 4.30 or 7), laid out by C. Macciachini (1866) in a Byzantine style. This is perhaps the most notable cemetery in Italy, on account of the number, richness, and artistic merit of its monuments, which provide a record of modern Italian, and especially Lombard, sculpture. A full list of the mon- uments will be found in the illustrated catalogue (1912). In the Famedio or Central Pantheon are the tombs of Alessandro Manzoni(d. 1873) and Carlo Cattaneo (d. 1869). IV. — Eastern and Southern Quarters. The Corso Vittorio Emanuele II (PI. 22, 23), which leads from the N.E. corner of the Piazza del Duomo, is the busiest of the old thoroughfares of Milan. Here, on the left, is the round church of San Carlo (PL 22), built by C. Amati (1836-47) on the model of the Pantheon, with a fine colon- nade Farther on, on the right, where the street takes the name of Corso Porta Venezia, is San Babila (PI. 23), a 12th cent. Lombard church, many times repaired. No. 29 on the left is the Archiepiscopal Seminary (PI. 17-23), founded in 1570 by San Carlo Borromeo; it has a remarkable doorway, by Richini, and a large plain courtyard with colonnades by Gius. Meda. No. 16 is the Casa dei Fontana or Silvestri (c. 1475), with terracottas and remains of paintings by Bramante. On the left, beyond a bridge across the little Naviglio, the Via del Senato leads to the baroque Palazzo del Senato (state archives), the old Collegio El- vetico, by Fabio Mangone and Richini, with an equestrian *Statue of Napo- leon III, by Fr. Barzaghi, in its court. The Corso now passes the Palazzo Serbelloni (No. 22; 1794), the remarkable modern Palazzo Castiglioni (No. 73; 1903), and the Palazzo Rocca-Saporiti (No. 56; 1812). At the end of the street, on the left, are the Public Gardens (PI. 11-17), an artistically laid out park with several public monuments. Facing the Corso is the Natural History Museum (adm. free 10-12 and 1.30-4 or 5; closed on Mon.). The ground floor (closed also on Wed. and Fri.) contains mineralogical and palaeontological ""Collections, molluscs, insects, and Italian Alpine fauna; the 1st floor (closed also on Tues., Thurs., and Sat.) contains the fish, reptiles, birds, and mammals. In the Via Palestro, S. of the Park, is the Villa Reale (1790), once occupied by the regent Eugene Beauharnais, and now containing the Gallery of Modern Art, with paintings by Hayez, Segantini, and other artists, especially of the Lombard school; sculptures by Trubetzkoy and Bistolfi; and casts.Sant'Eustorgio MILAN 16 Rte. 128 The Via Monforte (PI. 23), running due E. from San Babila (p. 122), leads to the Prefecture, opposite which (r.) we turn along the Via del Conservatorio to reach the late 15th cent, church of Santa Maria della Passione, a cruciform building, with an octagonal cupola by Cristoforo Solari (1511-30; altered later) and a baroque fa9ade by Rosnati (1692). In the S. transept is the tomb of Abp. Birago, by Fusina (1495); in the apse is a Descent from the Cross, by Luini; and the N. transept contains a Last Sup- per, by Gaud. Ferrari. The frescoes in the sacristy are by Borgognone (c. 1505). Entered from the Via Chiossetto, a turning off the Via Stella, farther S., is San Pietro in Gessate (PI. 23), a Lombard Gothic church of 1436, recently restored. The chapels of the N. aisle are decorated with frescoes by 15th cent. Lom- bard artists; at the end of the same aisle is the chapel of St. Ambrose, with frescoes by Zenale and Bulinone; on the pavement is the recumbent statue of Ambrogio Grifo (d. 1493), a very realistic work attributed to Bambaia. At the E. end of the neighbouring Corso di Porta Vittoria is the *Mo- numento delle Cinque Giornate, by Giuseppe Grandi (1883-95), covering the remains of those who fell during the ' Five Days ' (p. 109). From the Porta Vittoria (PI. 24-30) the Circonvallazione (tramway No. 30; from the Duomo, tramway No. 17 along the Corso Italia) leads to the Porta Lodovica (PI. 33), just N. of which is * Santa Maria presso San Celso (PI. 33-34), a church begun by Dolcebuono (1493) and finished by Alessi, to whom, with Martino Bassi, is due the graceful but too detailed fa$ade (1570-72). The fine atrium is by C Solari. By the main altar of the S. transept is a *Holy Family, by Paris Bordone; in the same transept are statues of the Virgin and St. John the Evangelist, by Annibale Fontana, and of Elijah and St. John the Baptist, by Lorenzi. The lunettes and the pendentives of the cupola are frescoed by Appiani (1795). In the ambulatory are a Baptism of Christ (5th chapel), by G. Ferrari, the Con- version of St. Paul (9th chap.), by Moretto, and other paintings. In the N. aisle is Christ in the Manger, by Borgognone. In the sacristy are a marble basin and bronzes by Fontana. In the S. aisle is the entrance to the Romanesque church of San Celso (10th cent.), which has a good 11th cent, facade and a graceful campanile. The church of San Paolo (PI; 27-28) farther N. in the same street, has a fine facade by Alessi (1550-60), and contains pictures by the Campi of Cre- mona. On the other side (No. 10, Corso It&lia) are the headquarters of the Italian Touring Club (1915). To the W. of the Porta Lodovica are the Porta Ticinese, an Ionic gateway by L. Cagnola (1802-14), and the church of Sant'Eustorgio (tramway No. 19 from the Duomo). The original 9th cent, church was rebuilt in the 12-13th cent., and the facade reconstructed in 1836-65. The three 15th cent, chapels on the S. side, the 9th cent, apse, the slender campanile (1297-1309), and the graceful Portinari chapel (see below) are well seen from the outside. The three-aisled Interior is typical of the fully-developed Lombard basilica, with lofty columns and characteristic capitals. In the S, aisle, the 1st chapel,124 Rte. 16 CHIARAVALLE Environs contains a triptych by Borgognone and the Tomb of Brivio (1484), by Cazzaniga and Briosco; 4th chap. Tomb of Stef. Visconti (d. 1327), probably by Balduccio da Pisa; 5th chap., 1.3th cent, painting of the Crucifixion; 6th chap., Tomb ot Uberto Visconti (14th cent.); 7th chap., Remains of a ceiling fresco after Pi- sanello. At the high altar are nine scenes from the Passion, sculptured by Campionese masters. Adjoining the N. transept is the Cappei,,la Portinari, a gem of the Renaissance, built for Pigello Portinari and dedicated to St. Peter Martyr. The design is attributed to Michelozzo (1462), but the building was completed by Lombard architects in 1468. In the drum of the dome is a grace- ful choir of angels with festoons, in coloured stucco. The frescoed scenes of the life of St. Peter Martyr are by Vincenzo Foppa (1466-68). In the centre is the *Tomb of St. Peter Martyr (Pietro da Verona, the inquisitor, killed by heretics in the wood of Barlassina, p. 96, in 1252), by Balduccio da Pisa (1339). Following the Corso to the N., we pass the arches of the ancient Porta Ticinese (c. 1330; with a tabernacle by Bal- duccio), and then 16 Corinthian Columns (Colonne di San Lorenzo), the remains of a porticus of the later Roman Em- pire, restored in the middle ages.' On the right is San Lorenzo (PI. 27), a basilica of the same period and style as San Vitale at Ravenna (p. 302), standing on still older foundations. It was rebuilt in 1574-88 by Martino Bassi (who, however, preserved the original octagonal form), and is surrounded by four heavy square towers. The fa$ade is modern (1894). The spacious interior is surrounded by an ambulatory beneath a gallery. In the chapel of Sant'Aquilino (3rd on the right) the lower part dates from the 5th cent., the upper part from the ll-12th cents., and the entrance-pillars have been brought from a Roman building. It contains an early Christian sarcophagus, and 5th cent, mosaics. The church of San Giorgio al Palazzo (PL 27) contains, in the 1st S. chapel, St. Jerome, by Gaudenzio Ferrari, and in the 3rd S. chapel, paintings by Luini (1516). Environs of Milan. The Abbazia di Chiaravalle stands solitary in the country, c. 5J miles S. of Milan, 50 min. walk from the terminus of tramway No. 22. It is most conveniently reached by car- riage or automobile; Chiaravalle station (p. 129) on the line to Pavia is not convenient. This Cistercian abbey was founded by St. Bernard of Clairvaux (1135) and named in honour of his original abbey. The church (consecrated 1221) has a very remarkable dome, of which rather more than one-third is a relic of the old lantern-tower; the remainder was added in the 14th century. Parts of the edifice have been capably restored in recent years. The Interior was altered in the 17th century. In the S. Transept (2nd chapel) is a *Scourging, of Christ, the only known panel-painting by Bramante; at the top of the staircase leading to the dormitory is a fresco by Luini (Ma- donna and Angels; 1512). — Inside the Dome are frescoes attributed to 13-14th cent. French painters. Other frescoes in the church are by the Fiammenghini brothers. The finely carved Stalls are by C. Garavaglia (1645); over the high altar is a painting by Bernardino Campi. In the Cemetery are tomb-chapels of the 13th cent., and remains of a Chapter House with graffiti. The graceful Cloister is in the French Gothic style of the 13th century.PROPR DEL TCI - RI PROD. VIET .Cjiriitero <>'. u iim e n title £ Torino-Arona -Varese v ^ Ofrrseppanfnf ffrtr n 8. Perm** Off. drl Gas V. Abbo, ? 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Car- so) 19-25 — Porta Monforte (ora Piave) 18 — Porta Nuova (ora Monte Grappa) — Porta Princ. Umber- to (ora Monte San- to) 4-10 — Porta Romana (ora Monte Nero) 30-35 — Ticinese ' Sol di Lana) — Porta Venezia (ora Vittorio Veneto) — Porta Vigentina (o« ra Sabotino) — Porta Vittoria (ora Premuda) — Porta Volta (ora Montelio) — Premuda (gik Porta Vittoria) —- Sabotino (gift Porta Vigentina) — San Michele d. Car- so (gift Porta Ma- genta) 19-25 — Vittorio Veneto (gia Porta Venezia) 11 Vicoli (Narrow Streets): — Bramante — San Damiano 23 Vie (Streets): — Adda — Agnello 22 11 35 24 3-9 24 35 '■ie (Streets): — Agudio — Aleardi — Alegsandria — Alessi — Alfieri — Amedei — Andegari — Anfossi — Attnunciata ~ J^iperto — Appiani — Archimede — Arcivescovado Arena Arlberto — Ariosto — Armorari — Asole (d.) — Ausonio — Bagutta — Balestrieri — Bandello — Barbavara — Barellai ,, # — Barozzi — Battisti — Bazzoni — Beccaria — Bellini — Bellotti — Benedetto Marcello — Bergamo — Berretta —■ Bertani — Bertini' •., : 1 2 32 32 8 27 16 80 16 20-21 10 24 22 27-32 26 13 21 21 26 22-23 8 19 31-32 27 - 17 23 13-19 22 23-24 18 6 30-36 15 8 30 34 16-22 18 19-20 ai 21 Biarica di Savoia Bigli Bixio Boccaccio Bocchetto Boito Bdilo Bonvesin — Bwrigozzo — Cadore — Cagnola — Caiazzo — Cairoli — Oalatafimi — Calco — Calvi -T- Camminadella Camperio — Campo Lodigjano —: Canonica — Canova — Cappellari — CappelHni — Cappuccini — Cappuccio -f- CaradpsBo — Cardano — Carducci — Carlini — Carlo Alberto — Carmine (d.) — CJarroccio — Casale — Casati — Cassolo, — Castaldi Castelfidardo _ ^„itelvetro — Cavalieri — Cavallotti — Cellini — Ceresio •— Cernaia — Cervia — Cesare da Sesto — Chiaravalle — Chiossetto — Chiusa (d.) — Cimabue — Circo (d.) — Cirillo — Clerici —- Clusone — Cola di Rienzo Commenda — Conservatorio . Cordusio — Corio — Cornacchie — Cornalia — Correnti 21 35-36 2-9 15 21 12 15-21 % 38 30-86 8 6 15 33 25 24 26 21 27-38 1-2-8 •7 24 5 17 20-27 20 5 20 5 22-28 15 26 31 11-12 35 11-12 10 r, 15 1 1^ 22-28 24 3 10-16 23 25*26 26 23 27 28-34 27 7-8 21 30 25 29-35 23 21 35-36 27 5 26-27 s (Streets): Corsico 32 Crespi 26 Crivelli 34 Croceflsso 27 Croce Rossa 16 Curtatone 29-35 Cusani 15 Dandolo 23 Dante 21 Daverio 29 D'Azeglio 3 De Amicis 26 De Cristoforis 3-4 De Filippi 12 Del Fante 33 Disciplini 27 Donizetti 23-24 Durini ■0 23 Erbe 15 Fabbri 26-27 Fanti 29 Farini 3 Fatebenefratelli 16 Ferrari Gaudenzio 82 Ferrari Giuseppe 3 Ferrini 36 Femicolo ... m Fiamma 24 Fieno 27 Filangeri 19-25 Filelfo 1 F ilodrammatici 21-22 Fiori Chiari 15 Fiori Oscuri 15-16 Firenze 18 15-20-21 Foscolo 22 Frisi 12 Friuli 36 Gadio 14-15 Gaffurio 6 Galilei 4-5-10 Oesii 16 Gherardini 7 . Giannone 8 Gioberti 13-19 • Gioia 4 ■ GHusti 2-3 • Goito 10 Goldoni 18 Gorani 21 - Gozzadini 28-34 • Grossi 21-22 - Guastalla 29 - Guerrazzi 7 - Guicciardini 24 - .Tacini 14 - Jan Giorgio 12 - Kramer 18 - Laghetto 28 29-35 - Lamarmora - Lambro 12 - Lanza 15 Lanzone Larga Lattuada Lazzaretto Lecco — Legnano —? Lentasio —t Leopardi — Lesmi —• Linneo — Litta — Lomazzo — Lombardo — Londonio — Lovanio — Lucano — Luini — Macchi — Machiavelli — Maffei — Maggi — Maggiolini — Malpighi — Manara — Manfredini — Manin — Mantegazza — Mantegna — Manuzio Manzoni >— Marco d'Oggiono Marcona — Marina — Marino Maroncelli — Marsala — Mascherori —• Massena — Mauri — May — Mayr — Mazzini —■ Melegnano — Melloni — Melzi — Melzo ~ Mengoni ~ Meravigli — Mercadante — Mercanti — Mercato (d.) £8 35-86 11 11-12 9 28 14-20 26 12 23-24 1-2 36 1-7 9 36 20 5-6 7 30 8 17-18 12 29 1 10-11 9 1 11 16-22 26-32 24 17 22 3 9 13-19 7 27 36 24 3 34 24 7-8 12-18 22 21 6 21-22 15 Vie (Streets): Messina 2 Micca 29 Minghetti 14 Modena 18 Molino delle Armi 27-33 Moneta 21 Monforte 23 ■— Montebelio 10 Monte di Pietft 16 Monte Napoleone 16-22-23 Montevideo 25-31 — Monti 13-14-20 Mora 26-27 Morgagni 12 Morigi 21 Morone 16-22 — Morosini 30 Mortara 32 — Moscati 1-7 Moscova S-10 Mozart 17 — Muratori 35-36 — Nerino 27 Nicolini 2-8 Nirone 20 Olmetto 27 Olocati 26-32 Olona 25-26 Omenoni 22 Ofazio 26 Ore 22 Orefici 21 Oriani 15-21 — Orso (d.) 15 — Orti 35 — Ospedale 28 — Ozanam 6 — Pace (d.) 29 -— Pagano 7-13 — Palazzi 11-12 — Palazzo Reale 22-28 — Paleocapa 14 — Palermo 9 — Palestro 17 — Pallavicino 7-13 — Panlzza 19 — Pantano 28 — Panzeri 32 — Paolo da Cannobbio 28 — Parini 10 — Pasquirolo 22-23 — Passarella 23 ' —- Passione 23 — Pellegrini 35 — Pellico 22 — Pergolese 6 —•- Petrarca • 13 — Petrella 6 — Piatti 27 — Piermarini 7 — Pilo 12-18 — Pindemonte 18 — pini 28-34* Ptoppette 27 — Pisacane 18 — Pisani 5 — Plinio 6-12 — Poerio — Poliziano 1 — Polo 4 — Ponchielli 6 —- Pontaccio 15 — Ponte Seveso 5 Ponte Vetero 15 — Porlezza 21 — Porrorte 21 — Porta 10-16 — Poslaghetto. 28 — Presolana 30 — Prina 1-7 —■ Principe Amedeo 10 — Principe Umberto 10-16 — Procaccini 1-2 — Quadronno 34 — Raiberti 24 — Randaccio 7 z g§rdii — Revere .13 — Ricasoli 14-20 — Rowmini 2-8 — Rossini 17-18 — Rovani 13 — Rovello 15-21 — Ruffini 19 — Rugabella 27-28 — Sabatelli 1 — Sacchi 15 — Saffl 13-14-19 —' Sala. 22 — Salaino 25-31 — Sallustio 36 — Sambuco 33 — San Barnaba 29 — San Bernardino 22-23 — San Calocero 26 — San Carpoforo 15 — San Dalmazio 21-22 — San Damiano 23 — San Fermo 10 — San Francesco d'As- sisi 34 Vie (Streets): — Sangiorgio 7 — San Giovanni sul Mu- ro 21 — San Gregorio 5-11-12 — San Luca 33 — San Marco 10 — San Martino 33-84 — San Maurilio 21-27 — San Nicolao 20 — San Paolo 22 — San Pietro all'Orto 22 — San Primo 17 — San Raffaele 22 — San Simpliciano 15 —- San Sisto 27 — Santa Croce 33 — Sant'Agnese 20 —- Santa Lucia 34 — Santa Margherita, 21-22 — Santa Maria alia Porta 2 i — Santa Maria Fulcori- na 21 — Santa Maria Valle 27 .TTT- Santa Marta 21-27 Sant'Andrea 16-17 — - Sant*Antonio 28 — Santa Radegonda 22 — San taros a 24 — Santa Sofia 28-34 — Santa Valeria 20 -— Santo Spirito 16 — Sant'Eufemia 28 — Sant'Orsola 21 — San Vincenzo 26 — San Vito 27 — San Vittore 19-20 — San Vittore al Tea- tro 21 —- Saronno 1 — Sarpi 1-2-3 — Sassi 20 — Savona 31 — Scaldasole 32-33 ■— Scarlatti 6 — Scarpa 19 — Sciesa 30 — Senato 16-17 — Serbelloni 17 — Settala 6-11-12 — Settembrini -5-6 — Sforza 23-28-29 — Signora 23-28-29 — Signorelli ^ — Silio 36 — Simonetta 26-32 — Sirtori 12-18 — Solari 25-31 — Solferino 9-10-15 — Soncino Merati 22 — Sottocorno 24 — Spadari 21 — Spallanzani 12 —- Spartaco 30 — Speri 3 — Spiga (d.) 10-37 — Stampa 27 — Statuto $ — Stella 23 — Stoppani 12 — Svetonio 36 — Tadlno 6-12 — Tamburini — Tartaglia — Tasso — Tazzoli ^ % — Telesio I3 —^-Tenca , — Terraggio 20 -— Tiraboschi — Tivoli 15 — Torchio 27 — Torino 21-27 Torriani J* — Tortona 31 — Tre Alberghi 28 — Unione 21-27 —• Vallone 26-32 -— Valpetrosa 4 21-27 —- Varese 3-9 — V atari - — m — Venti Settembre 13-19 — Verdi 16-22 — Verri 22 — Verziere 22-23 — Vespucci 4 — Vetere 33 — Vico l»-25 — Vigentina — Vigevano 31-32 — Vigna 20-21 — Visconti 22-28 — Vitruvio ^ 6 — Vivaio 17-23 — Viviani — Voghera ^1 — Volta 3-9 —- Zarotto 11 — Zenale I9 Villa Reale 17of Milan CERTOSA DI PA VIA 16 Rte. 125 The Certosa di Pavia is the most important monument in the neighbourhood of Milan. It is reached either by railway to the station of (17 J m.) Certosa (see p. 129), 10-15 min. walk from the monastery: or by steam tram- way from the Porta Ticinese to (15£ m.) Torre del Mangano, c. f m. W. of the Certosa. The Certosa is open daily, 8.30-5.30 in summer, 9-4 in winter (adm. 4 1., Sun. and holidays free; closed on New Year's Day, Easter and Christmas Day). Excellent guide- book by Luca Beltrami. The *Cerfcosa, or Carthusian monastery, of Pavia, one of the most remarkable buildings in Italy, was founded by Gian Galeazzo Visconti as a mausoleum for himself and his family, and designed by the Campionese master masons of Milan cathedral and the architects of the Castello of Pavia. The convent was finished in 1447, the church in 1499, with the exception of the fa9ade, which was completed in the 16th century. A Vestibule, with frescoes by Luini and a fine marble portal, admits to the courtyard, gay with green lawns and flowering plants. On the right is the Hostelry, in the baroque style, by Richini, on the left the Pharmacy. In front is the splendid * Facade of the church, the polychrome marble decoration of which is considered the chef-d'oeuvre of Lombard Renaissance sculpture; it was begun by Guiniforte Solari (1473), embellished by the Mantegazza and Amadeo (1473-99), and by other Lombard sculptors up to 1560. The upper part remains unfinished. In the lower portion are medallions imi- tating Roman coins; above, statues and bas-reliefs of Prophets, Apo- stles, and Saints, by the Mantegazza, and Scenes from the Life of Christ by Amadeo. The *Porch was probably designed by Gian Cristoforo Ro- mano and executed by Bened. Briosco, the sculptor also of the bas-reliefs re- presenting the Life of the Virgin and four large reliefs: the Foundation of the Carthusian Order, 1084; Laying the First Stone of the Certosa, Aug. 27th, 1396; Translation to the Certosa of the body of G. G. Visconti, March 1st, 1474; Consecration of the Church, May 3rd, 1497. In the vault of the arch are bas- reliefs by Ang. Marini; in the lunette, the Virgin venerated by the Cartnusians, by Biagio da Vairone. On each side are two very rich divided *Wiadows, by Amadeo. The upper part, simpler in style, is by Cristoforo Lombard© (1540-60), and is decorated with 70 statues of the 16th century. The apse, dome, and side wall should all be examined. The *Interior, in a Trans. Gothic style, is in the form of a Latin cross, with nave and aisles; the effect is luminous, rich, and very harmonious. The grille which shuts off the chapels and transept is a fine baroque work of the 17th century. In the N. Aisle are sumptuous altars of the 17th and 18th centuries. 1st Chapel: Lavabo by the Mantegazza.— 2nd Chapel: The Eternal Father, by Perugino (1499; the other portions of the polyptych are copies), and 4 Doctors of the Church, by Borgognone. - 6th Chapel: *St Ambrose and other saints, by Borgognone (1490). —- N. Transept: Over the small door, *Ecce Homo, by Borgognone, who executed also th%126 Rte. 16 CERTOSA DI PA VIA Environs frescoes in the small apse: Coronation of the Virgin, with saints, and Francesco Sforza and Lodovico il Moro; above, two * Angels by Bramante. Over the altar, a painting by Daniele Crespi (1625); two bronze *Candelabra by Fontana (1580).—The ♦Effigies of Lodovico il Moro and Beatrice d'Este, by Cristoforo Solari (1497-99), were formerly in the church of Santa Maria delle Grazie, Milan (p. 117). — Old Sacristy: Doorway by Amadeo, with 7 portrait-medallions of dukes of Milan, by Alb. da Carrara and Bened. Briosco; within, note the hanging capitals of the early 15th cent., the carved presses by Virgilio dei Conti, and an ivory *Pol- yptych by Baldassare degli Embriachi (1409). — Sanctuary: Marble screen by Martino Bassi (1575); antae of sculptured wood, by Theodore Fris and Virgilio dei Conti; within are frescoes by Daniele Crespi, *Stalls carved by Bartol. de' Polli (1487-98) with inlay by Pietro da Vailate (1492-8), and fine 15th cent, windows. On the right of the richly decorat- ed altar is a bas-relief of the Assumption, by Biagio da Vairone, on the left, the Ascension, by Stefano da Sesto (1*513). — The doorway to the Lavatory is by Amadeo, with portraits of 7 duchesses of Milan; within is a fine *Lavabo, by Alb. Maffiolo da Carrara (1489). — S. Transept: *Tomb of Gian Gaieazzo Visconti, by Gian Cristoforo Romano (1493-97; the Madonna and Child and the statue of the duke are by Bened. Briosco, the urn by Gaieazzo Alessi; the figures of Fame and Victory by Bern, da Novate); two *Candelabra by Fontana. The fresco by Borgognone, above, depicts Gian Ga- ieazzo Visconti, with his children, presenting a model of the church to the Virgin; higher up, two Angels by Bramante. Over the altar, a Virgin with St. Charles and St. Bruno, by G. B. Crespi. The doorway into the little cloister is by the Mantegazza.-— We now enter the Chapter House through a charming little court, perhaps the work of Bramante. 1st Room, Descent from the Cross, by the Mantegazza; 2nd Room, Adoration of the Magi, Annunciation, and the Manger, in the manner of Amadeo. — New Sacristy: Over the altar, Assumption, by And. Solari (in the style of Leonardo: finished by Bern. Campi, 1576); paintings of the 18th cent.; in the vault, frescoes by Pietro Sori; illuminated choir- books of the 16th century. —The * Little Cloister, with a garden, is the most picturesque part of the Certosa; note the beautiful terracotta decoration of the arcade, by Rinaldo De Stauris (1465), and the lavabo, also in terracotta. An elegant Renaissance doorway leads to the Monks' Re- fbctory, a fine hall with a richly derated pulpit; tfceof Milan CERTOSA DI PAVIA 16 Rte. 127 ceiling is a Madonna and Child, probably by Ambr. Zavat- tari (1453). The Last Supper is by Ott. Semini (1567). We pass through the Lay Brothers' Refectory into the Museum of the monastery, which contains various historic, precious, and ancient objects, a Scene from the Passion, in high relief, by Bambaia, a painting by Bartol. Montagna (1490), and works by Borgognone and Luini. — The Great Cloister, with 123 arches, also has terracotta decorations by De Stauris (1478). On three sides are 24 cells, each, as in all Carthusian monasteries, a separate dwelling, and each with a decorative doorway, two rooms, and a little garden below, and a bedroom and loggia above. We return through the little cloister and enter the church by a beautiful little *Door adorned with a Madonna, by Amadeo (1466). — S. Aisle: over the entrance-door, Madonna and Child, by Borgognone. — 7th Chapel: a large painting by Cam. Procaccini; 6th Chapel: Virgin and saints, by Guercino; 5th Chapel: * Saints, by Borgognone (1491); 4th Chapel: *Crucifixion, by Borgognone (1490); 2nd Chapel: a painting by Macrino d'Alba (1496); the Evangelists, by Borgognone; 1st Chapel: Lavabo by the Mantegazza. From Milan to Bergamo, see Rte. 19; to Brdscia and Verona, see Rte. 20; to Cremona and Mantua, see Rte. 22; to Genoa, see Rte. 18; to Piacenza and Bologna, see Rte. 31; to Tirano, see Rte. 17; to Turin, see Rte. 12; to the Italian Lakes, see pp. 76, 88, 95. 17. FROM MILAN TO TIRANO Railway, 97J m. (157 km.) in 5-61 hrs. (74 1. 5, 49 1. 85, 29 1. 40 c.). Between Monza and Sdndrio, where carriages are changed, the line is electrified, and was the first in Europe to employ a three phase current (3000 volts). It follows the E. coast of the Lake of Como, beyond which it ascends the Valtellina (best views on the left). The Valtellina or Veltlin, the upper valley of the Adda, is famous principally for the production of wines (Grumello, Sassella, etc.). Its history has been a chequered one. In the 14th cent, it passed into the power of Milan, but in 1512 it was united to the Grisons. The Reformation took a firm hold here, and in 1620, at the instigation of the Spanish governor of Milan, the Catholic inhabitants of the valley ruthlessly massacred the Protestants on the day of the Holy But- chery (II Sacro Macello; July 19th). Twenty years of warfare followed, but in 1639 the valley was regained by the Grisons, who held it until Napoleon's partition of 1797, since when it has followed the fortunes of Lombardy. From Milan to (8 m.) Monza, where we reach the pleasant hills of the Brianza, see p. 18. - 15J m. Usmate-Carnate is a junction for Bergamo (p. 133). Bej^ond three tunnels we emerge on a height above the charming valley of the Adda, which we cross, and beyond the Lago di Olginate, an expansion of the river, we reach (27J m.) CaUlzio, another128 Rte. 17 CHI A VENN A From Milan junction for Bergamo (p. 139). On the left is the Lago di Gaviate with Monte Barro (3025 ft.) behind it; on the right rises the saw-like Resegone (6152 ft.). — 31J m. (51km.) Leeeo (700 ft.; Rfmts.). see p. 106). The line skirts the E. shore of the Lake of Lecco, then that of the Lake of Como proper, affording lovely *Views on the left, interrupted by frequent tunnels. - Beyond (37J m.) Mandello-Tonzdnico (p. 105) the dolomitic Grigne appear on the right.—41 m. Lierna (p. 105). Beyond the lake rises Monte Croeione, marked by a slanting band of limestone. — 44}m. Perledo-Varenna; 46J m. Bellano (p. 103). We skirt the melancholy little Lago di Piona, a bay of the main lake. — At (56 m., 90 km.) C6!ico (Rfmts.; p. 105) we leave the lake. From Cduco to Chiavenna, 17 m. (27 km.), electric railway in f-1 hr. (13 1. 70, 9 1. 55, 6 1.). Best views on the left. Diverging to the left from the main line we cross the Adda and the partly marshy Pian di Spagna. Just before we cross the river we see on the left the ruins of the Forte di Fuentes, built by the Spaniards in 1603 and destroyed in 1798 by the French, Beyond (4£ m.) Dubino we skirt the Lago di Mezzola, separated from the Lake of Como by the silt brought down by the Adda. — 8£ m. Novate Mezzola. On the left is the little Pozzo di Riva, an expansion of the Mera, beyond which We enter the Piano di Chiavenna. —10J m. Samdlaco indicates by its name (' summus lacus ') the point to which the Lake of Como extended in Roman times. The valley becomes wilder and is confined by black and tawny rocks. Ahead on the right appears the Pizzo Stella (10,375 ft.). —17 m. (27 km.) Chiavenna (1070 ft.; Rfmts.; Hot. Conradi & Poste; National & Engadinerhof; Helvetia; Crimea), the Roman Clavenna, perhaps so named because it was the key (clavis) of the Spliigen, Septimer, and Julier passes, is a charmingly situated town (3201 inhab.) in the fertile valley of the Mera. In front of the Hot. Conradi rises the Paradiso (view), a rock once crowned by a feudal castle, destroyed by Barba- rossa but rebuilt later. The church of San Lorenzo dates from the 16th cen- tury. In the Val Capiola (i hr.) are some interesting pot-holes. For the passes to Thusis and St. Moritz, see the Blue Guide to Sivitzerland. Beyond Colico the line turns E. and ascends the Valtel- lina. — 60 m. Delebio is a starting point for the ascent of Monte Legnone (8563 ft.; p. 104). — 66 m. (106 km.) Mor- begno (837 ft.; Hot. Morbegno; Ancora) is a pleasant little town at the lower end of the Bitto gorge, 1J m. S. of the Adda. The church of San Lorenzo, outside the town, is an interesting building of the 15-17th centuries. At the head of the W. arm of the Valle del Bitto rises the Pizzo dei Tre Signori (8380 ft.), so called from its position on the boundaries of the old lordships of Milan, Venice, and the Grisons. We cross the Adda before reaching (70 m.) Ardenno- Mdsino, at the foot of the stern Val Masino. Higher up the valley are two powerful hydro-electric works and the therapeutic establishment of Bagni del Masino (3842 ft. \ R. 5, D. 20, pens. 42 1.) beneath Monte della Disgrazia (12,068s ft.; ascent, see the Blue Guide to Switzerland). — Farther on we notice, on the left, the vines trained over frames onto Tirano TIRANO 17 Rte. 129 the steep mountain-slopes. — 81J m. (131 km.) Sdndrio (980 ft.; Rfmts.; H6t. de la Poste, with garden; Stazione), the principal town (6349 inhab.) of the Valtellina, stands at the mouth of the Mallero, here canalised to control its floods. We change into the steam train. From S6ndrio via Chiesa and the Val Malenco to Maldja, see the Blue Guide to Switzerland. The large building on the left above (84 m.) Tresivio is a sanatorium. — 86J m. Ponte in Valtellina has a 14-16th cent, church, with a fresco by Luini, and a bronze ciborium of 1578. A monument commemorates the astronomer Giu- seppe Piazzi (1746-1810), a native of the town and discoverer of the first asteroid. — At (91J m.) Tresenda the road over the Colle d'Aprica (p. 140) ascends on the right. On the left is T6glio (2546 ft.), once the principal place in the valley to which it gave its name (Val-teglina). The Palazzo Besta (1539) and the church of Santa Eufemia (late 15th cent.) are worth inspection. The chapel of San Pietro has an 11th cent, campanile. 97J m. (157 km.) Tirano {Rfmts.; Grand-Hdt. Tirano, R. 8, L. 15, D. 20, pens. 28 1., at the station; Stelvio &> Posta, R. 6, D. 15, pens. 25 1.), a town of 4056 inhab., contains an interesting palace of the Visconti, opposite the 15th cent, church of San Martino (Lombard campanile); one of the Pallavicini (near the Hot. Stelvio); and one of the De Salis (to the right of the church in a back street). Tirano was one of the chief sufferers in the massacre of 1620 (comp. p. 127). About i m. N. (station on the Bernina railway) is the pilgrimage church of Madonna di Tirano (1504-33), in the style of Bramante, with a fine doorway by Scala di Carona. Outside it is a painted fountain of 1780. From Tirano to Bdrmio and Merano, see p. 172; Bernina railway to St. Moritz see the Blue Guide to Switzerland, 18. FROM MILAN TO GENOA A. Via Pavia and Voghera. Railway, 93f m. (151 km.) in 3£ hrs. (71 1. 15, 47 1. 95, 28 1. 35 c.); to Pa- via, 221 m. (36 km.) in 35 min. (17 1. 85, 12 1. 25,7 1. 65 c.). This is the express route and starts from the Central Station. Milan, see Rte. 16. — We diverge to the right from the line to Bologna at (4J m.) Rogoredo, and run S. via (6J m.) Chiaravalle, to the right of which is seen the tower of the abbey (p. 124). — 17J m. Certosa is the station for the Certosa di Pavia (p. 125). 22\ m. (36 km.) PAVIA (253 ft.), on the left bank of the Ticino, a quiet town (35,724 inhab.), is the seat of a renowned university and is interesting also for its historical associations and for its group of 12th ceat, Lombard churches.130 Rte. 18 PA VIA Cathedral Railway Stations. Stazione Cen- trale (PI. B 2), for the lines to Par- ma., Aless&ndria, etc.,; Stazione Porta Garibaldi (PI. C 5), for the trains to Cremona and Mantua and the branch line to Casalpusterlengo. Hotels. Moderno (PI. B 2), Via Nizza, opposite the station; Croce Bianca (PI. a; B 3), 53 Corso Vitto- rio Emanuele. Restaurants and cafes. Deme- trio, Corso Vittorio Emanuele; Corona; Bixio. Post Office (PI. C 3), Corso Vit- torio Emanuele and Mercato Coperto. — Telegraph Office, 14 Via Ma- scheroni. Conveyances. Cabs, 2£1. per drive in the town; to the Certosa, 141. 40 c., 19 1. 20 c. return. — Tram- way from the Central Station to the Viale Gorizia. - Steam Tramway to Torre del Mdngano (for the Certosa), Binasco, and Milan, 5 departures daily. Amusements. Teatro Fraschini, 136 Corso Vittorio Emanuele, operas; Guidi, Place Castello, plays and co- medies; Kursaal Giardino, Corso Cavour. History. Originating in the Roman Ticinum about 220 b.c., Pa via became the Lombard capital under its present name. In the church of San Michele were crowned Charlemagne (774), Berengar, the first king of Italy (888), Berengar II (950), Adalbert and Arduin, marquises of Ivrea (1002), and Fre- derick Barbarossa (1155). The commune took the Ghibelline side against Milan and Lodi, and afterwards passed to the Counts of Monferrato and, from 1359 onward, to the Visconti. On the 24th of Feb., 1525, in the adjacent com- mune of Mirabello, was fought the Battle of Pavia, in which Francis I was defeated and made prisoner by Charles V. It was of this battle that Francis wrote to his mother " Madame, tout est perdu, fors l'honneur." Pavia is the birthplace of the Roman biographer Cornelius Nepos (1st cent. b.c.), of Lanfranc (1005-89), the first archbishop of Canterbury under the Normans, of Girolamo Cardano (16th cent.), the physician and mathematician, and of Tranquillo Cremona (19th cent.), the painter and sculptor. Petrarch spent some time here with his son in-law, and a piazza is named after him (PI. B3). From the Central Station we follow the Via Nizza and Corso Cavour, on the right of which the short Via Bossolaro diverges for the Duomo (PI. C 3), or Cathedral, begun in 1488 from designs by Crist. Rocchi, afterwards modified by Amadeo and Bramante. The fa9ade and the immense cupola are entirely modern (1885-98). In the apse of the imposing interior are a *Virgin and saints, by Giampetrino (1521), and a Madonna of the Rosary by Bernardino Gatti (1531). To the left of the church rises the formidable Torre Maggiore (256 ft.). We follow the Via dei Liguri and then bear to the right to reach the church of San Teodoro (12th cent.), which has an octagonal central tower and contains frescoes by Bernardino Lanzani (1514). A little to the S.E. are the Porta Ticino and the characteristic Covered Bridge, constructed in 1351-54 on Roman piles and roofed over in 1583 (view). We return past the Porta Ticino and follow the Corso Vittorio Emanuele, the main street of the town. The third turning on the right leads to *San Michele (PI. C4), one of the largest Lombard churches, consecrated in 1155. The majestic fa9ade is noteworthy for its profusely decorated triple portals and sculptured friezes; the portals of the transept and the handsome apse are likewise interesting. The interior is ii\University PA VIA 18 Rte. 131 the form of a Latin cross, with a vaulted nave and aisles, an octagonal cupola, and triforium galleries resembling those of Sant'Ambrogio at Milan (p. 118). In the crypt is the tomb of Salimbeni (School of Amadeo, 1491). Farther to the S.E., via the Corso Garibaldi and the Via San Giovanni in Borgo, is the Collegio Borromeo, founded by San Carlo in 1564; the monumental edifice is the work of Pellegrini. Farther N. in the Corso Vitt. Emanuele is the University, (PI. B 3), the successor of a famous school of law, founded in the 11th cent., at which Lanfranc studied and which earned for the town the name of ' Roma Secunda.' The school was made a university in 1361 by Galeazzo II Visconti, and now numbers c. 1500 students, mostly in the faculties of law and medicine. The buildings date from c. 1490, but were ex- tended in the 18th and 19th centuries. In the library are preserved some of the ashes of Christopher Columbus, who is said to have studied here. Behind the University, in the Corso Cairoli, rises the Gothic church of San Francesco (PI. B 4; 1228-98), with a graceful facade. Farther on is the Collegio Ghislieri, founded by Pope Pius V (statue) and adjoined by a small gallery of modern art. Close by, in the Via Spallanzani, are three survivals of the 16th cent, fortifications to which Pavia owed its former name, ' the city of the hundred towers.' The church of Santa Maria di Canepanova (PI. 4; B 4) at the corner of the Via Sacchi and Via Mentana, is a graceful octagonal building begun by Bramante in 1492 and completed in 1564, with a 15th cent, cloister. The neighbouring Palazzo Mezzabarba, in the baroque style, is now used as the town hall. The Corso Vitt. Emanuele leads to the Castello Viseonteo (PI. A 4), or castle of the Visconti, a vast and gloomy quadrangle built by Galeazzo II in 1360-65. Of the corner turrets, in which the founder housed his great collections of literature and art, two alone remain. The handsome courtyard should be noticed; in the square in front of the castle are a monument to Garibaldi and a statue of Cavalotti. — The Via Luitprando leads hence to the Lombard church of San Pietro in Ciel d'Oro (PI. A 3), rebuilt at the beginning of the 12th cent., and named from its former gilded vault, mentioned by Dante in his Paradiso (Canto X, 128). The single portal in the handsome facade is asymmetrically placed, and the buttress on the right is made broader than that on the left in order to contain a stairway. The interior is austere but impressive. The altarpiece is the *Arca di San Agostino, one of the great sculptured shrines of Italy, executed in 1362-70 by Cam- pionese masters, with 95 statues and 50 bas-reliefs. It is supposed to contain the relics of St. Augustine (430), removed from Carthage during Arian persecutions. The large crypt i§ interesting,132 Rte. IS SAUCE From Milan A few steps to the S., at No. 2 in the Piazza Petrarca, is the Palazzo Malaspina (PI. 1: B3), in which the Museo Civlco is installed (adm. free daily, 11-3). It contains reliefs of scriptural subjects by Amadeo; and, among the paintings, Christ with the Cross, by Ambr. Borgognone; Portrait, by Antonello da Messina; The napkin of Veronica, by C. Crivelli; Virgin and Child with St. John, by Correggio, etc; and there is also a collection of prints, faience, ivories, and medallions. Farther to the S. rises the important Gothic church of * Santa Maria del Carmine (PI. B 3; 1390), with a monumental W. front, a 15th cent, campanile, and doorways well moulded in terracotta. It contains frescoes ascribed to Foppa, and, in the sacristy, a lavabo of the school of Amadeo. The Pa- lazzo Orlandi, opposite, preserves a good courtyard by lac. da Gromo, after Bramante. If time permits a visit should be paid to (10 min. W. of the station) the 7th cent, church of San Salvatore (PI. B 1), reconstructed in 1497-1511, with hand- some 16th cent, frescoes of the Pavia school, and to (10 min. farther) San Lan- franco, formerly San Sepolcro, a 12th cent, building with a modernised interior, containing the fine cenotaph (by Amadeo; 1498) of the beatified Lanfranc (p. 181), who is buried at Canterbury. One of the cloisters retains some terracotta decor- ation also by Amadeo. The famous *Certosa di Pavia (p. 125) may be visited either by railway (to Ceriosa station, p. 129) or by tramway to Torre del Mdngano (p. 130). Branch lines connect Pavia with (26f m.) CasalpuUerlengo (p. 268), with (41| m.) Vercelli (p. 72), and with (40£ m.) Alessdndria (p. 42). Beyond Pavia we cross the Ticino and, a little farther on, the Po by the long iron Ponte di Mezzanacorti (J m.). — 30£ m. Bressana Bottarone and (38J m.) Voghera (Rfmts. Hot. Reale d'Italia; dell'Universo) are both junctions for Broni and Piacenza (p. 269). About 5 m. distant by tramway from Voghera is the frequented little spa of S&iice (*Grand- Hdtel Terme, 130 beds, first class; *Milano, 80 beds; Rovati; Taverna), with waters containing iodine (April-Oct.; visitors' tax 101.). — On the hill above (49 m.) Tortona (Rfmts.; Hot. Europa & Moderne; Nazionale; Reale e Universo) is a castle dismantled by the French after the battle of Marengo (p. 42). A branch line runs hence to Alessandria (p. 42). We cross the Scrivia. — 60J m. Novi, and thence to (93J m., 151 km.) Genoa, see p. 42. B. Via Mortara and Alessandria. Railway, 105£ m. (170 km.) in 4|—5 hrs. (no through fares); to Alessdndria, 59 m. (95 km.) in 2£-3 hrs. (45 1. 25, 30 1.65, 18 L 15 c.). Many of the trains start from the Stazione Ticinese (PI. 31). Milan, see Rte. 16. — 5 m. Milano Stazione Ticinese (see p. 106). The train runs beside the Naviglio Grande.— Beyond (18 m.) Abbiategrasso (Hot. It&lia), a market town (8681 inhab.) in an agricultural district, we cross the Ticino.)PW DEL T.C RIPROD. VIET lato tii ogni (jitrtdrtito • m SOO Milano P AV I A Scala tii 1:20000 Cimitei PA VIA. Alberghi (Hotels): — Croee Bianca (e. Vittorio Eman.) 3B,a — Tre Re (c. Vit- • torio Eman.) 3C,b Banca d'lt&lia (v. Comi) 3C,7 Borghi (Suburbs): — Calvenzano 4A — Piave 1 2,B — Ticino 3-4D Cascina Folia 1-A Caserma (Castello) 4A Castello (Caserma) 4A Chiese (Churches): — Cattedrale (Duo- mo) 3C — San Francesco 4B — San Giovanni Domnarum 3B — San Giovanni Ne- pomuceno 3CD — San Michele 3-4C — San Pietro in Ciel d'Oro 3A — San Salvatore IB — Santa Maria del Carmine * 3B — Santa Maria di Canepanova (v. D. Sacchi) 4B,4 — Santa Maria in Betlemme 3D — Santa Teresa 6C — San Teodoro 3C — Santi Primo e Feliciano (v. R, Langosco) 4C,5 Cimitero 6B Collegi (Colleges): — Borromeo 4CD — Ghislieri 4B Corsi (Avenues): — Cairoli 4AB — Cavour 2-3B — Garibaldi 3-4-5C —- Mazzini 3-4B — Vitt. Eman. 3 ABC Duomo (Cattedrale) 3C Fiume Ticino 1-2-3-4D Fonderia Ambr. Nec- chi 2 A Mercato 3-4C j Molino San Giacomo 6A Municipio 4B Museo Civico (p. Petrarca) 3B,1 Navigliaecio 1A Naviglio di Pavia 4-5A 5B Ospedale San Matteo 4B Palazzo del Munici- pio 4B Piazze (Squares): — Castello 3-4A — It61ia 3B — Leonardo da V. 3-4B — Ospedale 3-4B — Petrarca 3B — Vittoria (d.) 3BC Ponte coperto 3CD Porte (Gates): — Cairoli 4A —• Calcinara 2-3C — Cavour, 2B — Garibaldi 6C —Milano 3A — Nuova t 4C —- Salara 3-4C — Ticino 3C Prefettura SB Roggia Folia 1-2C Santo Spirit© 6A Scaricatore del Na- viglio 5BCD Scuola di pittura (v. Aless. Volta) 4B,3 Seminario Vescovile (v. Menocehio) 2B,6 Stazioni (Railway Sta- ttons): — Porta Garibaldi 5C — Stazione 2B — Tramvie Ticino 3B Strade (Roads): Naviglio di Pavia — Comun. di San — Comun. di San Giovannino 6BC — Comunale Lardi- rago 5-6A — della Folia di sot- to 1-2B 1C — Prov. per Abbia- tegrasso 1-2B — Prov. per Lodi 5-6A — Prov. Vigentina 4-5A — Valbona 6C Teatri ( Theatres): — Fraschini (c. Vit- torio Eman.) 3B,2 — Guidi (p. Castel- [ lo) 3A,8 University 3B Yicolo Calchi 5C Vlall (Alleys): — Argonne 3-4A — Battisti C. 2B Viali (Alleys): — Belgio 5CD — Cittk di Fiume 4-5CD — Dalmazia 5-6BCD — Gorizia 4-5BC — Monte Grappa 6C — Oberdan 2-3BC — Sauro Naz. 3A — Ven6zia 5ABC — Yittorio Veneto 2-3 A Vie (Streets): — Ariberto 2B — Bernardino da Feltre 2BC — Boezio 2-3B ___ Bossolaro 3B — Oardano 3C —- Carpanelli 4B — Cavallotti * mm 4BC _ SO dei Mill^ 3D — Filzi 2A — Foscolo BBC — Frank 3BC —• Gatti 3C — Lanfranco 3AB — Langosco 4-5C -— Luino 4B — Luitprando 3A — Mascheroni 3B — Massacra 4C — Menocchio 2-SB — Mentana 3-4B — Milazzo 3-4D — Molitii 2BC —, Morazzone 4C — Nizza 2B — Orfanotrofio 3& — Palestro 2B Porta 4C Porta Calcinara '2.-80 — Porta Nuova 40 —- Porta Pertusi 3C — Rezia 3C - Robolini 4C — Roma 3B - Sacchi 4B - San Martino 4B - Sant'Ennodio 4C - Scarpa 4C - Scopoli 4-5B - Trieste 2AB _ Venti Settembre 3B Volta 4BC Viali (Alleys): — Belgio 5CD — Cittk di Fiumeto Genoa MORTARA 18 Rte. 133 — 24£ m. (39 km.) Vig§vano {Hot. Falcone; Cannone d'Oro) is an ancient silk-manufacturing town (18,861 inhab.) of Ligurian origin, at one time a fief of Milan, and afterwards embellished by the Visconti and the Sforzas. Lodovico il Moro (1479-1500) and Francesco II (1522-35) were born here. The Piazza Ducale preserves vestiges of its decoration at- tributed to Bramante (1492-94); the Duomo is interesting for its paintings by Ferrari and Lanino and for its rich treasury. The Castello Visconteo, built about 1340 and enlarged in 1492, is noteworthy for a handsome tower, a loggia by Bramante, and a chapel decorated by Gaud. Ferrari. About 2 m. S.E. is the large Castello della Sforzesca, designed by Bramante in 1486. 32Jm. (52 km.) Mortar a {Hot. Tre Re), an important junction and the chief town of the Lomellina, retains the churches of Santa Croce, with paintings by Lanino, and San Lorenzo (Romanesque and Gothic, 1414), with pictures by Lanino and Procaccini. From Mortara to Vercelli and Pavia, see p. 73; to Novara, p. 74. 45\ m. Torreberetti is the junction for Pavia. We cross the Po and enjoy a view of the Monferrato hills, on the left. — 50J m. Valenza, comp. p. 74. The railway threads a tunnel and crosses the Tanaro.—59 m. Alessandria, and thence to (105J m., 170 km.) Genoa, see p. 42. 19. FROM MILAN TO BERGAMO Railway, 33J m. (54 km.), via Treviglio, in 1£-11 hr. (26 1. 20, 17 1. 85, 10 1. 80 c.). Another route runs vi& Monza and Usmate (p. 127; 31£ m. in 2 hrs.) where carriages are changed. From Milan to (16 m.) Cassano d'Adda, where we cross the Adda, the Bergamo trains follow the main line to Verona (p. 136). — 20 m. (32 km.) Trevigilo Ovest, comp. p. 136. Some of the trains go on to the main line station. Our line runs N. — 27 m. Verdello. 331 m. (54 km.) BERGAMO, an ancient city (58,537 inhab.) in the plain at the mouth of the Yalle Brembana and the Valle Seriana, is the centre of a silk-producing district. The town is built in two parts: the Citta or Bergamo Alia (1200 ft.), the old town on a hill, with its ancient buildings separated by narrow streets; and Bergamo Bassa (810 ft.), a prosperous modern settlement including various ' borghi' or suburbs. Railway Stations. Ferrovie dello Stato (PI. E 4), for Milan, Lecco, and Brescia; Stazione Valle Brembana and Stazione Valle Seriana (PI. E 4), both in the Viale Roma, for the electric railways serving the t.vo val- leys above Bergamo. Hotels. In Bergamo Bassa: Mo- derns (PI. e; E 4), 16 Viale Roma; Concordia (PI. d; D 4), 8 Viale134 lite. 19 BERGAMO Roma, well spoken of; Cappello d'Oro (PI. c; D 3), Piazza Porta Nuova; Reale d'ItXlia, Via Venti Settembre (PI. D 3). - In Bergamo Alta: Del Sole (PI. a; A 2), Via Colleoni, plain; Costantino Bel- trami, same street; Belvedere, on the Dei Torni promenade. Caf6s. Cent-rale, Nazionale, Bir- reria Gambrinus, all on the Sen tie- rone (PI. D 3-C 4) in the lower town. Post Office (PI. C4), ViaMasone. Cabs. In the lower town, per drive 31.; 4£1. for 1£ hr., for each extra £ hr., 41.; luggage 50 c., more than 80 kg., 11. From the lower town to the upper town: to the Piazza Garibaldi, 101.; to the San Vigilio funicular, 131.; etc. fey time, fot the 1st hr., 9 1.; each extra hr. 41. Electric Tramways ply from the station to the funicular and traverse the main streets. Funicular Railways from the lower town (Viale Vitt. Em.; PI. B 2) to the upper town (35 c.; Piazza Mer- cato delle Scarpe); from the Porta Sant'Alessandro (PI. A1) to San Vigilio. Theatres. Donizetti (PI. D 3, 4), Piazza Cavour; Nuovo (PI. C 3, 4), Via Masone; delta Societa, Piazza Ga- ribaldi (PI. A 2). Railway Tieket Office* Banco Sant' Alessandro, Porta Nuova (PI. D 4). History. The Roman municipality of Bergomum became the centre of a Lombard duchy and was the birthplace of the kings Clefi and Autari. After 1428 it was a Venetian colony. The largest contingent of Garibaldi's ' Thou- sand ' (p. 48) was furnished by Bdrgamo, and another of her sons, Francesco Nullo, perished in the cause of Polish independence. Bergamo and the neigh- bouring valleys have produced many noted artists including the sculptor and architect G. B. Castello (? 1500-70), the architect Giac. Quarenghi (1744-1817) and the painters Palma Vecchio (Giac. Negretti of Serina; ? 1480-1528), Lo- renzo Lotto (probably a Bergamasque; 1480-1556), A. Previtali (? 1480-1528), G. B. Moroni of Albino (c. 1525-78), and V. Ghislandi, called Fra Galgario (1655-1743). Other famous natives are Bartolomeo Colleoni (15th cent.), the Venetian condottiere, Girolamo Tiraboschi (1731-94) the literary historian, Lor. Mascheroni (1750-1800), the mathematician, Card. Angelo Mai (1782-1854), the classical scholar, and Gaetano Donizetti (1798-1848), the composer. From the station the Viale Roma leads direct to the Piazza Cavour (PI. D 3), the centre of the cheerful Lower Town, with a statue of Cavour, by Bistolfi. On the right are the Teatro Donizetti and a good monument to the com- poser by F. Jerace (1897), and the church of San Bartolomeo with marquetry by Fra Damiano and a large *Altarpiece by Lotto (1516). Behind this the Via Tasso leads to Santo SpiritQ (PI. C5), whose handsome interior contains a polyptych by Borgognone, a Virgin and saints by Lotto, and two paintings by Previtali. To the left the Via Pignolo leads to the churches of San Bernardino (paintings on wood by Lotto) and Sant' Alessandro, beyond which we follow the Via San Tomaso to the right. The Aceademia Carrara (PI. A 5; open 10-4, adm. 11.) contains Roman antiquities and a fine * Picture Gallery. Besides paintings by the native artists Lotto, Palma Vecchio, Previtali, etc. (see above) the following may be mentioned: 167, 541, Giov. Bellini, Ma- donnas; 170. Mantegna, Madonna; 192. Moretto, Christ and donor; 267. Frdncia, Bearing of the Cross; 314. Raphael (attr. to), St. Sebastian; 324. Fra Angelico, Madonna and angels; 477. Clouet, Portrait; 481. Van Dyck, Little girl; 484. Rubens, Martyrdom of St. Agnes; 511,512. Fr. Pesellino, Trial and Marriage of Griselda; 519. Pisanello, Lionello d'Este; 563. Marco Basaiti, Portrait.BERGAMO. Aceademia Carrara 4-5A Alberghl (Hotels): — Cappello d'Oro (p. Porta Nuo- va) 3D,c — Concordia (viale Roma) 4D,d — Moderne (viale Roma) 4E,e — Sole (v. B, Col- leoni) 2A,a Banca d'Italia 8C Banca Popolare 3D Bergamo Alta 2-3A Bergamo Bassa 2-3-4-5C Borghl (Suburbs): — Palazzo 6C — Pignolo 4-5B — San Leonardo 2-3D — Santa Caterina 5-6A -— Sant' Antonio 4-5C Caserme (Barrack*): — Sant'Agostino 4 A — Umberto I 5B Case Popolari 6-7AB Ch 1 ese (Churches>: — Beata Vergine Addo- lorata 6A — Beata Yergine del Carmine 2A — Beata Vergine Im- inacolata delle Grazie 4D •— Duomo 2A — Evangelical 3CD — San Barter Boccaleone' 7DE Teatri (Theatres) : — Donizetti 3-4D •— Nuovo 3-40 Toifente Morla 4-5A 5D Vialt (Alleys): — al Oimitero 7 CD — del Santuario 6 A — Roma 4DE — Yerdi 4BC — Vittorio Eman. II 2-3-4B 2-3C Vicoii (Narrow Streets): — San Carlo 2BC — San Giovanni 5B Vie (Streets): — Alberico da Re- gelate 5-6A 5 6B — Battisti Cesare SAB — Boccola 2 A —- Borfuro 2-3D — Borgo Palazzo 5-60 6D — Borgo S. Caterina 5-6A — Camozzi 4 -50 4D -— Celestini (dei) 6 A — Colleoni Bart. 2A — Colleoni Franc. M. 4E (Continuation).Lata di ogni quartrato - m WO Inler-vfos S.AUiSsandio W(j//CiUndoll i ' : ' V V leBrembana 7 V.Seriana lolorala itmiziario S.Agosliun UUi -A iidiea pta S.Giacom< .KIh»al>eUa Lserma jbertol. Nuovo f exCim. 1H.Ma11ri7.io Offichio £ Luce Eletir. Stabilifn&ih> Oetikei&C % S.Alos9anrtr 5 inColonna Nuova 'Nuova P=\ Svpu, Tftflrfrf 'ae.vVo tvcuidt StazVall* renibaiia St acta BERGAMO Scaladi 1:15000 Metrl Trarmrie, urbane enctraurbane 'Cremona Monza Lecco 9TAMPA i ANTONIO VALLAR01 - M1LAN0 UFFCARTOGR.DaT.Cl.CapoCartogrtfbP.CORBEtLINIVie ( Streets): — dei Mille 3D 3-4E — Donizetti 2B — Fantoni 5D ■— Fara (della) 3A — Ghislandi 6BC — Gombito 2A — Guglielmo d'Al- zatio 4D 3E — Lappacano 20 ID — Lauro 1-2C — Macello 4D — Madonna della Neve 5C — Mai 4-5-6D — Masone 4B 3-4C — Mater Domini 3BC — Mayr 70 r> — Mazzini 2CD — Milano 10 Vie (Streets): — Morelli 2-3D 30 — Noca (della) 4A — Nullo ; 2€ ID — Osio 2E — Paleocapa 3-4E — Palma il Vecchio IDE — Pignolo 4B0 — Pitentino 4 ABO — Porta Dipinta 3AB — Pradello 40 — Previtali 2E —- Privata Maffeis 4D — Privata Suardi 6AB — Quarenghi 3E — Rubini 7CD — San Benedetto 2-30 — San Bernardino 2E — San Giacomo 2B Vie (.Streets): — San Giorgio 3EF — San Giovanni 4-5B — San Lorenzo 2A —- Sant'Alessandro 2BCD — Sant'Antonio 2D — San Tomaso 4AB — Sant'Orsola 2-3D — Sauro N. 5A — Serassi 6-7C — - Spaventa 2-3E — Tasso 40 — Tirabosehi 3DE ■— Torre del Raso 4-50 — Torretta 6BC — Tre Arrai 1A 1-2B — XX Setterabre 2-3D — Zambonate 2-3DSAN PELLEGRINO 19 lite. 135 From the Piazza Cavour the Viale Vittorio Emanuele leads to the funicular railway for the Upper Town. Keeping straight on from the upper station we pass the 12th cent. Torre del Gombito (170 ft.) and reach the picturesque Piazza Garibaldi (PI. A 2). On the right is the Palazzo Nuovo (1604-11), on the left the Pal. della Ragione or Palazzo Vecchio (12th cent.; altered in 1538), with the massive 12th cent. Torre del Comune. On the S. side of the Pal. Vecchio is the * Piazza del Duomo, a with its interesting edifices. The Cathedral, rebuilt in 1459 and in the 18th cent., has a sumptuous interior with a few good paintings; the cupola and the fa<^ade are modern. — The Romanesque church of * Santa Maria Maggiore, begun by Fredo in 1137, but much altered subsequently, has a charming exterior with a typical lion doorway and an elaborate S. porch. The baroque interior contains a confessional in the same style by Fantoni, a monument to Donizetti (p. 134) by Vela, and magnificent * Stalls and Choir Screen, elaborately carved by Fr. Capodiferro. The tarsia-work by Fra Da- miano is usually covered (apply to the sacristan). Adjoin- ing this church is the *Colleoni Chapel by Amadeo (1470-76). The fa$ade is over-decorated and the architecture is rather incongruous, but the details are fascinating. Within are the Tombs of Bartolomeo Colleoni (p. 134) and his daugh- ter Medea. The figure of the latter is "one of the most charming works of its kind in Italy." The marquetry work is excellent, and the ceiling, by Tiepolo (1733), is bold and vigorous. The octagonal Baptistery (c. 1340) is a graceful building by Giov. da Campione. From the Porta Sant'Alessandro (PI. A 1) a funicular railway mounts to San Vigilio (1512 ft.), a fine view-point; still wider prospects may be enjoyed from the higher Castello (1630 ft.) or the Bdstia (1673 ft.). From Bergamo to San Pellegrino, 16 m. (26 km.), railway in c. 1 hr. The line ascends the picturesque Valle Brembana, which is watered, by the Brembo. — 15J m. San Pellegrino Terme (* Grand-Hdtel, 300 beds; *Terme & Milano, 100 beds; Palace & Como, 120 beds; Eden; della Posta, etc. — In- formation Bureau) is a favourite watering-place and summer resort, noted for its lithino-alkaline waters (visitors' tax, 10-30 1.). A funicular railway ascends hence to San Pellegrino-Vetta (Hot.-Rest. Vetta), a good view point. — Beyond San Pellegrino the railway goes on to (19| m.) San Giovanni Bianco, near the beautiful Alpine gorge called UOrrido deU'Enna and to (25 m.) Piazza Brembana. The industrial Val Seriana, watered by the Serio, is served by a railway from Bergamo to (20| m.) Clusone, above which is (13| m.) Bondione, near the magnificent gorges and waterfalls (700 ft. in 3 falls) of the upper S6rio. The tramway from Bergamo to Soncino (p. 136) leaves the Brescia line at (3 m.) Seriate (p. 139) and passes (8 m.) Bettole, c. 2 m. of which is the Castello di Malpaga, built c. 1470 by Colleoni. The tramway crosses the Milan-Verona line at (15£ m.) Romano (p. 136). From Bergamo to Brescia and to Lecco, see p. 139; to Milan viia Monza, see p. 133; to (22£ m.) Sdrnico and (28 m.) Ldvere, see p. 140.136 Rte. 20 BRESCIA Hotels 20. FROM MILAN TO VERONA Railway, 93 m. (150 km.) in 2$-4 hrs. (70 1. 65, 47 1. 65, 28 1. 05 c.); to Brdscia, 51 m. (82 km.) in l£-2 hrs. (39 1. 15, 26 1. 65, 15 1. 90 c.); to Desenza- no, 68£ m. (110 km.) in 2-3 hrs. (52 1. 10, 35 1. 30, 20 1. 85 c.). Best views on ths left, first of the distant Alps, afterwards of the hills S. of the Lake of Garda. Milan, see Rte. 16 — At (16 m.) Cassano d* Adda, the scene of many battles, we cross the Adda. — 20 m. (32 km.) Treviglio (RfmtsHot. Bella Venezia; Stazione), an agricul- tural and industrial centre (12,613 inhab.), is an important railway junction. The Gothic church of San Martino con- tains some good pictures. Santa Maria delle Lagrime is a Renaissance building. From TrevIglio to Cremona, 40§ m. (65 km.), railway in If hr. — 3f m. Caravdggio, with a sanctuary ot the Virgin, was the birthplace of Michelangelo Amerighi da Caravdggio (1569-1609), the painter. —13£ m. (22 km.) Crema (Hot. Crema, Sole, Chiodera, all plain), is a town of 11,325 inhab. Razed by Barbarossa, it was rebuilt c. 1183 and belonged to Venice until 1797. The 13th cent. Cathedral has a fine campanile. The Palazzo Comunale (1547) and the Palazzo Pretorio with its fine archway, called Torrazzo, are worth seeing. *Santa Maria della Croce, 1 m. N., is a handsome church (late 15th cent.), after Bramante, by Giov. Battacchio. — 24 m. Soresina, junction for (8f m.) Soncino. — 40£ m. (65 km.) Cremona, see p. 146. From Treviglio to Bergamo, see p. 133. Our line crosses the Serio and beyond (28 m.) Romano di Lombardia the Cglio below the Lake of Iseo. — 36} m. Chiari. — At (40J m.) Rovato we are joined by lines from Lecco and Bergamo and from Iseo. 51m. (82 km.) BRESCIA (490 ft.), well situated at the mouth of the Val Trompia, is a pleasant and well-built manufacturing town (66,667 inhab.), noted for its monuments of the Renaissance. Hotels. Igea Terminus (PI. f;C 2), near the station, good; ItAlia (PI. a; C 3), Corso Zanardelli, good; Brescia (PI. c; C 2-3), Via Umberto Primo, Gallo (PL h; B 3), 3 Via Paganora, both well spoken of; Gambero (PI. b; C 3), near the Corso Zanar- delli, good cuisine; Orologio Vec- chio (PI. d; B 3), 8 Via Broletto; Panteo (PI. e; C 3) Locatelli (PI. g; C 2; meuble). Restaurants. Caino, 25 Via Pu- sterla; Al Numero 5, Via Umberto I; Rebuff one, Viale Venezia; all noted for ' polenta e uccelli' (see p. ci). Cabs. 3 i. for 393 metres, then 20 c. for 131 metres or 4 min.; to the Castello, 21. extra; after dark 11. extra; luggage outside, 50 c. — Motor Cabs, 2| 1. per km. Electric Tramways from the sta- tion to the Piazzale Cremona; from the Piazzale Arnoldo da Br^cia to the Via Milano; from the Via Milano to the Ponte San Giacomo; from the Corso Zanardelli to the Piazzale Trento and to the Castello. Steam Tramways to Soncino, 20i m., 4 times daily; to Castiglione delle Stiviere and Mantua, see p. 140. Motor Omnibuses to Trent (comp. p. 176) via Alle Sarche, Tione, and Vezzano; in summer connection at Tione for Pinzolo, Madonna del Cam- plglio, and MaU (p. 178); at Alle Sarche for Arco and Riva (p. 144); also to Vestone (comp. p. 140). Tourist and T.C.I. Office, Agenzia Fert, 5 Via Giordano Bruno (PI. C 2). Theatres. Grande (PI. C 3), opera at the carnival and August fair seasons; Sociale (PI. C 3).Loggia BR&SCIA 20 Rte. 137 History. The Roman settlement Brixia of the 3rd cent. b.c. rose to great magnificence under the Empire; during the Lombard sway it was the birthplace of King Desiderius or Didier (8th cent.). A commune in the 11th cent., it was among the first to join the Lombard League. It afterwards passed under the lordships of Ezzelino da Romano, and the Pallavicini, Torriani, Scaligeri, and Visconti, and from 1426 till 1797 enjoyed considerable prosperity as a Ve- netian possession. Between 1509 and 1516 it was twice captured by the French under Gaston de Foix, the ruthless pillage after its second fall being only a little mitigated by the generosity of Bayard, who lay wounded in the town for some davs. The bravery of its citizens was again proved in March 1849 when the town held out for ten days against the Austrian general Haynau (nicknamed the 4 hvsena of Brescia '). Among famous natives are the painters Vincenzo Foppa (? 1430-1515), Girolamo Romani (il Romanino; 1480-1566), and Aless. Buonvicini (il Moretto; 1498-1555); the Benedictine monk Arnold of Brescia (d. 1155), who preached against the worldliness of the church and was hanged at Rome; Nic. Fontana (c. 1500-57), the mathematician, called Tartaglia, the stutterer, on account of a wound he received when a child in the sack of Brescia; and Tito Speri (1825-50), leader of the 1849 revolution and most famous of the martyrs of Belfiore (p. 149). From the station we proceed via the Piazzale Roma along the Corso Vittorio Emanuele. In a street on the left is the 18th cent, church of Santi Nazzaro e Celso (PI. C 2), with a painting (1522) by Titian over the high altar, and three by Moretto (3rd chapel on the right, 2nd on the left, and in the sacristy). Farther on in the Corso is the charming little Renaissance church of * Santa Maria dei Miracoli (PI. 4; C 2) of which the central part (1488) is by G. G. Pedoni, Ant. della Porta and others. The side aisles, begun in the 16th cent., were not completed until the 18th. In the Corso Palestro, to the left, is the church of San Francesco (PI. B 2)> built in the Lombard style in 1254-65, but much altered in the 16th century- Inside it are (3rd S. chapel) SS. Margaret, Francis and Jerome, by Moretto, and (above the high altar) Madonna and Saints, by Romanino, both in frames of rich workmanship by Stef. Lamberti (1502). The sacristy contains fine stalls and aumbries and a magnificent silver cross by Giov. Franc. dalle Croci of Bre- scia (1501). Near it is the little Gothic cloister. Following the Via Fratelli Porcellaga and the Via Ugo Foscolo, we turn to the right at the end to reach the Piazza della Loggia (PI. B 3), on the S. side of which is the Monte di Pieta, with a well proportioned loggia of 1484. On the W. side of the square is the * Loggia, the architectural glory of Brescia. The ground floor was begun in 1492 by Tom. Formentone of Vicenza; the upper story is the work of Sansovino and Palladio and was finished in 1574, but the following year a fire destroyed the roof and burnt three paintings by Titian. The original appearance of this great monument of the Renaissance has only recently been restored. A passage beneath the Torre deH'Orologio (1552), on the E. side of the piazza, brings us to the Piazza del Duomo. The * Duomo Nuovo (PI. B 3), begun in 1604 by G. B. Lan- tana, has a cupola (1825) 269 ft. high. By the 3rd S. altar is the tomb of Bp. Apollonius (late 15th cent.). Between the138 Rte. 20 BRESCIA From Milan 2nd and 3rd altar on this side a passage leads to the Ro- manesque *Rotonda or Duomo Vecchio (if closed, apply to the sacristan; gratuity), a circular building of the early 12th cent, with a central rotunda supported on 8 pillars. The choir is a 15th cent, addition. Over the high altar is an * Assumption by Moretto; on either side, panels by Romanino. A coloured marble outline on the pavement of the rotunda indicates the plan of the 8th cent. Basilica di San Filastro, burned in 1097 with the exception of the five-aisled crypt which preserves traces of frescoes in its apse. The Via Trieste on the S. side of the Duomo leads E. to the little church of San Clements (PI. 6; B 4), in the ' vicolo ' of the same name, No. 17 in which was the house of Moretto. In the church are 5 paintings by Moretto, whose grave is marked by a modern tomb. The church is usually closed; the sacristan lives in the lane to the W. To the N. of the Duomo is the Broletto (PI. B 3), a Lom- bard communal palazzo of U87-1234, " the remains of one of the most extensive and grand of these buildings. " Incorpo- rated with it is the little church of Sant'Agostino, the W< front which has good 14th cent, terracotta ornamentation. — The' Via dei Musei leads hence to the Piazza Carducci (PI. B 4) on the site of the Roman forum, with a few remains of por- ticoes. On the N. side are the picturesque remains of the Temple of Vespasian (73 A.D.), now incorporated in the *Na- tional Museum of Roman Antiquities (Museo Patrio d'Eta Romana; PI. B 4). The Temple, on a lofty stylobate, was prostyle, with a pronaos of 16 Co- rinthian columns, eight of which formed an advanced portico. The Museum (adm. 10-3 or 4, 11.) has three rooms. The Central Hall, with a dedicatory inscription and a colossal altar-base from the temple, contains Roman mosaics, tombstones (one, found at Trem6sine, with a bilingual inscription), and coins; two neolithic tombs from Remedello; prehistoric weapons; and 14 golden ♦Cross- es and plaques of Lombard workmanship. — The Left Hall, with remains of a pavement and an altar-base, contains the famous *Winged Victory, a bronze statue over 6 ft. high, now generally assumed to have been the chief figure in a chariot group placed on the roof of the temple. The objects around (portions of a chariot and horses, six bronze heads, the captive Regulus,^ etc.) were dis- covered along with the statue in 1826. The Right Hall contains another ^1- tar-base, marbles, pottery, glass, etc. Farther E. in the Via dei Musei are three Old churches: Santa Giulia (1466-1599), San Salvatore, and Santa Maria del Solario, of which the first contains the Mediaeval Museum (Museo Civico Medioevale; PI. B 4; same hours and prices as for the Roman museum). The nave of Santa Giulia contains a collection of arms and armour. Case 2. So-called *Cross of Galla Placidia (? 5th cent.), of wood overlaid with silver-gilt and set with 212 gems and cameos; Case 8. Ivory reliquary of the 3rd or 4th cent.; Case 12. Diptych (3rd cent.), formerly in the possession of Card. Querini; consular diptych of Manlius Boetius (5th or 6th cent.); diptych of . Lampadius (6th cent.). Beyond are examples of pottery and glass, sculptures, and bronzes. — In the transept are a Bust by Vittoria; and Abraham's Sacrifice, in ivory and ebony, by the Dutch artist Van Opstal. — In the choir: *Tomb of ftfarcantonio Martinengo (d, 1526). — From a door in the transept we descendto Verona ISEO 20 Rte. 139 to the Byzantine basilica of San Salvatore (partly 8th cent.), beneath which is a crypt. —The square lower story of the adjoining chapel of Santa Maria del Solario (ll-12th cent.) is built of Roman blocks; the octagonal upper floor is decorated with frescoes of the school of Luini. The Castello (PI. A 3-4), on the Cydnean hill (mentioned by Catullus), was built by the Visconti in the 14th cent, on the site of the Roman Capitol. Until 1859 in remained in Austrian hands. It now contains a Natural History Museum and a Museum of the Risorgimento. In the N.W. part of the town are two interesting churches. Santa Mariq, del Carmine (PI. A 3), a 14th cent, building with a fine fagade and a 15th cent, portal, contains paintings by Foppa and his school. In San Giovanni Evange- lista (PI. B 2), which has a good 16th cent, doorway, are (3rd S. altar) a Massacre of the Innocents (1530) and (in the apse) a *Madonna and saints, by Moretto. In the Corpus Domini chapel (N. side) are a Descent from the Cross by Civerchio, and paintings by Moretto and Romanino. In the Baptistery (N.W.), *Holy Trinity and four saints by Francia (c. 1512). Returning via the Piazza della Loggia to the Corso Za- nardelli (PI. C 3), in which is the Theatre by Luigi Canonica (1810), we proceed W. along the Corso Magenta to the church of Santa Maria Catcher a (PI. 7; C 4) and the Piazzale Ar- naldo da Brescia (PI. C 5), with a monument to Arnold by Tabacchi (1882), and affording a pleasant view of the opposite hillside with its villas, gardens, and terraced vineyards (ronchi). Hence we reach the Piazza Moretto (PI. B 4), with a monument to the painter by Ghidoni (1898), off which runs the Via Martinengo da Barco, with the Plnacoteca Toslo Martinengo, a visit to which is essential for a proper appre- ciation of Brescian painting (adm. 10-3 or 4, 11.; Sun. in summer, 1-4, free). Room II; Works by Moretto, Romanino, Gambara, and Savoldo. Room IV. *2. Clouet, Charles IX of France; 3. Francia, Virgin and Child with St. John; 4. Bramantino, St. Jerome; 5. Bassano, Adoration of the Magi; 7, 8. Portraits by G. B. Moroni and Tintoretto; 10. Moroni, Magistrate; Raphael, *12. The Redeemer, 13. Angel, fragments from the Coronation of St. Nicholas of To- lentino; 14, 15, 16. Portraits by Moretto, Romanino, and after Palma Vecchio. The modern paintings include a portrait of Eleonora Duse (1885) by Lenbach. The neighbouring church of Santa Afra (PI. C 4) contains: (2nd S. altar) Fr. Bassano, Baptism of St. Afra; (over the S. door) School of Titian, The woman taken in adultery; (apse) Tintoretto, Transfiguration; (1st N. altar) Veronese, Martyrdom of St. Afra; (2nd N. altar) Palma Giovanc, SS. Faustino and Jovita, martyrs of Brescia. From Brescia to Lecco viA B£i?gamo, 51£m. (83 km.) in 3 hrs. We quit the main line at (10£ m.) Rovato (p. 136). -r- 28 m. Seriate (p. 135).- 31 m. (50 km.) B6rgamo, see p. 133. —40 m. Pontida has a famous Benedictine abbey of 1081, the traditional first meeting-place (Apr. 7th, 1167) of the representa- tives of the towns that formed the Lombard League (p. 16). — 47 m. Caldlzio, see p. 127. — 51£ m. (83 km.) Lecco, see p. 106. From Brescia to jSdolo, 64 m. (103 km.) in 4i hrs. — At (16 m.) Iseo (Hot. Leon d'Oro; Toledo) we approach the La go d' Isoo (607 ft.). This charming little lake (15 m. long, 3 m. wide), an expansion of the (5glio, was the Lacus Sebinus of the Romans. The island of Moniisola which it contains is 2 m. long, the largest in any Italian lake. There are steamboat service? from I§eq140 Rte. 20 £dolo to (5 m.) Sdmico, and to Monte fsola and (13$ m.) Ldvere (Grand-Hdt. Se- bino; Sant' Antonio), at the upper end of the lake. Sarnico and Ldvere are served by tramways from Bergamo (p. 133) diverging at (10$ m.) Trescore, and another steamer connects L6vere with Pisogne (see below). The railway skirts the E. bank of the lake, which we quit at (29 m.) Pi- sogne (see above), to enter the lovely Val Cam<5nica, the upper course of the (5glio. — 44f m. Breno, in a narrow gorge, is the chief place in the lower Val Ca- m6nica. — 64 m. fidolo (2264 ft.; Hot. £dolo; Derna) is situated amid lovely scenery at the W. foot of the Adamello group (Monte Adamello, 11,661 ft.). Motor omnibuses run hence in summer over the Aprica Pass (3876 ft.) to (18$ m.) Tresenda in the Valtellina and (23$ m.) Tirano (p. 129); and vi& Ponte di Legno and the Tonale Pass (5180 ft.) to (41m.) MaU (p. 180). The tramway from Brescia to (12$ m.) Gardone-Valtrdmpia and (18 m.) Tavtrnole opens up the charming upper Val Trdmpia and the foothills S. of the Adamello. From Brescia to Sal6 and the Lake of Idro, light electric railway; to Said, 24 m. (38 km.) in 1$ hr.; to Idro, 35$ m. (57 km.) in 2$-3 hrs. (carriages changed at T6rmini). As far as (6$ m.) Rezzato we follow the main railway line to Verona. —From (18 m., 29 km.) Tdrmini the Said line descends on the right to (24 m.) Said-Piazza (p. 142), and thence it is continued along the Lake of Garda via Gardone and Toscolano to (33$ m.) Gargnano (p. 144). From Tdrmini the Idro line ascends the Val SAbbia, watered by the Ghiese. — 30$ m. Vestone is connected with Brescia also by motor-omnibus (25 m. in 2$ hrs.). — 35$ m. Idro (1$ m. from the station) lies at the S. end of the Lake of Idro (Lacus Eridius), 6 m. long and $ m. wide. From Idro a road skirts the W. side of the lake and at (7 m.) Ponte Cdffaro it crosses the old Austro-Italian frontier. Beyond (10 m.) Darzo it divides into two. The beautiful right branch leads via Storo and the Lago di Ledro to (33 m. from Idro) Riva (p. 144). The left branch ascends the Val Giudicaria. —13 m. Condino (Inn), the principal place in this valley, has a 15th cent, church. -18 m. Creto lies at the foot of the wild Val Daone (1.), which penetrates into the heart of the Adamello group. Near (22 m.) Roncone we cross the watershed (2750 ft.) and descend to (27 m.) Tione (p. 179), on the road from Maid to Trent. From Brescia to Mantua, 44f m. (72 km.) steam tramway in 3-3f hrs. (7 1. 50, 41. 30 c.). —18$ m. Castiglione delle Stiviere, junction of a line to Desen- zano (see below), was once a fief of the Gonzagas, and the birthplace of St. Louis Gonzaga (1568-91). The church, which is dedicated to him, contains a Pietk by Guercino. — 23 m. MMole. — 35$ m. Gdito was the scene of a victory of the Piedmontese over the Austrians (1848) and the birthplace of the trouba- dour Sordello (? 1200-1266), mentioned by Dante. "Who will may hear Sor- dello's story told" in Browning's early poem ' Sordello.' — 44f m. (72 km.) Mantua, see p. 148. From Brescia lines run to (31$ m.) Cremona (p. 146), and to Parma, see p. 270. Beyond (56 m.) Rezzato (junction for Said, etc., see above) we cross the Chiese, a stream which provides much electric power. — 65 m. Lonato was the scene of one of Napoleon's early victories (1796). The church tower and (farther on) the railway afford good views of the Lake of Garda and the Sermione peninsula. — 68J m. (110 km.) Desenzano (Rfmts.). The station is nearly 1 m. above the town (p. 142) and lake to which a branch line (2J m.) descends Steamboat to Riva and Ayco, see p. 141. — Shortly after passing (7J m.) San Martino della Battaglia we enter Venetia (p. 151). On the right appears the Torre di San Martino (240 ft. high). This tower commemorates Victor Emmanuel's victory over the Austrian right wing (June 24th, 1859), At Solfervno, c, 5 m, S., his ally Napoleon III, Lato di o_Q.il quadrauto = m.500 Cellatica 2 Gardong Mompiano BRESCIA Scala di 1:19000 Metri Tramrie: urban*. is.FausLii iwad.tl.? * Carmmo "1$ - .C.Gof&v Y Angric fef f ~~r-js uovo^4 6 —r- Duomo m ° Vecdno Loevale< SJsJ»azzaro 1 Tenfnix Sociale — Garibaldi - £ IB Roma . '-*$£20 — Trento ! 8A PiazzeWqwures): — firusato -Jr 4B0 — Carducci 4B — della Loggia 3B — Diiomo 3B — Mercato 2-3B Moretto 3-4C — Speri 3B Pin&c. Martinengo 40 Posta 30 Ronchi 5AB Serbatoio 3-4 A Stazioni (Railway-Stat.) — Centrale Tram 1-20 — Stazione 1-2D — Tram 2-3A —- Tram per Manto- va 50 Teatrl (Theatres): — Grande 30 — Sociale 80 Torre della Pallata (c. Goffr. Ma- meli) 2B,3 Torre Mirabella 4A Viaii (Alleys):, — d'ltalia 1BC — Stazione 2CD Vicolo Fontanone 4B — Fontanone 4B Vie (Streets): — Arici Cesare 2A — Arsenale 3-40 — Avogadro 4BC — Bandiera Fratelli 2A — Belgio 1BC — Battaglie (d.) 2AB — Oairoli 2B Oalataflmi Callegari Calzavellia Oamozzi Campanella Capriolo 2A 40 2B 1A 20 2 A Castello 3-4AB — Cattaneo 3-4B — Circuito 5C 3-4-5D — Oontini 3-4B — Dante 2B — dei Mille 1BC — Dieci Giornate 3BC — Franchi IB — Francia IB •— Gambara 4BC — Giordano Bruno 2C — Grazie (d.) 2AB — Inghilterra IB — Leon, da Vinci 2-3A Lombroso , 5D — Mantfcva - 50B —- "Mansoni- 1A — Tfarsala 2AB — Mazzini 3BC — Mentana 2B 10 — Milano 1A — Montebello 1A — Monti Alejandro 40 — Moretto 2-30 — Musei 3-4B — Orzinuovi 1CD — Pagunora SBC — Pellico S. 2A — Porcellaga 2B — Porta Pile 2A — Pusterla 3-4A 4B — Re Galantuomo 2-3C — Rocca 3A — Romanino 20D — Rosa Gabr. 3BC — Rose 1C — Saffi 2CB — San Faustino SAB — S. Mart d> Batt. SO — Sant'Agata 2-3B — Sebino (del) 1A — Solferino 20 2-3D — Spalto S. Marco 40D — Stati Uniti 10 — Tagliaferri 3AB — Tartaglia 1-2 A — Tosio 3-40 — Trieste 3B 40 —• Ugoni 1BC — Umberto I 2-3C — Venezia 50 — Venti Settembre 2-30 — Verdi 2BPESCHIERA Rte. 21 141 crushed the rest of the Austrian army on the same day. The tower of Solfe- rino, visible from the train, was erected probably by the Scaligers. The low moraine-hills S. of the Lake of Garda, thrown up by the ancient glacier of the Adige, have been the theatre of many battles: during Prince Eugene's campaign in the War of the Spanish Succession (1701-6), during Napoleon's enterprises (1796-1814), and during the Wars of Italian Independence (1848-9,1859, and 1866). 77 m. (124 km.) Peschiera (RfmtsInns), an ancient for- tress, one of the four corners of the Austrian ' quadrilateral ' (p. 155), stands at the outflow of the Mincio from the Lake of Garda. We cross the Mincio. — The hills to the S. of (79J m.) Castelnuovo di Verona and (84 m.) Sommacampagna were the scene of the two Italian defeats of Custozza (1848 and 1866). We descend to the plain, pass (91| m.) Verona (Porta Nuova), and cross the Adige. — 93 m. (150 km.) Ve- rona (Porta Vescovo), see Rte. 23. 21. THE LAKE OF GARDA The "LAKE OF GARDA (Lago di Garda; 213 ft.), the Lams Benacus ot the Romans, celebrated in the annals of Latin and Italian folklore, is the largest and one of the most beautiful of the Italian lakes (31J m. long, 2-11 m. wide; 142 sq. m. in area). The narrow N. part, resembling a fjord, offers wild and romantic scenery; the broad basin to which the lake widens in the S. is encircled by pleasant hills. The principal feeder is the Sarca, descending from the Tren- tino; the outlet is the Mincio. The predominant winds (which may swell into violent storms) are the Sover, from the N. in the morning, and the Or a, from the S. in the afternoon. Wildfowl abound, and fish (though depleted by netting) are fairly numerous. The winter climate is mild, and the summer heat tempered by a refreshing breeze. The olive is much cultivated, and plantations of oranges and lemons as well as vineyards flourish on the shores. The W. bank belongs to Lombardy, the E. bank to Venetia, and the N. extremity to the Trentino. Approaches. Desenzano (see p. 142) and Peschiera (see above), are both stations on the railway from Brescia to Verona. — Said (p. 142) and Gardone (p. 143), are on the electric railway from Brescia to Gargnano (comp. p. 140). — Garda (p. 146), is the terminus of a branch-line from Affi, on the line from Verona to Caprino.—Bardolino (p. 146) is likewise a station on the branch- line from Affi to Garda.—Riva (p. 144), is the terminus of the branch from Mori. — Motor Omnibuses run to Riva from Alle Sarche (p. 179; 7 1. 30), from Mori (p. 162; 111.40) and from Storo (p. 140; 8 1.50); also to Desen- zano from Brescia (p. 136). Steamer Services. Steamers ply regularly from Desenzano Lago to Sal6 and Riva by the W. bank of the lake, and from Riva to Peschiera by the E. bank; see below, and p. 145.i42 kte. 21 SALd Lake of A. From Desenzano to Riva and Arco. Steamer to Riva in 3£-4£ hrs., 3-4 times daily (17 1. 30, 9 1. 60 c.). Thence by road or railway to Arco, see p. 145. Desenzano Lago (216 ft.; Hot. Royal Mayer & Splendide, at the pier, 60 beds; Due Colombe; Barchetta), the usual starting-point for excursions on the Lago di Garda, is a pleasant little town (4364 inhab.) connected with the station of Desenzano (p. 140), by a branch line (2|-m.). Facing the lake is an arcaded piazza. The parish church contains a Last Supper by Tiepolo. — On the right as the steamer quits the pier we see the curious promontory of Sermione or Sirmione, 2| m. long and in places only 130 yds. wide. Sermione, near the end of the promontory, is a little resort and spa, with warm sulphur springs that rise in the lake and are carried to the bath establishment. Wealthy Roman families favoured Sermione as a summer residence, and Catullus, who had a villa here, speaks of " Peninsularum, Sirmio, insularumque ocelle". Hotels. Grand-H6tel Regie Terme, warm baths, 80 beds; Ser- mione, at the landing-stage, 65 beds; Eden Moderne, 50 beds; Catullo; Vittoria; Promessi Sposi; Dipen- denza Regie Terme; Boiola. Information Office, Pro Sirmione. — Visitors' Tax, 4-12 lire. The 15th cent, church of Santa Maria Maggiore preserves some ancient colonnades. The picturesque 13th cent. *Castello Scaligero, where Dante is said to have stayed, is to be converted into a museum of the Scaliger family, lords of Verona. To the N. are the ruins of the monastery of San Salvatore, founded in the 8th cent, by King Didier (p. 137), the 8th cent, church of San Pietro, rebuilt in the 15th cent., and important vestiges of thermae or a Roman villa, with a ' cave cf Catullus.' The *View from the headland is striking. The steamer steers N.W., skirting the rocky headland of Manerba and passing several islets. On the fsola di Garda is a modern palazzo in the Venetian style (fine gardens). On the left (landing by boat) is San Felice di Scovolo, the Roman Scopulus, with a church that was once a pagan temple. Said (4340 inhab.), the Roman Salodium, and the birth- place of Gaspare Bertolotti, or da Salo (1542-1610), generally considered to be the first maker of violins, is perhaps the most beautiful spot on the lake. Hotels. Grand-H6tel Sal6, at the lake side, 30 beds; Roma, Piazza Vittorio Emanuele, 35 R.; Stella, Piazza Cavour, simple. Conveyances. Carriages for hire, 101. per hour. — Electric Tramways to (6J m.) Tormini (comp. p. 140), and Brescia, and to Gar- done, Toscolano and Gargnano. — Motor Omnibus to Desenzano, twice daily. Rowing Boats on the lake, 2 1. per hr., with boatman 41. — Motor Boats, 40-501. per hr.PROPR.DEl T.C.I-RlPROD-VIET. Hanoi Scaladi MOOOOO Cexlntw 100°I187 I. M.AIberelli Woq M.Pracalvj^' ^idisotto ^ '■r^facrni^Cs iMati-di .w letti/nerat au5 ; iBGH (ty.Castello tvCliui yessaga {(f Ij'oiio a^^Mdd diBpiiaa fflbkcolano (;'* lyl Hi'rMu//io fjJ^^kUgbtic \BoocoU>- 1 M.Pil SMatiino \\ iideiiio^] loncek •I'lV/ttorifoi'io tti./ \Gonlo SJhjTXiSialry kP(U>IO \^%anardelli //Fumno ^ atsaito SeJvaAlta jeodj"—N &*»}. Trjatto & UnnloncdisoUo Moif/twyh p SMatfolonbeo ''litirbaJruin utSrizbo *(3.Bartblol?)eo • A In J 568 J , \ Jib.// ' . jL(,;>7//,:uih v{"\}«hirf jflrUuv^ fr l *'l0&.'.-jjierm:wo Il^ato Porta ^ ^tgneto \|||PSAl6 " v> $&/ ismio rYCTTwAxr^.,,u MSawGr Li 1ij»o >vl V'^u A\ ^^S.Rocco\^ i M.Corno ~ N* * sp/"? 1 // ^__^OSSO Rossim^; S s __ ■ Bresc i a i ———■— UFF.CARTOCR. DEL T.C.I.-Capo CaHografo P.CORBELLINI ^Scovolo lj "a S.Roccm iDesenzanoiGarda GARDONE 2i Rte. 143 The Gothic church of the A nnunzi at a has a good Renais- sance portal by Pietro da Sal6 and Crist. Solari (1507). In the interior are two paintings on wood by Romanino, an Assumption by Palma Giovane, and a carved wooden tab- ernacle with ten niches with statues (1576). — Between Sal 6 and Gargnano extends the * Riviera of the Lago di Garda, a succession of villages linked by villas and hotels, and embowered in cedar and olive groves. The steamer skirts the shore. Gardone Riviera, a frequented and fashionable winter resort, lies in the most sheltered situation on the lake, and enjoys the mildest winter climate in the N. of Italy. Hotels. At Gardone di Sotto: I *Grand-H6tel, facing the lake, a I large establishment, 280 beds, R. 15, B. 5, L. 20, D. 251.; *Savoy, 200 beds R. 15, B. 5, L. 18, D. 22 1.; Roma, good, 80 beds; Monte Baldo, 32 R.; Pension Garda; Bellevue Frank; Parp (formerly Germania); do Lac; Eden Riviera; Berta; Baviera; etc. — At Fasano di Sotto: Bellariva, R. 10, B. 5, L. 15, D. 18, pens. 35 l.j Pension Quisisana; Bella vista-Gi- gola ; Maria - Elisabetta ; delle Rose; Prima casa sanatorio del Garda, 50 beds.— At Barbarano: Pension Villa del Sole. — Some of the above, especially at Fasano, have not yet been reopened since the war. Conveyances. Carriages tor ex- cursions, 10-501. — Rowing Boats, 51. per hr., with boatman 101. — Motor Boats to Said, 101., to the fsola di Garda, 601.; etc. — Electric Tramways to Sal6 and Brescia, see p. 140, and to Toscolano and Gargnano. Information Bureau. Comitate Stazione CUmatica. — Visitors' Tax, 10-301. for the season. Amusements. Casino, overlook- ing the lake, with reading rooms, concerts, and plays. — Bathing Estab- lishment. Gardone offers a good centre for excursions in the hilly hinterland of the Riviera, which becomes mountainous at a few miles' distance. Walks may be taken to Gardone di Sopra, to Morgnaga and the ' little Rigi/, to the lofty church of San Michele, or the gorge of the Barbarano (guide-posts). — The steamer passes Fasano(hotels, see above). Maderno (*Hot. Maderno, 30 beds; * Villa delle Rose; San Marco; Speranza), situated on the delta of the Toscolano, was once the chief place of the Riviera. The 12th cent. Romanesque church of Sant'Andrea shows remains of Roman and Byzantine architecture, especially in the decoration of the pillar capitals, doors, and windows; an older church seems to have been incorporated in the building. The 18th cent. Palazzo Gonzaga e Palazzina was formerly a summer residence of the dukes of Mantua. — To the N. of the delta is Toscolano (Hot. Cavalio Bianco), the Roman Tuscula- num, a good excursion centre. — The next considerable place on the shore is Bogliaco(Grand-Hotel, open Sept.-May, 80 beds, pens. 45 1.) with the Villa Bettoni containing a private collection of paintings (apply by letter).144 Ate-. 21 RIVA Lake of Gargnano (Hot. del Cervo, simple; omnibus for Tignale), one of the larger townships on the lake, is noteworthy for the church of San Francesco and its 13th cent, clois- ters. — The lake begins to narrow considerably, and the W. shore becomes a rocky wall, skirted by the picturesque road from Gargnano to Trem6sine (*Views). — From Porto di Tignale, the next stopping-place of the steamer, a cliff path leads up to the plateau on which Tignale stands. — Campione lies on the delta of a mountain stream. — Porto di Tremdsine is the stopping-place for Tremdsine t the centre of a groug of villages splendidly situated high above the lake (road to Gargnano, see above).—We cross over to call at Malcesine (p. 145), on the E. shore of the lake. Some of the steamers proceed thence direct to Riva, others recross the lake to the W. shore.—jLimone, situated only 2 m. S. of the old Tyrolean frontier, was the first place at which lemons were grown in Europe; hence the name of the village. The mountains on the left, rising abruptly from the lake, are separated by the gorge of the Ponale, with waterfalls and a power station damaged, like some of the surrounding villages, during the Italian advance into the Trentino in May-June 1915. The windings of the road up the gorge are well seen, and the N. end of the lake, with the isolated Monte Brione, offers a splendid panorama. Riva (4355 inhab.), the Roman Ripa, a lively and agreeable little town, and the most important place on the lake, is sheltered by the Monte d'Oro, to the W. There are two steamer piers: Riva Ferrovia, for the railway terminus (comp. p. 162), and Riva Citta, for the town. Riva lay in Austrian territory until 1918, and the surrounding heights were strongly fortified. The town was spared by the Italian artillery during the advance of May-June 1915, but it suffered con- siderably in the course of the campaign. Hotels. *Lido Palace; 130 beds, with garden and a bathing-place on the lake; Bellevue, 45 beds, open all the year; Sole d'Oro; San Marco; Hot. Riva; Europa, 60 beds; Cen- trale, 50 beds; Du lac et du parc, 50 beds; Bologna alla posta, 45 beds; Pension villa Minerva; Pension See-villa. Post Office, Viale San Francesco, near the station. Conveyances. Motor Omnibuses ply to A He Sarche for Trent; to Tione and Mali, in summer; to Ro- vereto; to Ponte Arche, Molveno and Mezolombardo. — Postal Coaches for Arco, Varone, TdrboU, and Storo, starting from the Piazza Tre Novembre. The centre of the old town is the Piazza Tre Novembre, in which are the austere 13th cent. Torre Aponale, the Palazzo Pretprio (1370), the Palazzo Comunale (1475), and some mediaeval porticos. To the E. the Via Maffei leads to the little Galleria Lutti (open Sun., 9-10; entrance in the ViaPROPR. DEL T.C.I-RIPROD. VIET. ■Trento i 18(V»* .omasone esparto. (Mandrea 'Giarc Piamuxi J ij>o Padaw /*rabi^ iel > ' 'tOoMolat/ ^ollodrj * 2j®>.\/:issonc iToniio sAwo xrih Iresarrn OhirdelLs mfVrazie. AdMolowM volognaitft MgnoJt* Ceole•$} .BaHoIomeo^ M.Tom bit 'SfwrgioU SoV(U Mazza> /} •S.A]rs: Hastioni', Corrio ew Perlorfe 7XISO Grottapazi IttoVUL- O Pufttci '.doranni t.Df^ARD A ] (BE N AC 01 I'esacoltn le'.cte) PonaLp Nodic . 003 Scala di 1=80000 0 500 lOOO 15C Metri UFF.CARTOGR.DEL T.C.I- Capo CartografofcP.CaRBELLINI STAMPA:Garda ARCO 21 Rte. 145 G. Lipella), containing a few paintings and some porcelain. On the road to Arco is the church of the Inviolata, built in 2126 by an unknown Portuguese architect, with a graceful baroque interior. From Riva excursions may be made to the *Cascata del Varone, to Tdrbole (see below), to Monte Brione (1185 ft.; view), and to the Cascata del Ponale (p. 144) by lake or footpath, or by road via the *Strada del Ponale (views of the lake, best in the afternoon); to the Lago di Ledro and Idro, see p. 140. About 4 m. N.E. of Riva by road or railway (comp. pp. 179, 162) is the little climatic resort of Arco (298 ft.; 2126 inhab.), 'the Nice of theTrentino/ situated in the valley of the Sarca. The season here lasts from October to June. Hotels. In the season only: Hot. Casino Municipale, with a theatre, etc.; Strasser; Europa, newly built; La Plata. — Pension Sav<5ia; Villa EmIlia; Villa Randalli. Conveyances. Carriages for ex- cursions, 9-501. — Postal Coaches for Riva, see p. 144; also for A lie Sarche and Rovereto. Bellevue; Vittoria, 80 beds: Olivo; Mira-Garda; Gran Sana- torio San Pancrazio. — Open all the year: Hot. ItAlia; Centrale; Arco is the birthplace of the painter Giovanni Segantini (1858-99), whose monument by Bistolfi stands behind the presbytery. The Cathedral is a handsome building in the Palladian style, and the Villa dell'Arciduca Alberto deserves notice. The indispensable excursion from Arco is a visit to (J hr.) the Castle of the counts of Arco, on a rocky height (*View of the valley of the Sarca and the lake). It is 8 m. by railway (station Nago; comp. p. 162) or 2£ m. by road along the shore from Riva to T6rbole (*Grand-H6tel, closed in winter, 120 beds; Lago di Garda; Helvetia; Giardino), a little fishing station and climatic resort near the mouth of the Sarca. T6rboie played a part in the war of 1439 between the Visconti and the Venetians, when fleets of warships were dragged overland by teams of oxen and launched in the lake. To the S. rise the steep spurs of Monte Baldo. B. From Riva to Garda and Peschiera. Steamer in 3|—4hrs., 3 times daily (17 1. 80, 9 1. 65 c.). By some boats it is necessary to change at Gargnano. On leaving Riva the steamer skirts the W. shore of the lake, and then crosses over to the port of Malee sine (* Grand- Hotel; Italia; Sperrle), a picturesque little place amid olive groves, with a restored castle of the Scaligers and an old Palazzo Gomunale. — The coast becomes less wild and rugged as we proceed S. past the islets of Olivo and Sogno, the vil- lage of Cassone, with its large 18th cent, church, the fortified islet of Trimelone, and the hamlet of Assenza. Monte Mag- giore (7210 ft.) the highest peak of Monte Baldo, rises to the E. (steep ascent of 6 hrs.). — The steamer calls at Castelletto di Brenzone (Hot. del Sole), near which is the Romanesque church of San Zeno, and at Torri del Benaco (Hot. Torri; 5146 Rte. 22 CREMONA Hotels Calcinardi), the Roman Castrum Turrium, noteworthy for a fine castle of the Scaligers (1388). —We double the most pic- turesque headland of the E. shore, the *Capo di San Vigilio, on which are the little church of San Vigilio, embowered in dark cypresses, and the Villa Guarienti Brenzone (1540). Garcia (Hot. Terminus; Monte Baldo; Trattoria Tre Corone), the walled village giving name to the lake, lies at the head of a deep bay. In the middle ages it was noted for the Castle built on the Monte Garda, to the S.E., where Queen Adelaide was held prisoner by Berengar II (c. 960). Railway station, for trains to Bardolino and Affi (Verona), see p. 161. — Walks may be taken to Lungolago, with its handsome villas, or to the Eremo (hermitage), once a Camaldolese sanctuary, where Count Algarotti (1712-64) resided. We double the Rocca, on which the ruins of the castle stand. — Bardolino (Hot. Speranza, simple), another ancient village, gives name to a well known wine. There are three Romanesque churches and the ruins of a castle in the vici- nity. Railway station, see p. 161. — We skirt a monotonous stretch of shore, passing Cisano, beyond which is the Ma- donna della Pergolana, overlooking the lake. — Lazise (steam- er halt) preserves a fine 13th cent, castle of the Scaligers. Peschiera, at the S. end of the lake, see p. 141. Railway to Briscia and Milan, and to Verona, see Rte. 20. 22. FROM MILAN TO CREMONA AND MANTUA Railway, 92 m. (148 km.) in 4-4J hrs. (69 1. 85, 47 1. 15, 27 1. 75 c.); to Cremona, 52f m. (85 km.) in 2-2J hrs. (40 1. 60, 27 1. 45, 16 1. 35 c.). Beyond Codogno (where we change carriages) the trains are slow. Milan, see Rte. 16; thence to (35J m., 57 km.) Codogno, see p. 268. We traverse a plain traditionally supposed once to have been covered by the Lago Gerondo. 41 m. Pizzi- ghettone (Hot. Sole;" Cappello), on the Adda, preserves its old town walls. We cross the rapid Adda. 52J m. (85 km.) CREMONA (154 ft.) is an industrial city (43,677 inhab.), interesting for its survivals of the age of the communes, including several Romanesque and Gothic churches. Hotels. Roma (PI. a; C 4), Piaz- za Roma; San Giorgio, near the station; Pavone (PI. b; C 4), Via Sol- ferino; Pesce d'Oro, Via Beltrami. Post Office (PI. C 4), Piazza Roma. Conveyances. Cabs, 81. per drive in the town. — Steam Tramways to Ca* de' Soresini-Casalraaggiore, San Giovanni in Croce, Ostiano, Luga- gnano, and Piacenza — Motor Om- nibuses to Castelponzone, Pralboino, and Salsomaggiore. Amusements. Teatro Ponchielli (PI. D 3), Corso Vitt. Emanuele, opera during the carnival; Politeama Verdi (PI. C 3); Eden, varieties.? ®"a'Nt v'\CnoVe'cchio -f JZrmjnhet-r. ~?]a\ ff''' !< ,l PossdeiMorti irtuuol ,8 re n to pK^Cogc. \ iiu.tfui Sj? Wtlbyji I.oik'LSun^ / fe! ''' ®)' feiaiift \ / /1M3\ \/ i Breffla. )! ^ '/({,r'M'y .avanecr sohe/H Vc.spj/na; %" Si '■ruli-i J/f3aVciUestrt'- Mn/Utio tifff**! Msaona sio *£«&»»» *KvlntHiakn f iyignolt ,V^ j < sRomo, lares< aiDO'- vA warn "MJIZO. WP-Qtrnpitlfe^ |Ar6 IZZO/J / .-xi v.QiVm \LS2p NjOrotta rossa^ A/,.- _ *tMtylLrron&; MSPDroi tozolago \ Rocchetto" (tyAfoff/UZ *.V9"-ffiumettcl f frabbiole. &<-' ry* .Loreiuo Tovbow ia&m> fijf'irtiT" rasuut Ollowvi* ijematzo ilAU £-> Option? )aitogras., jo ^vZXV^s°ne & r-^Tr z,m,dA y^dLMag/u M/Bes'tar r/'aA A 3,7 i ! 3bccs^dj0myh\j& 7\Y /-—'J; JQisara \Mu,IJGnw J 't?' l*jjtfubscolcuw , 4 J^9^>*^k^/^'V'cne '^zUyQ°fy/^r nIfymont6rhi *&^n£^Wade/fio O ^mrdone . Jltrua'a, f $ /hntlonega ~ Salza/i) • rti Braqa^Jlj UMHDS Vitoni/t C-Ptitiier'. fienJtano izzom- Uttbimmoj jTlf309 '■ ^iwiofic Jbrttit, ddSlsnaiuj XKuu.-.'hu Wrote pnittzto' Tortese Ldl.OiirtLi C w;' Jfan 99 t^jjjmhA'b^/Martini PuJfmul t JPg*%tt\ % ■tttrmo Scfdea-'HUare laju IM 4.CkuxUi 0 j SMgllio >)*r dctylunt )SteUd 'awno "amcaj^ .tytyilreOA BardoKno ^/Mrna ardxm Cisano /Myjsej4$ ^rii!" \ n; P\ Plbyexzitmth » 0ix/rvmo 'BagaSta*Jf\ J wdtilctto jlfGmu . P^dl Sermione, CROT.TE di CATULLO S.rifiro t ' fOTv>e. Vermnlc ^'A'mJa""%6'ermiom CdelVo ^ | WQttfrederef ,. • \jJ)esejiieano \csnto \ ^/biombare i \* SZe,l%¥kuejQfore' 1;. RoviMa i^ftafooy* iack,: f Vaccngo Honda / F?Fenilaxig y \exletto )\ytJL} hievo ;i$JlBasson£: PnOPR.DEL T.C.I.- RIPROD. VIET. Scala di l s 250 oooCathedral CREMONA 22 Rte. U7f History. Cremona was a Roman coiony from 222 b.c. onward. It was destroyed by the northern barbarians in the 5th cent., but rebuilt in the 7th cent, by Command of the Lombard King Agilulf. During the nominal rule of the German emperors and the ensuing anarchy the Cremonese obtained mun- icipal rights, and about the same time began their long series of feuds with Milan, Brescia, and Piacenza. Later the town entered the Lombard League, but internal dissensions began, and in the latter part of the 13th cent, a.' Po- destk ' or independent dictator had to be called in by the townsfolk. Henry VII (Henry of Luxemburg) sacked the place in 1311 when he came to Italy to vin- dicate the Imperial authority, and peace was restored only, when Galeazzo Visconti added Cremona to the duchy of Milan. Thenceforward it followed the fortunes of the latter city, except for a decade of Venetian rule (1499-1509). — Among the painters born at Cremona were Boccaccio Boccaccino ;(fl. 1496- 1508) and his, son Camillo, the brothers Campi (16th cent.), and G. R. Trotti, surnamed ' II Mabsso.' Cremona was long celebrated for the manufacture of violins and violas, the most renowned makers being Andrea Amati (c. 1520-c. 1580), Nicol6 Amati (1596-1684), Stradivarius (Antonio Stradivari; 1644-1737), and Joseph Guar- nerius del Gesii (Giuseppe Guarneri; b. 1683). • The way from the station (Pl. A3) to the town lies along the Via Palestro, No. 22 in which is the Palazzo Stanga, with a baroque front and a handsomely decorated 16th cent, court- yard, probably by Pietro da Rho. In the Via Ugolani Dati (1.) is the Palazzo Dati (1561), with an 18th cent, courtyard and staircase by the Cremonese artist Arrighi. We go on by the Via Campi and Via Giudeeca,* and turn to the left for the Piazza Cavour and the * Piazza del Co- mune (PI. D4), in which are several of the most interesting buildings of the town. The Romanesque *Torrazzo (13th cent.), claims to be the loftiest tower in Italy (364 ft.; 498 steps; view). The Bertazzola is a double loggia of the Renaissance, adjoined by the arcades of the *Duomo (PI. D 4), a splendid Romanesque basilica of 1107, con- secrated in 1190 and finished considerably later. The W. front (1274-1606), varied but picturesque, is noteworthy for the rose-window of 1274; the exterior of the "tran- septs should also be noticed. The interior is remarkable especially for the *Frescoes (early 16th cent.) on the walls of the nave and apse, by Boccaccino, Altobello Meloni, Rd- manino, Pordenone, and Bernardino Gatti. The pulpits have bas-reliefs by Pietro da Rho. In the 1st chapel-onright is a painting by Pordenone; above the high altar, an As- sumption by Gatti; inlaid stalls by 6. \M. Pldtinai (1490); in the N. transept, bas-reliefs by Amadeo (1481); in the c^ypt, tomb of SS. Peter and Marcellinus, by Briosco (1506); in the treasury, a processional cross and tapestries. The octagonal Baptistery, a plain Lombard building, scantily lighted, was planned by Teodosio Orlandino (1167). The Loggia dei Militi dates from 1292 (good windows) and the * Palazzo del Muniefpio ( 1206-45) has a splendid Gothic148 Me. 2$ M&WTm- Motets and Renaissance portal and, in the Sala della Giunta, a 15th cent. *Chimneypiece richly carved by Gaspare Pedoni. A turning on the left of the Corso P. Vacchelli (PI. C 5) leads to the 12th cent, church of San Michele, with some 7th cent, portions. — In the opposite direction the Corso Vittorio Emanuele leads from the Piazza Cavour to the Museo Civico (adm. daily, 10-3; 50 c.), with collections of works of art and anti- quities. The Via del Teatro, farther on, leads to the monastic church of San Metro al Po (PI. DB; 1563-90), the refectory of which is decorated with the Multiplication of the loaves, frescoes by Bernardino Gatti (1552; 226 figures). — Returning to the Corso, we follow the Via Ponchielli and Via Plasio to reach Sant'Agostino (PI. C3), a Romanesque and Gothic church (1339) with a good campanile; in the interior are a tomb bv Pietro da Rho and (5th chapel to the right) a *Madonna and saints, by Perugino (1494). — Going on to the N. we strike the Corso Garibaldi, in which is the Renaissance Palazzo Trecchi, on the left. On the right rises Sant'Agata (PI. B3), noticeable for its Roman- esque campanile and for the tomb of Trecchi, by G. C. Romano (1502-5), in the interior. Farther on are (No. 60) the Palazzo Soldi (1496), San Luca (PI. B 2) with a facade of 1471, and a graceful little octagonal chapel of 1503. About 2|r m. E, of Cremona by the steam tramway to Casalmaggiore (comp. p. 146) is the * Church of San Sigismondo, where Fr. Sforza was married to Bianca Visconti (1441). The presetft church was built in the late 16th cent.; its nave is covered with frescoes by the brothers Campi. Bern. Gatti and Cam. Boccaccino are likewise well represented here. From Cremona to Brdscia, see p. 140; to Crema and Treviglio, see p, 136; to Borgo San Donnino, see p. 270. Beyond Cremona we pass (66J m.) Torre dei Picenardi, and intersect the line from Parma to Brescia (p. 273) at (70J m.) Piadena (Hot. Due Fontane). — 75J m. Bozzolo. 98 m. (158 km.) MANTUA, or Mdnfava, is an ancient city (36,257 inhab.) occuping a promontory on the Mincio (' the smooth-sliding Mincius ') which widens out to form the Lago Superiore, Lago di Mezzo, and Lago Inferiore. It is a centre of the silk trade, and is interesting for its ducal palace and other monuments of the age of the Gonzagas. Hotels. Aquila d'Qro (PI. C3), 9 Corso Umberto Primo; Se- noner (PI. b; C 3), 5 Via della Po- sta; Nazional®, Via Trentossi; Della Stazione, Piazza della Stazione; Gallo, 6 Via Mazzini. — Ristoranie del Teatro Sociale, good. Post Office (PI. C 3), P.za" Garibaldi. Conveyances. Cabs, 2& 1. per drive. — Electric Tramways from the station to the Porta Molina, and from the Piazza Purgo to the Bar- rier^ Virgilio and the Barriera Pu- sterla (Palazzo del Te). — Steam Tramways to Briscia, A sola, Pittole and Ostiglia, and Viadana. Amusements. Teatro Sociale (PI. C 3), Piazza Cavallotti, opera during the carnival; Andreani (PI. C 2), comedies, operettas, etc. History. Virgil was born at Pidtole, 5 m. S. E. of Mantua, about 70 b.c., and some of its earliest recorded history is due to the poet'sinterest in his native place. The town became a free community about 1126, and was afterwards dominated by the Bonacolsi and Gonzaga families, the latter of whom made it a brilliant centre of art and civilization (Mdntova la Qloriosa), especially in the reigns of Lodovico III (1444-78), Giovanni Francesco II (1484-1519), husband of Isabella d'Este, the greatest lady of her time, and Federigo 11(1514-40). The duchy came to a miserable end in 1708, and Mantua passed to the Austrians, who fortified it as the S.W. corner; of their ' quadrilateral' (p. 153). It held out against Napoleon for 8 months in 1796-97, and was retaken by the AustrianS iil 1799. The town was again Austrian from 1814 to 1866. — Among the ar«STreviftlioprescia Fila idaj Zanotti Sta£r •'iinento TeafWiKdm S.Luca t^lspitule \ JPiazza Teatrd Lodi Filodramin. Cascina ;oma' Y. Cxipcllwia. : P**di ma E EOicadltaHia Cavour ao\J\\X' * Te; S.Imerio CREMONA Scala di 1:15000 Metri Tramvie ejctranrbanc Parma ISTITUTO GEOGRAflCO DE A60STINI K NOVARA STAMPA : ANTON ItCREMONA. Alberghi (Hotels): — Fontana (vicolo Osterie) 40,c — Pavone (v. Sol- ferino) 4C»b —- Roma (p. Roma) 40,a Banca d'ltfllia 5D Bastionl(Town Walls): — Porta Po 1C 2D .— Porta RomanU 6D 4-5E — Porta Ven£zia 50 Battistero 4D Borghi (Suburbs): — Porta Milano 1-2A — Porta Po 2-3DE Cascina Lugo 10 Oaserma 1-2C 20 30 Oaserme 20 Chiese (Churches): — San Luca 2B — San Michele 5-60 — San Pietro al Po 3D — Sant'Abbondio 60 — Sant'Agata 3B0 — Sant'Agostino 30 — Saata Margherita (ang. v. Rustici e v. Grandi) 30,1 — Sant'Angelo 4D — Sant'Imerio 4-5D Cimitero 3-4A Colatore Morbasco 10 2D Corsi (Avenues): — Campi 30 — Umberto I 4-50 —> Vacchelli 50 — Vittorio Eman. 3-4D Distretto Militare 20 ruomo 4D Filanda Zanotti 4-5A Fornasotto 1A Forte San Michele 60 Largo P, Sarpi 3-4B Monte di Pietft 50 Mulino a Yapore 60 Municlpio 4D . Museo 3D Ospitale 4B Palazzo Citanova 20 Palazzo Trecchi 20 Piazze (Squares): — Cavour 4D —d'Armi (Vecchia) IB — Comune (del) 4D Piazze (Squares): — Garibaldi 2-30 —• LihertA 2D — Lodi 40 — Ospitale 40 — Pace d. 4D — Porta Rom an a 60 — Porta VenSzia 5B0 — Risorgimento 2AB — Roma 40 — San Paolo 20 — San Salvatore 3E — Sant'Ilario 2BC — Vida 30 Polveriera 2-3E Porte (Gates): — Milano 2B — Mosa 5E — Po 2-3D — Romana 5-60 — Yenezia 5B0 Posta e jTelegrafl 40 Prefettura 3D Scuole Tecniche 3D Stabilimento Bacolo gico 1A Piazze (Squares): Stazioni (Railway Sta- tions) : — Ferroviaria 2-3 A —• Tram 3A Strada del Sale 3D 2E Teatrl (Theatres): — Filodrammatici 40 — Politeama 3-40 — Teatro 3D Tribunal* ViaJe al Po 2D Vicolo Osterie 4CD Vie (Streets): — Amati 4-50 — Aporti 4D — Aselli 4 BO — Augusta 4D — Battistv O. 3-40 — Bella Chioppella 4DE — Bergamo 2A — Bersaglio 6DE — Bertesi 2-3B — Borgo Spera 3-40 — Brescia 5AB — Capellana 50 — Oarceri 3D — Caritfl 3B — Oastelleone 1A — Oastello 2B — Cavallotti 313 Vie (Streets): — Costa A. 3DE — Dati 8 BO — Decia 60 — Dei Mille 20 — Erid&nia 4D 3E — Favagrossa 50 —. Fuso (d.) 3DE — Geromini 3B — Gioconda 4B — Giordano 3D 3-4-5E "■— Gonzaga 4-5D — Grandi 3CD — Larga 4E — Lugo 1CD2D — Manna JO 3D — Mflntova 6BO — Mazzini 40 — Meli 4-50 — Melone 4DE — Milano 1-2AB — Milazzo ^ 2-30 — Morbasco 1BC 2D — Mulino 5-60 — Nuova 3B — Oberdan 30 — Oca 4D — Orfanotrofio 30 — Ospedale Militare 20. — Paderna 2BC — Palestro 3BC — Persico 5B 6A — Plasio 3CD —, Platani 4AB — Platina 4D '"ii— Porta ifcsfct 4-5« —- Prato 4-5D — Rodano 30 — Rustici 2-30 -__ Santa Maria in Betlemme 50 — Solferino 4CD — Spartaco 1-20 2D — StSnico 4-5B — Teatro 3D __ Teatro -Eden 2B Tibaldi 3-4D __ Trent# e Trieste 3-4B _ Varo 2B _. Venti Settembre 50 4-5D _ Verdi G. 30 4D — Villa Glori 2-30 _ Volturno 2B — Wilson 2-3A 4-&B Vie (Streets):Sant' Andrea MANTUA 22 Rte. 149 tists who flourished at the court of the Gonzagas were Leon Battista Alberti, Luca Fancelli, Pisanello, Mantegna, and Giulio Romano. Sordello (p. 140), and Baldassare Castiglione (1478-1529) were born on Mantuan territory. We bear to the right in the station square, and then follow the Corso Vittorio Emanuele and Corso Umberto Primo, leading to the Piazza Mantegna, in which stands the church of * Sant9 Andrea (PI. C 4), an admirable example of the Italian style, with an interior designed by Alberti and executed by Fancelli (1472-94). The cupola, by Iuvara, dates from 1732-81; the Romanesque and Gothic campanile is a survival from an earlier church; and the great portal, deeply recessed, is sculptured by Veronese masters. The *Nave makes a striking impression. The 2nd, 3rd, and 4th chapels on the S. side were decorated by Benedetto Pagni and Rinaldo of Mantua, pupils of Giulio Romano. In the S. transept is the tomb of Bp. Andreasi, by Clementi da Reggio (1549-57); in the N. transept, two tombs designed by Giulio Romano; in the 2nd chapel on the N. side, a dilap- idated Madonna and saints by Costa (1525); in the 1st chapel, the *Tomb of Mantegna, with a bronze bust probably by the artist himself, a Holy Family and Baptism, likewise by Mantegna, and frescoes from his designs. In the neighbouring Piazza Erbe are the small 11th cent, church of San Lorenzo and the Palazzo della Ragione (PI. C 4; 1227-50). Farther on we come to the Piazza Broletto and the vast Piazza Sordello (PI. B, C 4), with a monument to the martyrs of Belfiore, victims of the Austrian domination in the 18th century. The Palazzo Cadenazzi (12th oent.), on the left, is noteworthy for the Torre della Gabbia, crowned by an iron cage in which condemned prisoners were formerly exposed. The Palazzo Castiglioni dates from the 13th cen- tury: The Duomo, opposite, has a poor baroque fa$ade of 1756 and an interior rebuilt from the designs of Giulio Romano in 1546; the campanile is Romanesque and there are some relics of an earlier building in the chapel of the Madonna Incoronata, attributed to Alberti. To the right is the Reggia dei Gonzaga, which includes the ducal palace and castle and the church of Santa Barbara. The * Palazzo Ducale (PI. B, C, 4, 5), with its crenellated Gothic fagade overlooking the Piazza Sordello, consists .of se- veral edifices, the oldest of which is the Palazzo Bonacolsi (1302). This palace and fortress of the dukes was enlarged by Bartolino Ploti da Novara for Francesco Gonzaga IV between 1393 and 1406, and both in design and decoration it is a worthy monument of the Gonzaga family. The palace is open daily from 9-5 or 10-4 (adm, 2 1.; free on holidays).150 Rte. 22 MANTUA Interior. A magnificent staircase leads to the Sala dei Duchi, after which we visit the Sala delle Cariatidi, the five chambers of the Appartamento della Guastalla, and the Appartamento deH'Imperatrice Maria Teresa. — We proceed through the Sala dei Fiumi, the Sala dello Zodiaco, the Appartamento degli Arazzi, the Sala dei Papi, a picture gallery, the Sala degli Arcieri, the Stanza dei Quattro Elementi, the *Gabinetti del Paradiso (boudoir of Isabella d'Este, p. 148) the rich gallery of mirrors, a corridor, and the Saletta dei Mori. The return is made through the Castle proper (1398-1406; see above), on the ground floor of which is the Camera del Sole, and on the first floor the famous "Camera degli Sposi (marriage chamber) with its important frescoes by Man- iegna (1471-74) in honour of the Gonzagas. — We re-enter the ducal palace and visit the *Sala di Troia, painted by Giulio Romano and his pupils, the Loggia Aperta, Loggia dei Frutti, the curious Appartamento dei Nani (dwarfs' room), etc. — The Basilica Palatina di Santa Barbara, with a handsome campanile by Bertani (1562-65), is open in the mornings only; in the largest of the chapels is a Martyrdom of St. Barbara, by Brusasorci. The Museo Civico, interesting for its antique sculptures, formely in the Palazzo degli Studi, see below, has beer transferred to the Palazzo Ducale and is now in reorganisation. Among the most noteworthy works are: 198. Torso of Venus; 210. Apollo, a marble copy of the original bronze from Pompeii, now at Naples; 58. Head of a Woman (bronze); 285. Head of a man; 336. Bust of Eu- ripides, the best portrait of the poet. The Via Accademia leads from the ducal palace to the Piazza Dante (monument to the poet), in which is the Palazzo degli Studi (PI. C 4), con- taining the town library. In the same square is the Accademia Virgiliana containing the Theatre by Ant. Bibbiena (1769). In the S.W. quarter of the town, at No. 14 Via Carlo Poma, is Giulio Romano's House (PI. D 3), designed by himself. The neighbouring Palazzo di Giustizia (No. 7) is likewise his work. We gain the Via Acerbi and follow it to the S. in order to reach the ducal church of San Sebastiano (1460), built by Alberti in the form of a Greek cross. Beyond the Porta Pusterla rises the *PaIazzo del Te (PI. F 2, 3), a summer residence of the Gonzagas, probably named from .the T-shape of the avenues leading to it, and owing its im- portance to the decorative design carried out by Giulio Romano and his pupils (including Primaticcio, who executed part of the stucco work). The palace may be visited daily from 9-5 in summer or 10-4 in winter (gratuity). The most in- teresting of the rooms are the Camera dei Cavalli, with portraits of Gonzaga's horses; the Camera di Psiche, rich in frescoes illustrating the story of Psyche from Apuleius; the Qamera di Fetonte, illustrating the fall of Phaeton; and the *Sala dei Giganti, remarkably bold in effect, if somewhat •coarse (frescoes by Rinaldo Mantovano and Giulio Romano). From Mantua to Verona, see p. 275; to Mddena, see p. 275; to Monsttice, see p. 260.PROPR. DEL T. C. Lata di. otjni, quad/wig Veroi a Brescia Ponte dei Molinl Porta Pracfella , i u\\ Uusoi netro 'Catena A At„ fudt) Barrier^iVirgilio MANTOVA Seal a di 1 : 15000 50 100 a00 300 _ 400 Motri -Tra/nvie. urbane, ' — >> extraurbarw 9TAMPA i ANTONIO VALLARDI - MILANOMANTOVA Acidemia Virgiliana 50 Alberghi (Hotels): — Aquila d'Ora (c, Umberto I) 3C,a — Savoner (via Bat- tisti) 3C,b Arena 4B; Argine 51) Arsenale (Regit)) 2-3B Banca Agricola 80 Barrfere (Town Gates): — Sam Giorgio 5B — Yirgilio 4F Casa di G. Romano 3D Casino della Grotta 3F Gastello di Corte 5B Chiese (Churches): — Basilica Santa Barbara 5B — Basilica Sant'An- drea 40 — San Bamaba 2D — San Maurizio 3D — San Pietro 4-5B — San Sebastiano 3E — Sant'Apollonia 4-5E — Sant'Egidio 4D Corsi: (Avenues): — Garibaldi 4EF — Giulio Romano 3-4E — Umberto I 3-4C — Vittorio Eman. 2-3C Darsena 5D Difesa Perimetrale 5E Fossa Magistrate 1-2D 2E 3-4F Fossa Paiolo IDE Ippodromo 8F Lago di Mezzo3-4-5A 5B Lago Inferiore BOD Lago Superiore 1-2ABC Xungo Rio 3D Munjcipio 4C Museo Civico 4-5C Offlcina Gas 6D Orto Botanico 2E OtpedaH (Hospitals): Civile 20 — Militare 3-4A Palazzl (Palaces): — Cadenazzi 40 — Castiglioni 4BC — degli Studi 40 Palazzi (Palaces): — della /iagione 4C — del Te 2-3F - di Giustraia 3I> — Ducale (Reggia) 4-5BC — Vescovile 4B FMazze (Squares) : . — Alberti 4C — Ahconetta 5DE — Arsenale 30 — Belfiore 1-20 ■—« Brolej&to 40 — Canonica 4-5B Canossa 40 Oastellb 5B Cavallotti . 3C — Dante 4-5C — D'Arco 3B — Erbe (d.) 40 — Folengo 30 — Garibaldi 3CD — Gasometro 4-5D — Lega Lombarda 4-50 — Mantegna 40 — Mercato (d.) 4E —- Paradiso 50 — Purgo 40 — San Giovanni 8B — San Leonardo 3-4A — Santa Barbkra 5BC — Santa Teresa 4-5C — Seminario 4B —• Sfirmide " 40 — Sordello 4BC -- Stazione ' 20 — Virgiliana > 4B Pontl (Bridges>: — dei Molini 3A — San Francesco 20 — San Giorgio 5B Porte (Gate*}: —f Catena 5D — Molina a 3A — Pradella 10 — Pusterla 2E Posta 80 Reggia (Palazzo Du- cale)^ 4:-5BO Rio 30 4D Stand Tiro a Volo 50 Stazionr (Railway-Stat.) — Ferroviaria 1-20 Stazionr (Railway-Stat.): — Tram Brescia-Mart- tova-Ostiglia 2EF ;— Tram Mantova-A- sola-Viadana 20D Strade (Roads): — Oomunale di Cir- eonvallazione ID 1-2E 8-4F 4-5G — dell'Anconetta 5E — di Ronda 3B2DE4-5F Teatri (Theatres): — Andreani 20 — Sociale 3C Torre della Gambia 40 Valletta Valsecch! 5F 4G Viale del Risoifci- mento 3E 3-4F Vialone del Te 3F 40 Vlcoli (Narrow Streets): — Oani 3D — Cappuccipi 3AB — Carmine 4-5D — Cristo 8B — Dogana 5C — Leon d'Oro 40 — Osterie 40 — San Crispino 3D — Santa Maria 3B — Sant'Egidio 4D — Vittoria 3BO VI# (Streets)! — Accademia 4-50 — Acerbi 2-3E — Atdlgd 4-50 — Arrivabene 3BC — Bacchio 4D 3E — Battisti 80 — Bertani 40 — Breda dell'Acqua 2CDE — Calvi 4CD — Oantarana 4B 8F — Carducci 2CD — Cavour 8-4B — Chiassi 2-3D — Concezione 3B — Corrado 80 — Dottrina Oristiana 40 — Fernelli SBC — Ferrer 4 CD Vie (Streets): — Finzi 3B — Fondamenta 4-5D — Fratelli Bandiera 30 Fratelli Bronzetti 4D —• Fratelli Oairoli 4B — Fxattini 40E — Gradaro 4-5F Grazioli 30 ^ Grioli 2-8E — Guerrieri Gonzaga 4E Magazzeni 4-5D C— MAgistrato 3-40 ■<— Magistrello 3E Marangoni 3C Mario A. 3QD — Massari — Mazzini 4 8D Montanara e Cur- ; tatone 2CD Montanari 4-5B —t Mori 4EF — Nievo *0 'r^s Pescheria 4D —^ Poma 2-3D —ji Pomponaziso 4CD —^ Ponte Arlotto 41) -T-- Portazzolo SB — Porto 3AB •^- Principe Amedeo 3D Sacchi 3D —- Salita 3AB — Salnitro 4-5E —r Sant'Alma 4B —^ Saponaia 4E r— Sapone ^ B —■ Saiiro 3E Scarsellini 3B0 — Solferino 20 — Sottoriva 4D Speri 20D — Tassoni 3B — Tazzoli 4-5C — Teatro Vecchio 50 Trento 8-4B Venti Settembre 4D Verdi 40 '• Virgilio 4B Vittorino da Fel- tre 3E Zambelli 4AB151 IV. VENETIA ROUTE PAGE 23. Verona ------- 152 24. Venezia Tridentina and the Dolomites - 161 A. From Verona to Trent, 162. — B. From Venice to Trent, 163. — C. From Innsbruck to Bolzano, Trent, and Verona, 164. — D. Bolzano and its Environs, 167. — E. From Bolzano to Merano and Malles, 169. — F. From Bolzano to Cortina d'Ampezzo and Dobbiaco, 172. — G. From Bolzano to Trent vik Mendola, 175. — H. Trent, 176. — I. From Trent to Male and back 178. 25 Verona to Venice - 181 Vicenza, 181. Padua, 185. Mestre, 191. 26. Venice and its Environs - - - - 191 Murano, 231. Torcello, 232. The Lido, 233. Chidggia, 234. 27. Venice to Treviso, tJdine, and Tarvisio (Vienna) 235 Asolo, 236. Belluno, 237. Pieve di Cadore, 237. Vittdrio Veneto, 238. Cividale, 239. Gorizia, 240. Gemona, 240. 28. Venice to Trieste - 241 Portogruaro, 242. Aquileia, 242. Grado, 243. Caverns of the Carso, 247. 29. Istria (Venezia Giulia) - 248 A. From Trieste to Muggia, 249. — B. From Trieste to Capodistria, 249. — C. From Trieste to Parenzo and Pola by Steamer, 250. — D. From Trieste to Parenzo by Railway, 256. — E. From Trieste to Pola by Railway, 257. — F. From Trieste to Fiume by Railway, 258. 30. Venice to Bologna ----- 260 Rovigo, 261. Ferrara, 262. Venetia, in Italian Venizia, is the region between the watershed of the Rhaetian, Carnic, and Julian Alps on the one hand and the Adriatic Sea the Po, and the Mincio on the other. It is more exactly indicated as Le Tre Ventzie ('the three Venetias'), including the old province properly called Venezia, V6nelo> or more poetically Eugdnea, Venezia Tridentina (p. 161) corresponding to the ' Siidtirol ' of the former Austrian Empire, and Venizia GiMia, extending to the Carso (p. 247), Fiume, and fstria (p. 248). The old province of Venetia comprises the modern provinces of Padua, Verona, Vicenza, Venice, Treviso, Odine, Belluno, and Rovigo and has 3,527,360 inhabitants. The region takes its name from the Veneti or Eneti, from whom it was wrested by the Romans. The important Roman stations of Aquil&a, Padua, Altinum, and Adria were the first to suffer from the incursions of the northern barbarians; and refugees from Aquileia found sanctuary among the islands of the lagoons and founded there the city of Venice. The city, when once its power was established (comp. p. 194), expanded its territory overseas,152 Rte. 23 VERONA Hotels and, later, on the mainland, gaining mastery over the lesser seigniories of Venetia and the Trentino, over part of Lombardy, and femporarily over part of Emilia. From the surrender of Venetia to Napoleon in 1797 down to its final liberation in 1866 (comp. p. 195), the province was in the hands of foreign masters. The face of the country is remarkably varied, extending as it does from the Venetian lagoons to the heights of the Cadore. The alluvial plain around Venice is watered by the Piave, the Tagliamento, the Isonzo, and other streams, and varied by ancient volcanic hills (Monti Berici, Colli Euganei). Farther inland are the Prealpine plateaux (Sette Comuni, Tredici Comuni, Cansiglio, etc.) while behind them, around the Cadore (upper Piave valley) rise the majestic heights of the Marmolada, Civetta, Antelao, Cristallo, etc., all over 10,000 ft. Characteristic among the manufactures of Venetia are the glass industry of Murano and the lace-making of Burano; Chi6ggia is an important fishing port, and at Venice and Mestre are considerable shipbuilding yards. The Venetian dialect prevails in the W. half of the province, and has a literature of its own. The district of Friuli, around iJdine, has a dialect peculiar to itself, and on the N.E. frontier a' mixture of Italian and Slovene is spoken. 23. VERONA VERONA, surnamed ' La Degna,' is a beautiful city (86,578 inhab.) pleasantly situated on the rapid Adige, at the foot of the Monti Lessini. Among the cities of Venetia it is second only to Venice for the interest of its monuments, and it is especially notable for the quantity of its Roman remains. Its modern commercial activity is in great part due to its position at the junction of two main arteries of transport: the railways from the Brennero to Central Italy, and from Turin and Milan to Venice and Trieste. Railway Stations. Porta Vescovo (PI. 32; Rfmts.) for all main line ser- vices. - Porta Nuova (PI. 34: Rfmts.), a new station on the lines to Trent, Milan, Mantua, and Bologna (not for trains de luxe). - Porta San Giorgio (PI. 4), for Caprino and Garda. Hotels. De Londres (PI. a; 13), Corso Cavallotti; Colomba d' Oro (PI. b; 20), 10 Via Cattaneo, R. 8, D. 151.; Milano PI. d; 20), 12 Via Cattaneo. R. 9, D. 18, pens. 45 1.; Riva San Lorenzo & Ca- vour (PI. c; 19), 15 Riva San Lo- renzo, R. 8, D. 14, pens. 35 1. — Less expensive: Accademia (PI. e; 20), 19 Via Mazzini, with restaurant; Europa & Aquila Nera (PI. f; 12), 8 Via Quattro Spade; Gabbia d'Oro, 6 Corso Porta Borsari (PI. 12), at ■the corner of the Piazza Erbe. — Unpretending: Torcolo (PI. g; 20) 11 Via Cattaneo; Ferrata (PI. h; 19), Via Teatro Filarmonico; Cen- tralis Pi, i; 12), 21 Piazza Erbe; Alla Scala dei Mazzanti (PI. j; 13), Via Mazzanti. Caf6s Restaurants. Europa, Vit- torio Emanuel e, Piazza Bra, both popular; Dante, Piazza dei Signori. — Brasseries. Ldwenbrdu, with res- taurant, Caffb alia Borsa, Piazza Bra. Post Offlee. (PI. 13), Piazza In- dipendenza. — Police Station, Via Cairoli (PI. 13). — Chamber of Com- merce (PI. 13), Piazza Erbe. Cabs. First ihr., 41.; first £ hr., 61.; first hr. 91.; each 20 min. extra, 4 J. Each person above three one-third more. At night 50 c. extra. Luggage carried outside, 11. — Taxicabs, 1st km. or 8 min., 31. 20 c.; each extra 200 metres or 4 min., 65 c.; each person above three, one-third extra; luggage, 60 c. Electric Tramways. From Porta- Vescovo Station: 1. Via the Piazza Erbe and the Piazza Bra to Porta Nuova Sta.; 2. Via the Ponte Navi and the Piazza Bra to Porta NuovaHistory VERONA 23 Rte. 153 Sta. — From Piazza Erbe: 3. to Borgo Trento via Porta San Giorgio; 4. to San Zeno; 5. to Avesa. — 6. From Porta Nuova Sta. viA. Porta Palio to the Castelvecchio. — Also from Porta Vescovo to San Martina and Caldiero (8 m.), and thence to San Bonifacio (6 m.; see below) or to Tregnago (7£ m.). Steam Tramways from Porta Nuova to Zevio, Albaredo, and (224- m. Coriano Veronese; and from San Bonifacio to Cologna Veneta (13£ m.). Motor Omnibuses to Grezzana and Boscochiesanuova; Lazise and Mai* chine; Bellori; Minerbe; Mantua; etc. Theatres. Filarmonico (PI. 19), opera and concerts during fair-time (March); Drammatico (PI. 13); Ristori (PI. 19).—Various shows are held in summer in the Arena (PI. 20). Tickets of Admission (4 L; va- lid for 3 days), may be obtained at the hotels, giving free access to the Arena, the Scaliger Tombs, the Museo Civico, the Museo Lapidario, the Roman Theatre, Juliet's Tomb, and the Torre Civica. History. After passing through Etruscan and Gallic hands Verona became a Roman colony in 89 B.C., and, favoured by its position, soon rose to prosperity. It received especial favours at the hands of Theodoric, and was the chosen residence of the Lombard king, Alboin, who was murdered here in 573 by his wife Rosamunda, Later Verona became the seat of Pepin, son of Charlemagne, and of Berengar I, who died here in 924. The free commune established in 1107 united with Padua, Vicenza, and Treviso to form the Veronese League, the parent of the Lombard League, defeated Barbarossa at Vaccaldo (1164), and shared in the victory of Legnano (1176), though after the Peace of Constance it once more sided with the Empire. After the tyranny of Ezzelino da Romano (1227-59) it passed to the Delia Scala or Scaligeri, a powerful Ghibelline family (1260-1387), who rose to the height of their power under Bartolomeo, the first to offer a refuge (1303) to the exiled Dante, and Cangrande I, perhaps the prophesied " veltro " (greyhound) of the ' Paradiso ' (XVII, 76). The bit- terness of the internecine feuds that marked the close of the Scaliger domination is reflected in Shakspeare's tragedy of ' Romeo and Juliet.' After the fall of the Scaligeri Gian Galeazzo Visconti was tyrant of Verona until 1405, when the citizens placed themselves in the safe-keeping of Venice, in whose hands they remained until 1796, save for a short occupation by Maximilian I (1509-16). Occupied by the French until ceded to Austria by the treaty of Campof<5rmio in Oct. 1797, Verona was later included in the French 'kingdom of Italy,' but from 1814 till its union with Italy in 1866 it was the chief bulwark of the Austrian 4 quadrilateral,' along with Peschiera, Mantua, and Legnago. Among famous Veronese are Catullus (87-47 B.C.), Vitruvius (1st cent. B.C.), and the physician Girolamo Fracastoro (1483-1553), besides the artists named below. Art. Romanesque architecture in Verona is epitomised in the wonderful church,of San Zeno; many churches and palaces were rebuilt during the Gothic period; and at the Renaissance arose the accomplished builders Fra Giovanni Giocondo (1435-1515) and Michele Sammicheli (1484-1559), the latter especially noted as a military architect. The wood-carving of Fra Giovanni da Verona (1457-1525) is likewise important. — Traces of a school "of painting may be perceived as far back as the 10th cent.; and the sojourn of Giotto in Verona left its mark upon the work of his successors and imitators. At the beginning of the 15th cent, the school of the Altichieri and of Iacopo d'Avanzo was at its zenith; it was followed by Giov. Badile, Stef. da Zevio, and Ant. Pisano (il Pisanello), the last of whom was likewise an accomplished medallist. Among their numerous successors were Fr. Bonsignori, Dom. and Fr. Morone, Girolamo dai Libri (a skilful miniaturist), Liberate, Fr. Torbido, Bonifacio Pitati, Ant. Badile, and, most famous of all, Paolo Caliari, called II Veronese (1528-88). The focus of the life of Verona is the picturesque and irregular * Piazza delle Erb© (PI. 13), with frescoed house-fronts, which occupies the site of the Roman* forum. In the centre of the piazza rise an antique column; the Capitello, a tribune 5-a154 Rte. m VERONA Sant'A nastasia of four columns of uncertain date; a fountain with a Roman statue called 'Madonna Verona '; and a column (1523) with a lion (1886) replacing the original destroyed as a punish- ment for the ' Pasque Veronesi,' a rising against the French in April 1797. The Casa dei Mercanti, on the W. side, founded by Alberto della Scala (1301) houses the chamber of commerce. In the N.W. corner is the Torre del Gardello (1370), erected by Cansignorio, murderer of Cangrande II, and on the N. is the baroque Palazzo Maffei (1668). The Casa Mazzanti, on the E., the palace of the Scaligeri, was reduced to its present size in the 16th cent., but preserves (at the back) an exterior staircase and a fine well-head of 1478. On the same side is the Domus Nova (rebuilt-in 1659), joined by an archway to the great Palazzo del Comune, founded in 1193 but much altered, with its Romanesque courtyard, magni- ficent staircase (1446-50), and crenellated tower (273 ft.; view). — Beyond this range of buildings is the dignified * Piazza dei Signori (PI. 13), or Piazza Dante, with a monument to the poet. On the right are a Renaissance wing (1524) of the Palazzo del Comune, then the Palazzo del Capitano (now the Tribunale, or law courts), with a fine gateway by Sammicheli (1530-31), and, in the courtyard, a curious baroque portal by Miglioranzi (1687). Opposite is the Prefettura, originally, like the Palazzo del Capitano, a palace of the Scaligeri. On the left of the Prefettura is the *L6ggia or Palazzo del Consiglio, an elegant Renaissance building of 1493. The design has been wrongly attributed to Fra Giocondo. The twin windows are by Dotn. da Lugo and Matt. Panteo, and the statues by Alb. da Milano (1493), except the two charming bronze figures of the Annunciation on either side of the entrance, which are by Girol. Campagna. Above the door an inscription records Verona's faithfulness to Venice and their mutual affection: " Pro summa fide summus amor MDXCII." The passage between the Prefettura and the Tribunale leads to the little Romanesque church of Santa Maria Antica, with its 12 th cejat. campanile, and the * Tombs of the Scaligeri (PL 13), which are both historically interesting and illustra- tive of a century of Veronese architecture. Ove the side doorway of the clnirch is the tomb of Cangrande I (d. 1329)> by Bonino da Campione. The other tombs are enclosed by a magnificent wrought- iron grille of the 14th cent., in which the ladder, emblem of the Della Scala, is many times repeated. Against the wall of the church is the plain tomb of Mastino I vd. 1277), the first of the Scaliger dynasty. On the left of the entrance is the tomb of Mastino II (d. 1351) and in the opposite corner that of Cansignorio (d. 1375), both elaborate monuments by Bonino, with recumbent and equestrian figures. At the back of the enclosure is the tomb of Giovanni (d. 1350), by the same artist. The church of *Sant,Anastasia (PI. 13), to the N., is a fine example of Gothic brickwork of two periods, 1290-1323Cathedral VERONA 23 Rte. 155 and 1422-81. The W. front is unfinished, but the double W. door is famous. The graceful tower supports in an eight- sided spire. The Interior, with an aisled nave, short transepts, and a five-sided apse, is remarkable for the short space between the springing of the vault and the apex of the arcade. In the 2nd chapel of the S. Aisle are some remarkable arabesques; in the 3rd, the Entombment, a *Fresco by Liberate; in the 6th the finely wrought door-jambs are by Pietro da Porlezza. — In the S. Transept, Virgin and saints by Girol. dai Libri. — The Choir contains good stalls (1490) and, on the left, the *Tomb of Serego (1432), general of Ant. della Scala, attr. to Giov. di Bartolo. Over the arch of the Pellegrini Chapel, on the right of the sanctuary, are two * Frescoes of St. George, by Pisanello; within are four Apostles, after Mantegna, two good Gothic monuments, and 24 terracotta reliefs (1435) of the life of Christ. The outermost chapel on the right has frescoes by Altichieri. — In the N. Aisle the 5th chapel contains a 14th cent. * Fresco of the Virgin with SS. Peter and Dominic (shown on application to the sacristan). Above the sumptuous 4th altar is the Descent of the Holy Ghost by Giolfino (1518); above the 2nd, Christ in glory, by the same. On the N. side of the Piazza Sant'Anastasia is the little Gothic church of San Pietro Martire (14th cent.), containing a curious fresco (1514) by G. M. Falconetto. Hence we proceed N. to the Ponte Pietra (PI. 5), with five arches of which two are Roman. To the W. is the Duomo, whose reconstruction, begun in 1139, was continued until the 16th century. The entrance, a fine 12th cent, porch, is guarded by statues of the Paladins, Roland and Oliver. The S. porch, also of the 12th cent., has curious sculptures. The campanile, continued above its Romanesque base by Sammicheli, has recently been completed by Fagiuoli. Interior. The spacious Nave has clustered pillars with curious capitals and pointed arches. The first three chapels on either side are decorated with architectural frescoes by Falconetto (1503). In the S. Aisle the 2nd chapel contains the Adoration of the Magi by Liberale, and the Descent from the Cross and 4 saints by Giolfino; the 5th, or Chapel of St. Agatha, is entered between sculptured pilasters by Dom. da Lugo (1508) and contains a chandelier by the same artist. The *Tomb of St. Agatha (1353) is by a Campionese master (comp. p. 94). The choir-screen by Sammicheli (1534) bears a Crucifixion with the Virgin and St. John, by Giambattista da Verona. The frescoes on the choir-vault are by Fr. Torbido (1534); the organ, on the left, has panels painted by Brusasorci, In the N. Aisle the 1st chapel contains the Nichesola tomb and an altar, both by Sansovino (1527); above the altar is the * Assumption, a fine work by Titian. The N. door leads into the Cortile Sant'Elena, on the left of which is a 12th cent, cloister with fragments of a 6th cent, mosaic pavement. On the right is the 12th cent, church of SanVElena> adjoined by the ruins of Santa Maria Consolatrice (8-9th cent.). The Romanesque baptistery-chapel of San Giovanni iNFoNTEis interesting for its rudely sculptured 9th cent, capitals and for its huge font, a single block of marble. — In the Piazza del Duomo is the Chapter Library (No. 21), founded by the archdeacon Pacificus (778-846), and containing many precious texts. — Behind the cathedral is the Bishop's Palace (Vescovado) with a fa9ade of 1502; over the portal is a graceful Madonna attributed to Fra Giovanni. The entrance court is picturesque, and within is a fresco by Bru- sasorci. The Stradone del Duomo, No. 6 in which is the Palazzo Paletta with an elaborate portal, leads from the piazza to156 Rte. 23 VERONA Arena the Via Garibaldi. Following this to the left, and the Via Sant'Eufemia to the right (No. 20 in the latter is the Palazzo Franchini, in the Venetian Gothic style), we reach Sant'Eu- femia (Pl. 12), a church of 1262, rebuilt in 1375. The fa$ade is 15th cent. work. The first chapel on the N. has a painting of Saints by Moretto; that S. of the choir contains frescoes by Fr. Caroto. The Via and Vicolo Sant'Eufemia lead hence to the Roman gateway called the Porta dei Borsari (PI. 12- 20), a double archway surmounted by two stages of windows and niches, which preserves only the outer front. The gate is certainly older than the inscription affixed to it by the Emperor Gallienus in 265 a.d. when he re-walled the city. •— Beyond the gateway extends the Corso Cavour (PI. 20-19), a street of many fine palaces. No. 2 is the baroque Palazzo Carlotti (1665); No. 11 a Renaissance palazzo occupied by the Banca d'ltalia; No. 10, opposite, the Venetian Gothic Casa Pozzoni. Farther on (1.) is the Romanesque church of the Santi Apostoli, with a coeval tower; from the sacristy we descend to the little 8th cent, church of Santa Teuteria. No. 19 is the *Palazzo Bevilacqua, an admirable work by Sam- micheli; opposite is the Romanesque church of San Lorenzo (12th cent.). In its two cylindrical W. towers are staircases leading to the triforium. No. 38 is the Palazzo Portalupi (1802-4), No. 44 the Palazzo Canossa (1530-7) by Sam- micheli, with an 18th cent, balustrade; the courtyard enjoys a good view of the Adige; the principal room is frescoed by .Tiepolo. The neighbouring Piazza Montarone is a good view-point for the picturesque Ponte Merlato (battlemented bridge) or Ponte Scaligero, which, with the adjoining Castelvecchio (to contain the municipal paintings, p. 159), was built by Cangrande II (1354-55). Beyond the castle is the little Romanesque church of San Zeno in Oratorio. We take the Via Teatro Filarmonico (1.), passing the Teatro (by Bibbiena, 1716-30), to reach the spacious Piazza Vittorio Emanuele (PI. 20; commonly called Piazza Bra, from the Latin ' pratum'), with a monument to Victor Emanuel II, by Borghi. On its S. side are the Museo Lapi- dario Maffeiano (1714), the oldest collection of the kind in Europe (adm. seep. 153), the Portoni della Bra (1389), with a pentagonal tower, remains of a Visconti citadel, and the Gran Guardia (now the Exchange) a heavy Doric building of 1610. In the S.E. corner is the Palazzo Municipale by Barbieri (1838), and on the W. side the Palazzo Malfatti by Sammicheli. The E. side is entirely occupied by the * Arena (entrance at arch No. 5, W. side; adm. see p. 153), the largest Roman amphitheatre in existence after the Colosseum. Built originally c. 100 a.d., this amphitheatre is in excellent preservation, especially in the interior, and has been many times restored. Of the outermost arcade, however, which measured 166 by 134 yds., only four arches were left standing by the earthquake of 1183; the inner arcade (151 yds. by 119 yds.) of two orders superimposed is more complete. The present circumference is made up of 72 arches (80 at the Colosseum), and the floor of the arena is 80 yds. long by 47 yds. wide. The 43 well preserved stone stages of the cavea origi-San Fermo VERONA 23 Rte. 157 nally provided space for 25,000 spectators; the topmost stages afford a fine prospect over the city. The amphitheatre is still occasionally used for lyrical performances. From the Via Pallone, behind the Municipio, we turn to the left along the Via Maffei, on the right of which is the Palazzo Da Lisca (PI. 28), with beautiful frescoes by Brusa- sorci depicting the entry of Charles V and Clement VII into Bologna. Thence the Stradone San Fermo leads to *San Fermo Maggiore (PI. 21), which consists of two churches, one above the other. The lower church, reached from the sacristy, dates fromc. 1065; the upper church, originally also Romanesque, was largely rebuilt in a Gothic style after 1313. Exterior. The partly Romanesque facade has a round-headed door, to the left of which is the tomb of A. Fracastoro (d. 1368), the physician of the Scaligeri. On the N. side is a fine Gothic double portal. The smaller apses and the campanile are survivals from the original 11th cent, building. Interior. The single Nave, the walls of which are adorned with frescoes by Pisanello and others, is covered by a fine wooden roof of complicated plan (1320). The marble pulpit (1396) and the tomb of Barnaba Morano (1412; r.) are by Ant. da Mestre. The Choir has a screen of 1573, and, in the N. apse, Saints, by Liberate. On the N. side of the nave are a closed chapel (apply to the sacristan) containing the Tomb of the Torriani (Girolamo and Marcantonio) by And. Briosco (il Riccio; c. 1516); the Lady Chapel, with the Madonna and saints, a vigorous work by Caroto (1528); and, near the altar of St. Nicholas, the Brenzoni Mausoleum, by Giov. di Bartolo (1439), with an * Annunciation by Pisanello above. Following the Via Leoni we pass a monument to King Humbert (facing the river in commemoration of his assistance to Verona after the destructive flood in 1882), and, farther on, the Arco dei Leoni (1st or 2nd cent, a.d.), formerly a double gateway. The Via Cappello goes on past (r.) the fine fa9ade of San Sebastiano and the Municipal Library to the Piazza delle Erbe (p. 153). The Via della Stella leads through the quarter on the left to Santa Maria della Scala (PI. 20-21), a Gothic church of 1324, since altered, and containing the tomb of Scipione Maffei (d. 1755), founder of the Lapidary Museum, and several good pictures. A 13th cent, building in the same street (Nos. 17-25) passes for the House of Juliet (Casa di Giulietta). From the Piazza delle Erbe tramway No. 4 runs to the Piazza San Zeno. The church of **San Zeno Maggiore (PI. 9-10) is at once the most beautiful and the most typical Romanesque church of Northern Italy. Begun after 1117 it was completed in the 14th cent., and has been little altered since. Exterior. In the upper part of the *Fa$ade (c. 1150) is a magnificent rose-window, one of the earliest known, depicting the wheel of fortune. The rich Porch, characteristically supported on marble lions, is decorated with sculptures by Nicold, and on either side of the doorway are scriptural and al- legorical scenes by Nicold and Guglielmo, including the Chase of Theodoric, in which the Emperor pursues a stag headlong to the devil. The 11th cent, doors (enlarged in the 12th cent.) are decorated with rude bronze *Relief$ of biblical subjects, Til? brick * Campanile was built in 1045-1178.158 Rte. 23 VERONA San Zeno The spacious basilican Interior, majestic in its simplicity, has a nave separated from its lower aisles by piers and pillars irregularly disposed, and covered by a trifoliate wooden vault. On the right of the entrance are early 14th cent, frescoes and some of later date; on the left is a large porphyry vase, formerly outside the church and used (probably) for washing the feet of pilgrims. The choir-screen bears rude 13th cent, statues of Christ and the Apostles. On the S. wall of the raised choir is a *Triptych by Mantegna, the Virgin and Child with angel musicians and eight saints, the figures strong- ly influenced by Donatello (unveiled on application to the sacristan). The good choir-stalls date from the 15th cent.; in the five-sided apse is a painted statue of San Zeno (13th century). The Crypt, approached by a broad staircase, is supported by fine Romanesque columns. — A door in the N. aisle (apply to the sacristan) admits to the charming Cloisters, partly Romanesque of 1123, partly 14th cent. Gothic. The arrangement of the coupled columns recalls the Sicilian cloister of Monreale. — The Torre del Re Pip mo, N. of the church, fabled to be a relic of King Pepin's palace, is a fragment of a former abbey. To the S. of San Zeno is the church of San Bernardino (PI. 18), an interesting example of the transition from Gothic to Renaissance (1451-66). It is preceded by a fine cloister; beside the doorway is a fresco of the saint by Cavazzola. Within are a triptych by Benaglio (choir), inspired by Man- tegna's triptych (see above), frescoes by Giolfino, and other good pictures; and the *Cappella Pellegrini, a refined work of the best Renaissance period (1557), mostly by Sammicheli. At No. 2 in the neighbouring Vicolo Mura di San Bernardino is shown the Sola Morone, with frescoes by Dom. Morone and his school. We now follow a typical section of Sammicheli's Walls (1523), one of the earliest examples (comp. p. 398) of the new style of military engineering afterwards developed by Vauban. The * Porta Palio (PI. 26), formerly Porta Stupa, affords a wonderful display of the architect's ingenuity in combining grace of construction with military strength (1542-57). The plainer Porta Nuova (PI. 35; 1535-40) stands at the end of the Corso Vittorio Emanuele, in which is a monument to the memory of Sammicheli. The Via C. Bat- tisti (r.) leads to the Romanesque church of the Trinita (PL 28), beyond which are large barracks and the Campo di Fiera (PI. 29; annual horse-market). In a modern cloister to the S. of this is shown a 14th cent, tomb, called the Tomb of Juliet (adm. 50 c.). Shakespeare's play of Juliet Capulet (Cappelletti) and Romeo Montague (Montecchi) is founded on a tale by t-uigi da Portq, a 16th cent, novelist. The legend of a feud between the two families is apocryphal; indeed, it is probablyMuseo Civico VERONA 23 Rte. 159 that the clans were in close alliance. However that may be, it is certain that the present tomb is not the tomb of Juliet. A modern bust near it commem- orates the dramatist. A little bridge crosses the canal N. of the Campo di Fiera to the Via Pallone, leading (r.) to the Ponte Aleardi (PI. 29), beyond which is the Cimitero Monumentale. We turn to the left immediately on crossing the Ponte Aleardi and skirt the Adige to the * Palazzo Pompei, a fine early work by Sammicheli (c. 1530), now containing the Museo Civico (open 9-4, adm. see p. 153; holidays 10-4, free), In the first court is a little *Statue of Cangrande, from his tomb (p. 154). On the right is a natural history collection, with interesting fossils. The second court contains fragments of Roman sculpture and architecture. On the 1st floor is the Pinacoteca or Picture Gallery, to be transferred to the Castel- vecchio (p. 156). The principal paintings are: 90. Pisanello, Madonna of the Quail; *798. Liberate, St. Sebastian; 210. Nic.Giolfino, Madonna of the Jess- amine; G. F. Caroto, 108. Pieta della Lacrima, 343. Archangels; Giroi. dai Libri, 290. Holy Family with the Rabbits, 339. Madonna dell'Ombrello; paint- ings by Fr. Morone, Paolo Cavazzola, and Ant. Badile; Veronese, 245. De- scent from the Cross. *267. Portrait of Pase Guarienti; G. B. Cignaroli, Verona praying to the Virgin; 70. Tiepolo, St. Teresa; 77, 110. Giov. Bellini, Madon- nas; 155. Francia, Holy Family; 513. attr. to Altichieri, Crucifixion (fresco); modern paintings by Ang. dalVOca Biunca, etc. — The prehistoric collection contains objects from the lake-villages of the Lago di Garda, from the ne- cropolis of Bovolone, etc. There is also a fine collection of armour. The 15th cent, church of San Tomaso Cantuariense (PI. 14; St. Thomas Becket), a little farther N., contains a good painting by Dai Libri. The Via San Paolo, opposite the Ponte Navi, leads to San Paolo di Campo Marzio (PI. 22), a church reconstructed by Aless. Pompei c. 1763, and containing (by the 4th S. altar) St. Anne, the Madonna, and saints by Girol. dai Libri and (5th S. altar), *Madonna and saints by Veronese. To the N.E. is Santi Nazaro e Celso, a church built in 1464-83 on the site of a much older building, traces of which, with frescoes of 996, may be seen on application at the ' ofhcina' on the right of the church. Of the paintings and frescoes in the church the following are noteworthy: Scenes from the life of St. Blaise, and SS. John the Baptist, Benedict, Nazarus, and Celsus, by Bartol. Montagna (1504-06); and the Martyrdom of SS. Blaise and Juliana, by Bonsignori (1519), with predella by Girol. dai Libri. Following the street along the hillside to the N.W., we pass (No. 10 Via Giardino Giusti) the Palazzo Giusti, the magnificent *Garden of which (open 8 or 10-5 or 7 30; ring at the wicket-gate on the right; gratuity) is notable for its avenue of ancient cypresses, and for its terrace commanding a glorious view. Farther on is the church of Santa Maria in Organo (PI. 14), a 7th cent, foundation altered in the 12th cent., and reduced to its present size by Olivetan monks at the close of the 15th century. The upper part of the incomplete facade is in a Gothic style; the Renaissance160 Rte. 23 VERONA rower portion is perhaps by Sammicheli. The graceful cam- panile dates from 1525. In the Nave are Old Testament scenes in fresco by Fr. Caroto (r.) and Giolfmo (1.). In a chapel of the S. Transept is a Santa Francesca Romana, by Guercino, and in the chapel S. of the choir, are further frescoes by Giolfmo* The inlaid choir stalls (1493-99), as well as the cupboards (1519-25) in the sa- cristy, are by Fra Giovanni. An inscription in the sacristy commemorates two Anglo-Saxon kings (c. 714), said to have become monks. In the N. Transept is a painting of the Blessed Bernardo Tolomei, by Luca Giordano; in the N. Aisle (4th chap.) Madonna and saints by Savoldo and (3rd chap.) similar sub- ject, by Fr. M or one. — A sort of lift descends from the choir to the Crypt, which has curious old capitals. Farther to the N., on the river bank, is a * Roman Theatre (PI. 5; adm. see p. 153), of the Augustan age. Excavations, which are still proceeding, have brought to light the first section of the cavea with part of the arches which supported it, fragments of the orchestra, etc. In the middle of the luins stands the little church of Santi Siro e Libera (10th cent.; partly rebuilt in the 14th). The barracks on the hill above occupy the site of the Castel San Pietro. — Passing the Ponte Pietra (1.) we reach Santo Stefano (PI. 5), a Ro- manesque church rebuilt in the 12th century. From the number of bishops buried here, and from the stone episcopal throne still preserved in the choir, it seems probable that this was the original cathedral. In the apse are some 8th cent, capitals. The church of San Giorgio Maggiore (PI. 4) or in Braida was begun in 1477 on the site of a 12th cent, church, of which a heavy Romanesque tower still survives. The bold cupola was designed by Sammicheli, who likewise began the unfinished campanile. The fa$ade is of the 17th century. The interior, a nave without aisles but with side chapels entered by beautiful arches, is a veritable picture gallery. Above the principal doorway, lac. Tintoretto, Baptism of Christ.-—S. Chapels: 3rd, Dom. Tintoretto, Descent of the Holy Ghost; 4th, Brusasorci, The three Archangels. — In the Minstrels' Gallery, Romanino, St. George before the Judge.—At the entrance to the Sanctuary, Fr. Caroto, Annunciation. — Sanctuary (closed by a balustrade): on the right, P. Farinati, Miracle of the Loaves; on the left, Brusasorci, Manna in the Desert. — In the Apse, Veronese, "'Martyrdom of St. George, a masterpiece of colour and design, —-Beside the organ (1.), Moretto, Female saints- Romanino. Martyrdom of St. George.—; N, Chapels; 4th, Girol. dai Libri, *Virgin enthroned between San Zenone and San Lo- renzo Giustiniani, a splendid work of 1526; 3rd, Fr. Caroto, SS. Roch and Sebastian, md the TransfiguF&tioni and Brmor-PROPR.DEL T.C.I.-RiPROQ VIET. Caprino-Garda Parona Grezzana Forte S.Procolo Pra Santo Bastion e S. Procolo H^LinOrgaiK Ponte^ ^ B• (P. Stupjja-)" * tQs%L ^brfanoir. ■t ingTti ^ ftstttrnin. (UArtiglima .? S.Antonio'' _ 77 „ ---ir--- r»or£o S.c Pancrazio O CakPonliei'i Colombara Campone uoya VERONA Seal a di 1 : 11000 F.F.S.S. UFF.CARTOGR.DELT.C.I-CapoCartografo: P.CORBELLIKI STAMPA :A.VALLARDI - MILANO9-10 5-13 13-14 29 9 12-20 5-6-14 12-13 3 26 5 21 29-30 tile 6-14 18 12 23 21-22 28-29 14 5 mo 14 a 13-14 21 12 12-13 28 22 14-15 21 20 14 26 21-22 14 9 21 19-20 22 27 22-23 14-15 15-16 7-8 16 VERONA. Chiese (Churches): Ospedali (Hospitals): — Santo Stefano 5 — Fatebenefratelli 22 —- San Zeno Maggiore 9 -10 — Militare ! 26 — S. Stimate 28 Palazzi (Palaces): Cimitero Monumentale 30-38 — Arvedi 20 Colombara 37 — Balladoro i 19 Comando Militare 19 — Bernardinelli 2(7-28 Convento SS. Crocifisso 8 — Bevilacqua 20 Corsi i( Avenues): — Brasavola 28 — Castelvecchio 19 — Canossa 19 — Cavaliotti 13 — Conati 12 — Cavour 19-20 — Da Lisca 28 — Porta Borsari 12 — Dalla Torre 28 — Vittorio Emanuele — dei Ganonici 4 27-28-35 — Diamanti (dei) 20 Direzione del Genio Mi- — Donzellini 20 litare 26 — Emilei i 13 r-28 Distretto Militare 23 — Fedrigoni Dogana 21 — Fumanelli % M3 Duomo 4-5 — e Giardino Giusti 14 Ferrari (C.) 15 — Giiiliari 2 L-22 Fiume Adige 2-10-18-19-12- — Guerrieri 12 4-5-13-21-29-37 — Maffei 12 Fontana del Ferro 6-7 - Malfatti 20 Forte San Procolo 1 — Maxchi 27 Giardino e Palazzo Giusti 14 — Miniscalchi 12 Gran Guardia Vecchia 20 — Montalti ">-13 Intendenza di Finanza 21 — Mosconi 20 Interrato delPAcqua Mor- — Murari-Bra 21 ta 13-14-21 -22 — Negri 21 istituti (Institutes): — Orti ! >-28 — Don Bosco 18 — Orti 27 — Don Mazza 22 — Ottolini 12 — Sordoznuti 18 — Paletta 4 Laschi (C.) 33 — Pompei 2 L-22 Liceo 13 — Portalupi 19 Loggia 13 — Pozzoni 20 Lungadige Panvinio 12 — Ragione (d.) 13 Lungadige Porta Vitto- — Sagramoso 2 L-22 ria 21 -29 — Tavella 21 Lungadige Re Teodorico 13 — Tedeschi 20 Lungadige Rubele Burt. — Tedeschi 21 13-21 — Trevenzuoli 28 Lungadige Sammicheli 13-21 — Trezza 19 Magazzino d'Artiglieria — Weil-Weiss 19 26 -27 — Zamboni 5 Magazz. Casermaggio 17-18 Panificio Militare 23 Munieipio 20 Piazze (Squares): Mura Romane 20 — Bra (Vittorio Eina Museo Lapidario 19-20 nuele) 20 Officina del Gas 29 - Cittadella 28 Offi-ine Ferroviarie 24 -32 ! ' — Corrubbio 1 r-18 Orfanotrofio femminile 28 ; — Dante (dei Signori) 13 OspedaSi (Hospitals): j — d'Armi di Campo FJo — Civile U7 ' 1 re 30 Piazze (Squares): —■ dei Signori (Dante) 13 — Duomo 4-5 — Erbe 12-13 — Indipendenza 13 — Isolo 13-14 — Montarone 19 — Navona 13 — Pozza 17 -— Sant'Anastasia 13 — San Zeno 9-17 — Vittorio Eman. (Bra) 20 Pontl (Bridges): — Aleardi 29 — Garibaldi 4-12 — Navi 21 — Pietra 5 — Scaligero 19 — Umberto 13 Porte (Gates): — Borsari 12-20 — Nuova 35 — Palio (Struppa) 25-26 — San Giorgio 4 — San Zeno 9 — Struppa (Palio) 25-26 — Vesoovo 24 — Vittoria 29 Posta e Telegrafo 13-21 Pradavalle 27 Pra Santo 8 4 Prefettura 13 Quartiere 16 Ottobre 15-23 Regaate Redentore 5 Regaste San Zeno 18-19 Rondella San Zeno in Monte 6-7 San Zeno in Monte 14-15 Seminario 14 Serenelli (C.) 7 Stazioni (Railway-Stat.): — Ferrov. Verona-Caprino 4 — Porta Nuova FF. SS. 34 — Porta Veseovo FF. SS. 32 — Tramvia Verona-Aiba- redo 35 — Tramvie Verona-Vi- oenza 24 Strade i Roads): — Militare dell'Arsena- Ie 11 — Militare di Circonval- lazione esterna 1-2-17-25-34-7-15-24-31-30 Strade (Road?)'. — Militare di Circonval- lazione interna 9-17-25-26-34-35-36 Stradoni (Roads): — della Stazione 24-32 — di Porta Palio 19-26 — Provolo 18-19 — San Fermo 21 7 eatri (Theatres) : — Drainmatico 13 Filarmonico 19 — Ristori 19 — Romano 5 Tomba di Giulietta 29 Tombe degli Scaligeri 13 Trezza (C.) 8 Tribunale 13 Tribunate Militare 21-22 Vescovado 4-5 Viali (Alleys): — Bixio 3-4 — Garibaldi 4 Vlcoli (Narrow Streets): — Abbazia 9 — Adigetto 28 — Borelle 20 — Borgo Tascherio 6-14 — Broglio 9 - Calcirelli 26-27 — Cicale 10 — Lungo S. Bernardino 18 — Mura San Bernardino 17-18 — Palazzina 9 —- Paradiso 22 — San Bernardino 18-26 — San Domenico 28 — San Silvestro 19 — Santa Caterina 27 — Sant'Antonio 27 — Sorte 27 — Sorte alie Mura 26-27-35 — S. Stimate 28 — Torcoletto 21-29 — Volto San Luna 19-27 Vie (Streets): — Anflteatro 20 — Argonne (d.) 3 Battisti 27-28 — Betteloni 16 — Bezzeeea 3-4 — Brofferio 26 — Cairoli 13 — Campetto 9 Vie (£tre< f\s)j — Campo Fiore 22-30 — Cantar#ne 23 — Cappello 13-21 — Cappuccmi Yecchi 28-36 — Caprera 4 — Carducc* 13-14-22 — Caseimi Campone 28-36 — Catena 10 — Cattaneo 19-20 — Catullo 12-20 — Ohiodo 10 — Dai Librij 16-24 — dei Mille ) 3-4 — dietro *>hita 5 — di Mezzo 'San Zeno 18 •— Dogana ! 21 — Duomo ! 5-13 — Filippini j 29 — Filopanti 26 — Fontana dpi Ferro 6 — Fontane dg Sopra 6 — Fracastoro 16-24 — Fratta 20 — Galilei 31-32-35 — Garibaldi — Giardinc Oiusti — Gran Csara — Istituti Educativi — Lastre — Leoncino ; — Leoni ; — Lombroso — Macello 12 14 20 28 29 20-21 21 27 29 Madonna del Terraglio 5 Maffei — Mameli — Manin — Mantovrna — Mario Alberto — Massalo >gd ;> -r- Mazza i — Mazzini ■> — Montana ri j — Morand' t — Morone j Muro Lun^o — Muro Padti -— Nazaret —- Noris — Pallone — Pedrotti — Pellicciui — Pigna — Pisa cane 28 4 19 17-18 20 13 22 20-21 28-35-36 24 16-24 32-40 14-22 6 20 28-29 27 12 5-12-13 18-26VENSZIA TRIDENTINA 24 Rte. 161 sorci, Apostles casting out a devil; 1st, Caroto, St. Ursula and her companions. If time allows, a walk round the ramparts N. and E. of the town should be taken, preferably at sunset. The railway from Verona (Porta San Giorgio) to (21m.) Caprino and (23£ m.) Gar da traverses the Valpglicella, a district famous for its wine and its marble. Its chief village is (11 m.) Sant'Ambrogio, about f hr. N.E. of which is San Giorgio, with a Romanesque church and cloister (8th and 13th cent.). In the church is an 8th cent, ciborium. We cross the railway to Trent, and then the Adige. — 16 m. Affi is the junction for a branch to (5£ m.) Bardolino and (7£ m.) Garda (p. 146). The main line goes on to (21m.) Caprino Veronese, at the S. end of the long ridge oi Monte Baldo (7275 ft.). From Verona to Legnago and Rovigo, see p. 260; to Milan vi& Brescia, see Rte. 20; to Mddena via Mantua, see p. 275; to Trent and Innsbruck, see Rtes. 24 A and 24 C; to Venice, see Rte. 25. 24. VENfiZIA TRIDENTINA AND THE DOLOMITES Approaches. For travellers proceeding direct from England to the Dolo- mites, and especially for those bound for Bolzano or Merano, the international route via Innsbruck (Rte. 24 c) is recommended. For tourists already in Italy, the most convenient approaches to the Ven6zia Tridentina are from Verona (Rte. 24 a) or from Venice (Rte. 24 b). Ven6zia Tridentina (' Tridentine Venetia,' so-called from the old name of Trent; comp. p. 151), full of natural beauty, and the northernmost part of Italy since the victorious end of the War (3 Nov. 1918) which completed Italian unity, comprises the middle and upper basins of the Adige, which de- scends from the glaciers of the Alps to the sunny shores of the Lake of Garda. Its mountains include the Adamello-Presanella range, the OrtJer (12,803 ft.), the JJrenta group, 3n Grand-Hdtel, 300 beds; Stella, R. 8, D. 16, pens. 30 1.; several pensions), which was partially destroyed in the War,164 Rte. 24 b LEV ICO Venezia 78 m. (126 km.) L6vico (1640 ft.; *Grand-H6tel e Villa Paradiso R. 15, D. 22, pens. 451.; *Bellevue dv de Russie, April-Nov., R. 10, D. 20, pens. 40 1.; *des Bains, Regina, April-Nov.; *Eden-H6tel Caliari, R. 7, D. 16, pens. 35 1., also Pedrotti, Concordia, Voltolini, pens. 25-30 1., etc.), ano- ther well-known spa (4853 inhab.), is much visited for its chalybeate and arsenical waters. —We ascend the valley of the Brenta, cross the river, and skirt the Lago di Caldonazzo. — 84J m. Pergine (Hot. Pergine; Grand-Hot. Castello, pens. 201.) is overlooked by a castle. —89J m. Civezzano has a good Renaissance church by Ant. Medaglia. — 90^ m. Ponte Alto, with waterfalls of the Fersina. — 93J m. ViUazzano. We descend steadily, with a view of Trent, and join the line from Verona. — 97J m. (157 km.) Trent, see p. 176. C. From Innsbruck to Bolzano, Trent, and Verona. Railway, 172 m. (277 km.) in 7-9 hrs. by the expresses <156 L, 116 1. 70, 67 1. 40 c.) to Bolzano, 83 m. (134 km.) in 4-4^ hrs. (90 1., 73 1. 50, 411.- 75 c.), to Trent, 114| m. (185 km.) in 5^6 hrs. (115 1. 60, 89 1. 65, 511. 65 c.). This is a section of the international route from England vi& Boulogne, Basle, Zurich, Sargans, and Buchs to Italy. Luggage is examined at Br6nnero. The crossing of the Br6nnero (to which we ascend by steep windings) "is very pictur- esque. Best views on the right. Innsbruck (1883 ft.; *H6t. de I'Europe; Tirol; Maria Theresia; Kreid; Arlberger Hof; etc.), the chief town (50,000 inhab.) of the Austrian Tyrol, is situated on the Inn amid scenes of mountainous grandeur. In the Renaissance Franziskaner Kirche are the *Tomb of Maximilian I, one of the most famous monuments in Europe, and the ' Silver Chapel/ Andreas Hofer (p. 161) is likewise buried here (mon- ument). The Goldens Dachl (1500), an elaborate Gothic balcony with a gilded copper roof, is near the N. end of the Maria-Theresien Strasse (17-18th cent, buildings), the main street. The Museum is interesting. If time permits, the electric railway should be taken to the summit of Berg Isel (2460 ft.; *View). On leaving Innsbruck we ascend the valley of the Sill, traversing many tunnels and bridges. — 12J m. Matrei (3250 ft.), with the castle of Trautson. The ascent becomes gradually steeper (maximum 1 in 40). — 21 j m. Gries. We pass near the small Lago di Brennero (Brenner-See), and enter Italy and Venezia Tridentina (p. 161). — 25 m. (40 km.) Br&nnero or Brenner (4494 ft.; Rfmts.) is now the customs station. On the right are falls of the Isarco, which flows into the Adriatic; the waters of the Sill make their way to the Black Sea. -—27 J m, Terme del Brennero or Br en*Tridentina COLLE ISARCO 24 c Rtl, 165 nerbad (Hot. Geizkoflerhaus cS> Burgerhaus; Vetter) has some warm mineral springs. The steep descent begins. — 30J m. Ceves or Schelleberg: (4072 ft.). The line doubles round the Valle di Fleres (Pflersch-Tal), threads the curved tunnel of Aster, and returns to the E. to join the Isarco. Beyond the tunnel the glaciers of the Pflersch-Tal come into view. 36 m. (58 km.) Colle Isarco or Gossensass (.3480 ft.; *Hot. Palace Wielandhof; *Gr. Hot. Grobner, R. 5, D. 18, pens. 35 1.; Pens. Leopoldhof & Wolfenburg) is a summer resort and also a good centre ior winter sports. To the E. rises the Huhnerspiel (9010 ft.; 4hrs.). The valley narrows, but presently widens again. — The descent continues to be steep as far as (39} m.) — Vipiteno or Sterzing (3110 ft.; *Hot. Stotter, R, 5, D. 10, pens. 25 1.; *Alte Post, R. 6, D. 18, pens. 25 1.; *Goldene Rose, R. 5, D. 12, pens. 25 1.), an ancient town (1030 inhab.) on the site of the Roman Vipitenum. A number of the houses were built in the 15-16th cent, by wealthy mining families, and the church dates from this period. The town hall is Gothic, and there is a second Gothic church near the cemetery. The castles in the neighbourhood (some of them seen from the railway) offer interesting excursions. Motor omnibus from Vipiteno to Merano, see p. 170. We pass the castles of Sprechenstein (1.) and of Thumburg and Reifenstein (r.) — 42f m. Trens or Freienfeld, with the castle of Welfenstein (1.). Beyond a gorge are the fortifications, bujlt,-J>y:,:Au$tHans, giving name to (51J m.) Fortezza oe Frcmzensfeste (2455 ft.; Rfmts.; Hot. Bahnhof; Reifer). = From Fortezza to Lienz (Austria), 67 m. (108 km.) in 4hrs. One train with through carriages from Merano to Vienna, and vice versa, runs daily by this route. For the first part of the journey we traverse the delightful Valle Pusteria. — 5 m. Rio di Pusteria or Muhlbach (Hot. Goldene Sonne), with Bad Bachgart (Hot.) in its vicinity, is visited as a summer resort. —18£ m. San Lorenzo (Hot. Rose). To the S. opens the beautiful Valle Badia, continued by the Ladin-speaking Valle Gadera. — 20 m. (32 km.) Brtinieo or Bruneck (2720 ft.; Hot. Post, R. 5, D. 15, pens. 25 1.; Bruneck) is a picturesque town (3280 inhab.) at the foot of the splendid valley of Tures, ascended by an elec- tric railway as far as Campo di Ttires (Sand in Taufers). — 31f m. Monguelfo .(Welsberg), a little summer resort, with a castle. — 34f m. Villabassa or Niederdorf (3783 ft.; Hot. Villabassa; Emma; Stazione) is a good centre for excursions, especially to the Lago di Br&ies (Pragser See; hotels). — We reach the broad meadows of the plateau on which stands (38 m., 61 km.) Dobbiaeo or Toblach (4003 ft.; *Grand H6t. Toblach, open June-Oct., 300 beds; *Bellevue, open June-Oct., R. 7, D. 11, pens. 30 1.; Ampezzo, open all the year, R. 8, D. 18, pens. 35 1.; Seehotel, near the Lago di Pobbiaco, open June-Oct. R. 5, D. 10, pens. 28 1.), another summer resort, at the highest point reached by the railway. Railway to Cortina d'Ampezzo, see p. 175; to Calalzo, see p. 238. On the right is the source of the Drave. — 40£ m. (65 km.) San Candido or Innichen (3543 ft.; Hot. Schwarzer Adler; Grauer Bar; Goldener Stern; Sonne; Wild- bad Innichen, open June-Oct.), the last Italian station, is much frequented in166 Mte. 24 c BRUSSAMONE Venizia summer. The church is of the ISth century. We begiii to descend the valley of the Drave, and enter Austria. — Beyond (57i m.) Mittewald the line threads the gorge of Lienz. — 6?i m. Lienz. The landscape rapidly loses its Tyrolean character, and chestnut groves and vineyards begin to appear. — 59 m. (95 km.) Bressanone or Brixen (*Hot. Excelsior, R. 4, D. 12, pens. 251.; *Elefante; Stazione, pens. 18 1.; numerous pensions), an ancient town (4853 inhab.) and until 1803 the capital of an ecclesiastical principality (comp. p. 161), is charmingly situated at the meeting of the Rienza and the Isarco. Its many churches and convents give it a striking monastic appearance. The transitional Cathedral (15th cent.), rebuilt in 1754, is noteworthy for its rich baroque interior (interesting treasury). To the left of it stands the Gothic Parish Church, with a fine tower, and to the right are * Cloisters with 12-16th cent, frescoes and an ancient baptistery. The Lauben-Gasse is one of the characteristic old streets of the town. Beyond a bridge over the Isarco the valley narrows. — 64J m. (105 km.) Chiusa or Klausen (1720 ft.; Hot. Alte Post; Walter, pens. 20 1.), at the foot of a steep crag, is the Sabiona of the Romans, who built a temple of Isis on the height. Later the celebrated nunnery of Saben grew up here. Below the Frauen-Kirche and above the town are ruins of the castle of Branzoll. From Chiusa to Plan, 19$ m. (32 km.; 101. 35, 51. 10), mountain railway (fine view) in 2f hrs., ascending over 3500 ft. and passing through numerous tunnels and over viaducts constructed during the War. We follow the *Valle Gardena, one of the principal valleys of the Dolomites, in which Ladin is spoken. —Beyond (4£ m.) Lajon the valley becomes Alpine in character. — 8| m. San Pietro. We thread a cutting and emerge into the smiling upper valley, with the Gruppo di Sella seen in the distance. —13 m. (21 km.) Sant'- Ulrico or Ortisei (4055 ft; * Post-Hotel Weisses Rdssl; *Adler; Marienhof; etc.) is a mountain resort remarkable for its variety of walks and excursions. Wooden statuettes are made in the vicinity. We pass a succession of clean and pleasant villages charmingly situated amid meadows, with the fantastic peaks of the Do- lomites rising on every hand. — 16 m. Santa Cristina (4685 ft.; *Hot. Posta, pens. 25 1.; Dosses, pens. 251.). —18 m. La Poxza.—19£ m. Selva or Santa Maria or Wolkenstein (*Hot. Oswald, pens. 40 1.; *Mondschein, pens. 34 1.). — 19f m. (32 km.) Plan (5308 ft.; Hot. Alpino, pens. 201.) is the centre of a group of villages with good mountain inns, offering a base for excursions. The line descends a wild gorge between cliffs of porphyry. On the left rise the characteristic Schlern, and farther on the Catinaccio (Rosengarten). — From the station of (68J m.) Ponte all'Isarco or Waidbruck motor omnibuses ply in summer to the well-known mountain resort of Siusi or Seis am Schlern (*H6t. Salegg, R. 6, D. 18, pens. 32 1.; *Seiserhof, R. 5, D. 14, pens. 28 1.; *Dolomitenhof; *Laurin; *Edelweiss; Enzian),a. starting-point for magnificent excursions in the Dolomites. The valley widens out into a broad basin.PROPR. DEL T.C.I. - RIPROD. VIET. Scaladi 1=65000 Ibcrimi Gcbracfo mffher i'titerPjoa^Legg 1100 IHnOnidi. li erosione 1900 S.Croc Mackru .*1381 Karncttn J'nlcnnicflkT tdaierKqsael Jlmicmti Grubt'r. Feigelhiii Vs.// \Yid;nin-f Achtmur. .(kierhof „ t> *//. • sFcrmatnJ // Uafperebichl ./vy / • ^jT 1303 / ^ ,^/wallnereckf VordcrACi Glaning 1220 >si one S.Giorgio Jfo\zer , Mlttrrstleler Krumrtteck irmn .Martino fitrirr 'Ciuitschui Esclwnbarh itiano m> C Mortizing ,-A> Leitttch, Vhtevlhcher • • * i S.Giorgio 5^316 Uumau UJXUl K V Tl IloclUdauam Trautmann ^ Fabbr. di. Ba*ggiid S. A0a wiiwqLa'ta 'Kairtpil .Ottmkc Juarco irnrdo; Stpinegg \Ebcnhof fblzurg Wetseiu idakron Firmano) Impdenhof' lhutcnt Ho I Kwrruiw •Trontoi UFF.CART0GR.DEL T.C.I.-Cepo Csrtografo' P.C0RBELLINITridentina BOLZAtfO 24 d Me. 16? 83 m. (134 km.) Bolzano, see below. Beyond Bolzano we cross the Isarco and enter the plain of the Adige. To the right, behind the porphyry spur of the Mittersberg, rise the peaks of the Mendola. — Near (89J m.) Bronzollo an Italian-speaking population begins to predominate. — 93 m. Or a is the junction for (31 m. E.) Predazzo, p. 237. We cross the Adige. — The population is entirely Italian beyond (98£ m.) Salorno, on the hill above which are ruins of the castle of Hadenburg. — At (102f m.) San Michele, opposite the valley of Non, we intersect the elec- tric railway from Trent to Male (p. 180). The Adige is recrossed. — 107 m. Lavis is situated on the Avisio, which we presently cross by a long curved bridge. On the left is seen Monte Calisio, with argentiferous lead mines. 114J m. (185 km.) Trent, see p. 176; thence to (172 m., 277 km.) Verona, see p. 162. D. Bolzano and its Environs. BOLZANO or Botzen (870 ft.), at the meeting of the Talfer with the Isarco, is a flourishing town (22,659 inhab.; over 30,000 with Gries, p. 168, and Zwolfmalgrein), the chief place of the Upper Adige and an important tourist centre and climatic resort. It is visited principally in spring and autumn, the heat of midsummer being oppressive. The inhabitants are chiefly German-speaking, and Bolzano retains many German architectural characteristics, although it was ceded to Italy by the treaty of 1919. Hotels. At Bolzano: *Laurin (PI. q; E 7), Via Andrea Hofer, a modern house, in view of the Dolomites, R. 10, D. 24, pens. 451.; *Bristol (PI. b; E 7), Via An- drea Hofer, same charges; ♦Grifone (Greif; PI. p; E 7), 9 Piazza Walter R. 7, D. 18, pens. 401.; *Schgraf- fer (PI. d; E 7), Piazza Walter; Posta (PI. i; E 6), Via Defregger; Central (PI. s; D 6), 6 Via Goethe; Luna(Mondschein; Pl.h; D7), 25 Via deiBottai, pens. 26. 1.; Scala (PI. m; D 8), 17 Via Dogana, pens. 211.; CittA di Bolzano (PI. o; E 6, 7), R. 8 1.; Gasser (PI. r; D 8), 65 beds; Ba- varese. — At Gries (mostly closed in summer): *Austria (PL a; A 4), R. 8, D. 16, pens. 32 1.; *Mirasole (Sonnenhof; PI. c; B 2), R. 5, D. 12, pens. 28 1.; Germania, R. 8, D. 18, pens. 30 1.; Badl (PI. n; C 4); Croce Bianca (PI. w; C1). Pensions. At Gries: Astoria (PI. e; A3), pens. 28 1.; Quisisana; Villa Wickenburg, pens. 30 1.; Guntschnahof; Reichsriegler, at Gunscignk (Guntsch- naberg), Austria, pens. 38 1.; Ba- varia; Julienhof; Edelweiss; etc. — Sanatoria: Grieserhof; Malf&r. Restaurants and Caf6s. Bristol, opposite the hotel of the same name; Grifone, Piazza Walter; Batzenh&usl, formerly the bohemian rendezvous; *Cantina Municipale (Rathauskeller); SaleCivica; Pircher, 20 Via deiPortici; Bolognese (Italian cooking), etc. Post Office. (PI. E 6), near the cathedral. — Information Bureaux: Ufficio Viaggi e Turismo delVE.N.I.T., Via Vittorio Emanuele, opposite the theatre; Commissione Concorso Fo- restieri, Piazza Walter; Italian Al- pine Club, Hot. Luna. Conveyances. Cabs 4 1. per drive; two horses 8 1..; 8-10 1. per £ h. —168 Rte. 24d BOLZANO Venezia Cortina, see p. 172; to Sarentino, see p. 169 - Funicular Railways: to the Gunscignci (Guntschna), see be- low; to Colle (Kohlern), see below; to Virgolo (Virgl), see below. Amusements. Teairo Civico (PI. E 7), Via Vitt. Emanuele — Kur- haus-Casino at Gries. Electric Tramways from the Piazza Walter to Gries every J hr.7 to Ober- au and San Giacomo every £ hr.; to Collalbo, see below. — Motor Coaches plying in connection with the state railway afford access to almost every part of Venezia Tri- dentina: to Passo di Costalunga and From the station we cross the Parco to the Piazza Wal- ter (PI. E 7), in which is a monument to Walther von der Vogelweide, the German minnesinger (13th cent.) On the left is the Parish Church or Pfarrkirche, a handsome 14th cent. Gothic building with an admirable tower and spire by J ohann Lutz von Schussenried (1501-1509). To the N.E. is the modern Palazzo Comunale, whence the characteristic Lauben- Gasse, or Via dei Portici with its arcades, leads past the 18th cent. Chamber of Commerce to the Mercato delle Frutta or Obst-Markt. A turning on the right leads to the 14th cent, church of Sant'Erardo, with carved wooden altars and good cloisters. In the Via Museo, directly ahead, is the Mu- seum (PI. D 5), containing prehistoric and ethnographical col- lections (open daily 9-12 and 2-5; holidays 9-12). To the right, just short of the Talfer bridge, is the *Lungo Tdlvera (Wassermauer Promenade; PI. D 5, A 6; concerts in summer), with the castle of Maretsch and the Fontana Laurino (PL B 5, 6). The Passeggiata Sant'Osvaldo (PI. A 7, B 8) mounts to the N. in windings, offering fine views, and then descends again to the town via the little church of Sant'Osvaldo (PI. C 8). On the opposite bank of the Talfer is the frequented little resort of Gries, in a sheltered situation amid gardens and vineyards. The baroque church of SanV A gostino (PI. C 2), in the Haupt Platz, dates from 1769. The Gunsci- gn&, the hillside to the N., may be ascended either via the winding *Gunscigna Promenade (fine views) or by a funicular railway whose lower terminus is in the Hdffinger-Casse. The best plan is to ascend by the funicular and descend by the promenade. Another funicular railway ascends from a station about 3 min. S. of the bridge over the Isarco (PI. F 6) to Virgolo or Virgl; (1510 ft.; Rist. Virglwarte,) commanding a fine view. — Omnibuses ply from the Piazza Walter to (1 m. S. E. of the bridge over the Isarco) the Kampiller Wiese, whence an overhead funicular 1 m. long (Ferrovia Aerea) mounts to Colle or Bauernkohlern (4590 ft.; Hot. zur Kohlernbahn; Klaus ho f), the station also for Herrenkohlern, another little mountain resort. From Bolzano to Collalbo, m. (12 km.), mountain railway (Fer- rovia del Ritten), ascending the high plateau N.E. of Bolzano, with its ♦Views of the Dolomites. — The cars start in the Piazza Walter, and halt at the main station. — At (f m.) the Stazione Renon the cog-wheel section begins. We mount through vineyards. — On the right as we approach (3 m.) VA s- sunta some eroded earth-pyramids are seen on the right. The cog-wheel section ends. — Bf m. (6 km.) Soprabolzano or Oberbotzen (3940 ft.; *Hot. Oberbotzen; Rittnerkof; Hofer) is the station for the little church of Santa Maria della Neve (view) and for the pyramids of Oberbotzen (f hr. S.; see also p. 169). The Schlern comes into view. — 5 m. Costalovara (3960 ft.). — 7£ m. (12 km.) Collalbo or Klobenstein (3770 ft.; *Hot. Post), a pleasant little resort, offersBOLZANO - GR1ES Alberghi (Hotels): — Bahnhof HQtel 8E,t — Bristol 7E,b — Erzherzog Heinrich 6E,i — Gasser 8D,r — Greif 7E,d Konig Lauviti 7E,q — Mondschein 7D,h — Riesen 6E,k — Schgraffer 7E,p — Stadt Bozen 6-7E,o — Stiegl 8D,ra — Walther von der Vogelweide 7E,f —• Zentral 6D,s Batzenhausl 7 O Burgersaal 6-7F Camera di Commer- cio 6-7D Caserme f>-6F Cassa di Risparmio 5D Castello Maretsch 6C Chiese (Clvwrches): — Duomo 6-7E — Sacro Cuore 5-6D — St. Johann 80 — St. Oswald 80 Cimitero 7E Oonvento Cappuccini 6E Oonvento dei Domeni- cani 6E Oonvento dei PP. Fran- cesoani 6-7D Deutschhaus 70 Duomo 6-7E Fiume Isarco 5-6F Geretburg 60 Giardino del Principe di Oampo Fran- co 8B Laurinbrunnen 5-6B Lindenburg 6B Municipio 7D Museo 5D Ob. Payersberg 7B Ospedale 5-6E Palazzo del Principe di Oampo Fran- co 6E Palazzo Toggenburg 60 Peterploner 8A Plazze (Squares): — Dreifaltigkeits Platz 7D — Korn Platz 7D — Viehmarkt Platz 6-7F — Walter Platz 7E Prackenstein 80 RR. Poste e Telegra- fi 6E Stadt Park 7E Stazione 8E Talfer Brflcke 5D Teatro 7E Torrente Talfer 5AB0DEF Tribunale 5F Vie (Streets): Bahnhof Strasse 8ED — Binder Gasse 71) — Brenner Strasse 8D — Defregger Strasse 5-6D — Dr. Streiter Gasse 6-7D — Eisack Strasse 6EF — Franziskaner Gas- se 6D — Garber Gasse 7ED — Gilm Strasse 5EF — Goethe Strasse 6ED -- Kais. Elisabeth Strasse 5ED — R. Frz. Josef Strasse 7E — Kapuziner Gasse 6FE — Kirchebner Stras- se 7-8D — Laubengasse 6-7D — Meinhard Strasse 5D 5-6E — Mflhl Gasse 8D — Museum Strasse 5-6D — Park Strasse 7E — Pichler A. Stras- se 5-6E — Rain Gasse 7E — Runkelstein Strasse ' 6A — St. Heinrich Stras- se 7 BO — St. Oswald Pro- menade 7 A 8B — Schlern Strasse 5-6F — Silber Gasse 6-7D — Vintler Strasse 7D — Wanger Gasse 6D — Wassermauer Pro- menade 50D 6AB VIlie (Villas) : — Grabmayr 6-7B — Heinrichshof 7A — Streiter 7-8B Wilde Manner 7-8A Zwolfmalgreien 8D GRIES. Alberghi (Hotels): — Austria 4A,a — Badl 40,n — Germania lA,u — Grieser Hof lBC,g — Kreuz 10,w — Sonnenhof 2B,c — Pensione Habsburg 3A,e — Pensione Trafoier 30,z Bagno 4E Brunner 4-5B Chiese (Churches): — del Oonvento 20 — Evangelica 4B — Parrocchiale 1-2B Oonvento 4D » dei Bene- detto i 20 Eichbergerhof 4F Fagen 4A Funicolare IB Gasser 2D Gugler 4D Guntschna 1-2A Guntschnabahn • 2A Kuendlhof 3D Kurhaus 30 Lageder 3-4B Mailander 2E Moklmiihl 40 Municipio 20 Munzbank 20 Piazze (Squares): — H. Kreuz Platz 10 — K. Frz. Josef Platz 1-20 Prantlhof IE RR. Poste 1-20 Rohrerhof 5A Rottenbuch 40 St. Quirain 2-3E Sirchhof 2-3E Talferanlage 4 DO Talfer Brticke 5D Tatzhof 3F Torrente Talfer 5ABCDEF GRIES. Vie (Streets): — Dreiheiligen Gasse Vie (Streets): — Dreiheiligen Gasse 2D — Eisenstecken Strasse 4D — Elisabeth Strasse 40B ( Contnmiation).PROPR. DEL T.C.I. RIPROO. VIET. .gj? Y.Girasule a . $v ckenbwy , t <>• c Rohrerho! )VihUMan yla V Jh'uwichshaf F agen V^Viclajida-s Pt4atyjlaiU'J' [Gniber Panic I''." Wilhelma * JmDori Ob.fayersbaxj SSSSiPf timer Chiesa Paivocch. -+ V." 1'iqhlcr A Chiesa -*» * Evniiuelica W! 'ndlaiidthaiis Lindenbrtpg ^ yiar A LauHnb, nmnen ~ Grabnu ivr ' * Giard".°d.Frinc? a p CainpoFrarwo- Si Oswald V^Wentt'i KirrTiaus &■ \ Municipio V ^yfh.d.("onV( K. SU-.A Conv'.'dei ^Benedottini MocktmiihL ^ 1 Jastello ^ JV'avelsoli ■y.'ff \z Gem tburg Roltenbuch H.Ifreiiz Tm/.s-r/ig Veutschhaus Palazzo To(]C]enbiircj Mxinzbank '§ StJohaim Zwolftrm I (] r o i eri ItatxcnJittusl Ue/'Strasse Kin ?dt»i .^5 •ancescariic Kuendlhof J Fia/fei/mifc3 v v nCT'^ V1? Graff Bagno Vi'fSchallej• franlihc f Sirchhof Maria yifWeiitbc rq Tefftrjbi Mailtinder Ciinil(M-o BOLZANO VL 'limarkt Plat z BOLZANOGRIES Scaladi 1:13000 Tatzliof Eidhbergerhof Tramvixt per Gries Ferrovia del Bitten Merano Trento UFF.CARTOOR. DHL T.C.I.- Capo Cortogr.ft, P. CORBELLINIVie (Street*): Vie (Streets): VIHe (Villas): — Erzherzog Heinrich — Quirainer Weg 4FE — Girasole 6A Promenade — Schmied Gasse 1CD — tJraff ID 1-2A IB — Sigmundskrone — Gruber 8A — Fagen Strasse Reichs Strasse — Heimat 4D 4-5C 5BA 1-2E 2-3-4D — Monrepos 4-5A — Habsburger Stras- — Stephanie Stras- — Pattis 2B se 3-4-5A 2-3B se 4 AB — Pichler 1-2B — Hoffinger Str. 2-3A — Strand Anlage 4 DO — Quirain 3-4E — Hiitter Gasse 4-5A — Tutzer Gasse 10 — Schaller 4E — Kurhaus Strasse 3BC — Yintschgauer — Yielanders 4A — Lageder Fussweg Reichs Strasse — Weinberg 3-4E 3-4B 1-2-3-40 — Wenter 2-30 — Mariaheim Weg — Wendlandt Stras- — Wickenburg 4-5A 2-3F 3-4E 4T) se 2-3B — Wilhelma 3B — Mendel Strasse ID 2C — Wenter Gasse 2-30 Wendlandthaus 2-3B — Promenade Strasse — Winter Promena- 1-2B de 2-3A Tridentina MERA NO 24 e Rte. 169 numerous excursions, especially to (£hr) the F ohn and to hr.) the * Earth' Pyramids of Lengmoos, perhaps the most remarkable of their kind, each capped with a tree or stone which has protected the earth below from erosion. They are believed to be remains of an ancient moraine. — The Rittnerhorn (8064 ft.) is ascended in 3 hrs. from Collalbo (view of the Dolomites). From Bolzano to Sarentino viA the Val Sarentina, 12 m. (19£ km.), motor omnibus in summer. — We mount the narrow valley of the Talfer, to the N. of Bolzano, and pass (r.) Schloss Runkelstein (1237), with frescoes in the interior. Farther on (1.) are ruins of Schloss Rafenstein. The road winds upward through a picturesque gorge, shut in by cliffs of porphyry. — At the end of (4 m.) the Macknerkessel is a striking wilderness of rocks. -—• 9£ m. Bund- scheu (3060 ft.) is charmingly situated amid forests and meadows. —12 m. (19^ km.) Sarentino or Sarnthein (3170 ft.; Hot. Schweizerhof; Post; etc.)lis a secluded and charming little resort, and a good starting-point for excursions. From Bolzano to Cortina d'Ampezzo and Dobbiaco, see Rte. 24 F; to Me- rano and Mattes, see Rte. 24 E; to Trent vi& La Mendola, see Rte. 24 H. E. From Bolzano to Merano and M£lles. Railway, 51J m. (92 km.) in 3£hrs. (361.45, 251.85, 161. 5 c.); to Merano, 19| m. (32 km.) in 1 hr. (13 1. 40, 9 1. 70, 6 1. 30). Most of the trains run to Merano only; thence twice daily to M&lles. Bolzano, see Rte. 24 D. We cross the Talfer, skirt the Isarco for some distance, and enter the valley of the Xdige. — 3J m. Castel Firmiano (Sigmundskron), with a castle (1.). The vineyards and orchards are interspersed with marshy land. — 8 m. Terlano has a 14th cent. Gothic church.— 14J m. Lana Postal (Lana Burgstall) is connected by tramway with Lana diSopra. Merano comes into view, surrounded by its multitude of villas. r 19} m. (32 km.) MERANO or an (1050 ft.) on thePas- si'rio (Passer-Bach) a little above its junction with the Adige, is ail ancient town (1^,493 inhab.) world-famed as a climatic resort. Together with Mdia Alta and Mdia Bassa (Obermais and Untermais) on the opposite bank of the torrent, it forms a vast array of hotels, pensions, sanatoria, and villas embowered in the luxuriant vegetation of a sheltered valley. The winter season is the fashionable time for visiting Merano; in summer the heat is oppressive. The inhabitants are mainly German-speaking. Hotels. *Grand-H6tel & Me- ranerhof (PI. u; C 3), Maia Bassa, opposite the Casino, 330 R., R. 15, D. 25, pens. 501.; *Palace (PI. v; C 4), 200 R., same charges; ♦Bristol (Pl. f; B 2), 200 beds; *Savoy (PI. g; C 1); * Excelsior (PI. b; B 1), R. 10, D. 18, pens. 36 1. — ♦Frau Emma (PL a; B 1), near the station, 220 beds, R. 8, D. 18, pens. 351.; *Bellevue (PL c; B 1), formerly the Habsburg- erhof, R. 10, D. 18, pens. 30 1.; ♦Continental (PL w; C 2), R. 10, D. 18, pens. 35 1.; ♦Tirolerhof (PL d; B 2); ♦Aders (PL ab; C, D 5), with a hydropathic establishment; ♦Austria (PI. af; B 5); ♦Bavaria (PL ac; C 5); ♦Minerva (PL ag; C 5), R. 8, D. 16, pens. 32 1.; ♦Park-Hotel (PL ae; C 5). — ♦Hot. Pens. Regina (PL z; C 5), 70 beds; Finstermunz, 10 Untere-Kur- Promenade; Europa (PI. j; B 3), 50 Via Goethe; Cen- tral (Pl. m; B 2); H. P. Kessler (1^1. k; B 2); Kronprinz (PL s; B 2); Qold^ner Stei^n (PL n; B 2); ^qn?fp170 Rte. 24 MERA NO Venezia Berglauben; Kiinstlerklause, in the Hot. Europa; Batzenhausl, 32 Berg- lauben; Maiser Weinstube, at Mai a Alta. Post Offices. At Merano: 1 Greu- tendamm (PI. C 3). — At Mdia Alta, Brunnen-Platz; at Maia Bassa, Reichs- Strasse. Conveyances. Cabs, 61. per drive in the town. — Electric Tram- ways from the station to Maia Alta; from the Renn-Weg to torst (every 20 min.); from the Rufm-Platz to Lana di Sopra (every £ hr.). — Motor Omnibuses via the Passo di Giovo to Vipiteno (4£ hrs.; in summer only); to San Leonardo in Passiria, twice daily throughout the year. Information Bureau, Commissione di Curat KurhauS. — Visitors' Tax, '38-70 c. daily, according to hoteL" Amusements; Teatro Idi Cur a, Goethe-Strasse (PI. B. 3), operettas and comedies in the season. - Kur & Sport Verein. (PI. h; B 3); Graf von Meran (PI. i; B 3), a Tyrolean inn; Maiser- hof (PI. x; C 3); and many others. Pensions. On the main Kur- Promenaden: Aurora; Erlenau; Neu- haus; Holzner; Westend. — On the Tappeiner-Weg, above the town: Hochland (view); Ortenstein; Schleh- burg, a Tyrolean house. — In and near the town: Claudia; Hohenzol- lern; Peuker; Passerhof; Ottmannsgut; Tivoli; etc. — At Maia Alta: Alham- bra; Astoria; Burgfeldhof; Diakonis- senheim; Eden (hydropathic); etc. — At M&ia Bassa: Burgund; Edelweiss; Hermann; Hoeder; Kikoniban; Li- thuania; Lemberg (children's pen- sion); Maja, etc.—Jewish Pensions: BelVAria; Jsaldor; Starkenhof; Vogel. Sanatoria. Hungaria (consump- ' tive patients); Waldpark; Martins- brunn (no consumptives); SUphanie; Wartburg. Caf6s and Restaurants at the Meranerhof, Casino di cur a, Europa, etc. -—Wine Houses: Marchetti, 84 From the station, after crossing the Piazza Hofer, we bear to the right along the Meinhard-Strasse as far as the Korn- Platz. The Renn-Weg is crossed, and we enter the narrow and rather gloomy Lauben-Gasse or Portici (PI. B 3), named from the arcades on both sides of it. A few steps to the N., by the Burghof (1.) and Faun-Gasse, is the Museo Civico (PI. B 3). with collections of local interest. In the Pfarr-Platz, at the end of the Lauben-Gasse, is the old parish Church (PL B 3, 4), in the Gothic style of 1367, with a curious embattled fa9ade and a Gothic tower, the highest in the province, spoiled by the octagon on top. In the interior are some good Gothic altars and ancient stained glass. The Post-Gasse leads to the fashionable promenades of the Obere-Kur-Promenade and TJntere-Kur-Promenade, on the sunny banks of thePassirio. The Winter-Anlage (PI. B, C 4), the Gilf-Promenade (PI B 4, 5) and the Tappeiner-Weg (PI. A 3) likewise offer charming walks. Excursions.—From Lana di Sopra (3 m. S.; reached by tramway from the Rufin-Platz, see above) a funicular railway in two sections ascends to Monte San Vigilio (Vigil-Joch 4870 ft.; inn), whence it is a walk of i hr. through woods to the Gamplhof (5610 ft.), a centre for winter sports. — From Mdia Alta a funicular ascends (return ticket 11 1.) to Avelengo or Ha- iling (4030 ft.; Restaurant), a centre for winter sports and a summer resort. — About 1£ hr. N. of Meran rises "Castel Tirolo (Teriolis), which gives name to the Tyrol, and was the residence of its princes until 1363. The castle has lately been restored; fine view from the throne room. — Castello di Scena (Schonna) ljhr* N.E., preserves its interesting armoury and relics of Andreas Hofer (p. 161).—Schloss Fragsburg (2410 ft.), 2 hrs. S.E., offers a splendid view of Merano and its basin.Latodi i S.Leonardo 5 Schlehdorf Ospedale Civico! Segenbiihel tone CrSrtldfeolo * & t ^^anroqchiale Pulverturm Cast. Rqttens tein Brunnen ienburt) in a 1 s ,3 Ifiinicipdo ft#*4® OFCcLGas s tCampo Sport iv Internaz. Bolzano 1 Bolzano 3 merano Scala dil:16300 100 ^- MO^ TT.I raUinj^tr Game UFF. CARTOGR .DEL T.C.I- Capo Cartografo • P.CORBELLINIMERANO. Alberght (Hotels); — Belle vue lB,c —- Caf6 Central 2B,m — Erzherzog Johann 4B,e — Eijropa 3B,j — Excelsior lB,b — Finstermflnz 2C,o — Frau Emma IB,a — Qoldener Stern 2B,n — Graf von Meran 3B,i — Grand Hotel Bri stol 2B,f — Hassfurther 4B,p — Kronprinz 2B,s — Ortenstein 4B,r — Fens, Kessler (Andreas Hofer) 2B,k — Savoy Hotel 1C,g — - Sonne 3B,h — Stadt Miinehen 2B,q Tirolerhof 2B,d — Windsor 10,t Obermais. Aiberghi (Hotels): — Aders 5CD,ab — Austria 5B,af — Bavaria 50,ac — Erzherzog Rainer 50,ad — Maendlhof 51),ah — Minerva 50,ag -— ParkhCtel 50,ae — Regina 50,z Aiberghi (Hotels): Untermais, Aiberghi (Hotels): — Continental 2C,vv — Grand Hdtel e Me- ranerhof 30,u — Maiserhof 3C,x — Palast H6tel 40,v Campo sportivo In- ternationale 2D Caserma 2B Castelii (Castles): — dei Conti del Ti- rolo 3B — Rottenstein 5-6B — Rubein 61) — Runtiegg 60 — Winkel 50 Chiese (Churches): — Anglieana 80 —- del Sacro Ouore 40 — Parrocchiale 3-4B Cimitero Israelitieo 30 Cimitero Yeechio 3-4C Convento dei Cap- j pucaini 2AB Elisabeth Anlage 5B Franz Josef Park 4-5D Isenburg 40 Ktickelberg 3-4 A Kurhatis 3B Lazag OA Macello IB Municipio (Merano) 3B Municipio (ITntermais) 3D Municipio (Obermais) 5-60 Museo 3B Obermais 5-60 Officina del Oas 2D Ospedale Oivico 1A Passer Bach (Tor- rente Passirio) 1-2-3-40 4-5B 5A Plazze {Squares): — Habsburger Platz IB — Karl Ludwig Platz 50 — Sandplatz 3-4B Plankenstein 40 Pontl (Bridges): — Ifaiser Br ticks 2-3C — Reichs Brikke 30 Pulverturm 4B RR. Poste Telegr, e Telcfoni 30 Rosegger Anlage 50 San Leonardo 1-2A Segenbiihel 3 4 A Soinmeranlage 4CB Spitalkirche 3-4C Staeione IB Steinerner Steg 4-5B Teatro 3B Tempio Israelitico 20 Untermais 2-3D Vio (Streets)-. — Andreas Hofdr Strasse 2ABC — Bahnhofstrasse IB — - Brenner Strasse 3-4D — Burggrafen Str. 2CB — Ohristomannos Strasse 4-50 — Deiregger Str. 2-30 — Elisabeth Strasse 40 4-5B — Fsllmayer Gasse 6D — Gilf Promenade 4-5B — Gilm Strasse 5-60 — Gisela Promenade 3B0 Vie (Streets): -— Goethestrasse 1-2-3B — Go!drainer Strasse 1A — Greutendampi 1-2-30 — Hans von Vintler Strasse 1-2B 2A Herzog Rudolf Strasse 1-2BCT — Jahn. Strasse 3Afi — Kaiser Franz Jo- sef Strasse 5DC — Kapellensteig 2A — Karl Theodor Strasse 40 Herzog Rudolf — Karl Wolf Strasse 2A — Konig Laurin Str. 1A — Lange Gasse 5B0D — Laubengasse 3B — Lazag Gasse 5B 6A — Lazag Steig 5B" — Marlinger Wiesen- steig I02CD — Meinhafd Strasse 1AB 2B — Mosisl Gasse 6B — Park Strasse 5CD — Planta Gasse 6B — Plantitscher Weg 5-6 D — Rainaus Strasse 2-31) — Reichenbach Gasse 5-60 — - Rcichs Strasse 30 — Renn Weg SB — Ring Strasse 1-2D — Rittensteiner Stras- se ODO — Schaifer Strasse 4D — Schennaer Fahrweg 5-60 — Stefanie Promenade 1-20 — Tappeiner Weg SA3-4B -— Tschengel Strasse 60 — Unterm Berg Strasse 2-3A Valerie Strasse 4D0 — Vintschgauer kimd- strasse 1-2 A - Weber B. Str. 1B0 — Weingarten Str. 3D0 Weissenhorn Str. 1-2A — Winkel Str, 40 Vintschgauer Tor 2-3A Wandelhalie 40 Winter Anlage 40B Zenoberg 5 A Zenoburg 5ATridentina bOrmio 24 e Rte. 171 From Merano to Vipiteno viA the Colle di Giovo, 24£ m. (39 km.), motor omnibus in summer (see above). We ascend to the N. along the Val Passiria or Passeier-Tal, with its clean little villages lying amid orchards. — 3 m. Rifiano {Riffan). — 10 m. San Martino (1930 ft.). — At (11£ m.) Sandhof the Tyrolese patriot Andreas Hofer (p. 161) was born; his house is shown. At the head of the valley rise the Kreutz-Spitzen (Hohe and Kleine). —13 m. San Leonardo xn Passiria (2230 ft.; Hot. Strobl; Tirolerhof) is the chief vil- lage of the valley, which we quit a little farther on for the Walten-Tal. A long ascent follows, with a fine retrospect of the Val Passiria. Several glaciers come into view. 16 m. (26 km) the *Passo di Giovo or Jaufen Pass (6985 ft.), the Mons Jovis of the Romans, offers a wonderful panorama of the Ratschings- Tal and a jagged line of peaks. We descend densely wooded slopes, and enjoy a fine view of the valley of the Isarco, the Ridnaun-Tal, and the Pfitsch-Tal. — 20£ m. Gasteig. — 24£ m. (39 1cm.) Vipiteno, see p. 165. Beyond Merano the line describes a sweeping curve, crosses the Adige, and begins to ascend, with a fine retrospect of •Merano. We thread two tunnels. — 30£ m. Naturno or Naturns (1740 ft.; Hot. Post.) lies near the mouth of the Schnals-Tal, with a power station supplying Merano and Bolzano. — 36 m. Castelbello. — 37f m. Laces (Latsch). We cross the Plima. — 39J m. Coldrano (Goldrain). There is another considerable curve as we mount. — 42-J-m. Silandro (Schlanders; 2443 ft.), with its picturesque towers, is the chief place of the valley. — 47^ m. Lasa (Laas; 2850 ft.) is a marble-quarrying vil- lage. — 52J m. (84 km.) Frato in Venosta (*Hot. Hirsch, 120 beds), or Spondinig-Prad, is the starting-point of the impor- tant carriage-road over the Stelvio Pass. From Prato to B6rmio and Tirano viA the Stelvio Pass, 56 m. (89£ km.). Motor Coach daily in July-Sept, over the Stelvio to B<5rmio in 4J hrs. (70 1. 10 c.); motor coach thence thrice daily to Tirano in 2 hrs. (141. 25 c.). — We mount the valley of the upper Adige past (1£ m.) the village of Prato, and enter the valley of Trafoi. On a height (r.) is seen the village of Stilvio (Stilfs), with houses attached like swallows' nests to the face of the rock. -6 m. Gomagoi (4176 ft.), a village damaged in the War, lies at the mouth of the Sulden-Tal, up which a road runs to (5£ m.) Solda {Sulderi) or Santa Geltrude (6050 ft.; Sulden Hotel, 160 beds; Eller; Post), a favourite starting-point for ascents and excursions among the Ortler group. — 8£ m. (11 km.). Tratoi (5055 ft.; *Hot. Post, 140 beds; Schdne Aussicht), a small hamlet finely situated, is visited in summer for its view of the Ortler range. — On (11 m.) the Weisse Knott (6132 ft; view) an obelisk commemorates the first ascent of the Ortler by Joseph Pichler in 1804. We ascend past the large Madatsch Glacier, which comes down from the Ortler. - 13^ m. Franzenshdhe (7178 ft.; Post Alpen Hotel, in reconstruction). — The final ascent is steep, with many zigzags, to the top of (17£ m'., 28 km.) the *St61vio Pass, Giogo dello SUlvio, or Stiltser Joch (9052 ft.; little hotel), the highest carriage road in Europe. Before the War this was Austrian territory, and a monument commemorates the jubilee (1898) of the Emperor Francis Joseph. The best view-point is (20 miii. N,) the Puzo Garibaldi or Dreisprachen- spitze (9339 ft.; Hot. delle Tre Lingue), named from the meeting of the districts where Italian, Romonsch, and German are spoken. The descent on the W. side into the Val Brdulio is rarely altogether free from snow. — We thread, several rock-tunnels and reach the edge of the deep chasm of the Adda, which widens out above (29 m.) Bagni Nuovi di Bdrmio (4347 ft.; Grand-Hotel, 200 beds, June-Oct.), a small spa and excursion centre. - 31£ m. (51 km.) B6rmio (3020 ft.; Hoi. de la Poste; Torre), once the seat of a count, is an ancient town with many ruined towers, carved doorways, and painted fagades, The church of San172 Rte. 24 f LAGO DI CAREZZA Venezia Vitale was founded in the 12th cent., and the Church of the Crucifixion is in- teresting for its 15th and 16th cent, frescoes. — The old town is finely seen in retrospect as we go on down the valley of the Adda. — 37£ m. Sant'Antonio Morignone. — 47| m. Grdsio (2365 ft.; Hot Gilardi) was the birthplace of Cipriano Vallorsa (fl. c. 1550), ' the Raphael of the Valtellina,' whose paintings adorn nearly every church in the valley. — 49£ m. Grosotto (2018 ft.) is noteworthy for its 15th cent, houses, and for the electric power station of the city of Milan. — 56 m. (89 J km.) Tirano, see p. 129. Beyond Spondinig the line mounts through splendid Alpine scenery to its terminus at (57J m., 92 km.) M&lles or Mais (3280 ft.; Hot. Post Goldener Adler, pens. 20-25 1.; Btir; Kaiserkrone), visited as a little summer resort and mountaineering centre. The carriage road goes on up the valley of the Adige to Curon or Graun (Hot. Wenter, 50 beds) and the Passo di RJsia (Reschen Pass; 4970 ft.), leading over to Landeck in Austria. Motor Omnibus twice daily in May-Nov. from Malles to the Passo di R6sia (151.50 c.), and thence to Landeck. F. From Bolzano to Cortina d'Ampezzo and Dobbiaco. 86£ m. (139 km.). Motor Omnibus 3 tijnes daily to the Karersee in July-Sept. (191.50 c.); to Vigo di Fassa twice daily (33 1.80 c.); to Cor- tina once (721. 15 c). This is one the most convenient means of access to the Dolomite Alps (comp. p. 161). The Austro-Italian front of 1916 is crossed in the course of the journey. The return to Bolzano may be made by rail- way, vizi Fortezza (comp. pp. 165, 166). Bolzano, see Rte. 24 D. We cross the Isarco by (1} m.) the Ponte di. Cardano, and enter the wild and romantic Val d'Ega or Eggen-Tdl. Close to the Ponte della Cascata is a cavern into which daylight streams from above. Beyond a road-tunnel and another gorge between immense rocks the fantastic peaks of the Latemar range come into view. To the right is the summit of the Val Sorda (9692 ft.). The road enters a pine-forest. — 9J m. Pontenova (Birchabruck; 2830 ft.) lies at the meeting of two valleys. We follow that to the E., towards Nova Levante, and the chain of the Catin&c- cio, hitherto hidden by the forest, now appears. — There is a pause in the ascent as we approach (12£ m.) Nova Levante or Welschnofen (4850 ft.; *Hot. Weisses Rossi; Goldenes Kreuz), in a finely wooded glen. The ascent soon begins again, and the Latemar group is well seen at close quarters. Farther on the Catinaccio chain appears again (1.). — We skirt (16f m., 27 km.) the Lago di Carezza (Rarer See; 5250 feet.), with the large * Rarer see-Hotel (R. 10, D. 22, pens. 421.), a good mountaineering base, and, farther on, the *Grand-H6tel Latemar (5580 ft.). Both are visited for their views of the famous sunsets and sunrises of the Dolomites. The crest of the road is reached at (18 m., 29 km.) the CoStalunga Pass (5752 ft.; Hot. Rarerpass; Rosengarten), offering a splendid view of the valley of Fassa and the Mar-PRO PR. D EL T.C.I .-RI PRO D.VIET. StjckelUveser tertians ^ Ischivoiv filevfeen Muthberg Saldtial Si fin i 1000 Gr piter 'ast. xmm. '•JYiedjKrliaus Ca&Uan \/ \rf '(KS' 7 -}}^Voirvniti&2*y [ dw*"s __ ^ y> Sooner> 6002 tmaiLerj ^6t V'RufirecJil "Plars^"' 'i- Oberplai arts ^ 'rjrbchhA . 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We presently gain the valley, in which lies Pozza —Farther on (24J m.) we turn to the left; on the right opens the valley of San Nicolo, with the peak of the Costabella. — 25 m. Perra (4265 ft.; Hot. Rizzi; Piaz) is a good base for the ascent of the Catindccio, or Rosengarten (10,163 ft.), which is seen a little to the left; its roseate tints at sunrise or sunset are very striking. The Sasso Piatto rises in front, the Sasso Lungo to the right. The valley narrows. — From (27J m.) Mazzin there is a view of the imposing Sasso Pordoi. t— 29J m. Campitello (4665 ft.; Hot. Mulino; Agnello e Pla~ cidia), a little Alpine resort, is the starting-point for the Sasso Lungo. To the left are seen the sharp peaks of the Sasso Piatto, and on the right the huge bare pyramid of the Marmolada and the Vernel group come into sight. 31 m. (50 km.) Canazei (4800 ft.; * Hot. Canazei, R. 10, E>. 16, pens. 361.; Belvedere, Croce Bianca, pens. 251.) is a centre for excursions in the Sella grbup, to the N. Here begins the ascent to the Passo di Pordoi, during which the main peak of the Sasso Lungo and the Sella range are well seen in the foreground, and the Catinaccio in the distance. •—37J m. Hotel Pordoi (Sift® it.; *View). — The highest point of the road is reached at (40 m., 61km.) the Passo di Pordoi (7356ft.; Hoi. Kristomannos; Col di Lana), on the saddle of which is an Austrian officers' cemetery. The scene is full of Alpine grandeur. We descend in zigzags toward the Val di Cordevole, amid high pastures covered with a wealth of flowers in July. - 44 m. Arabba (Hot. Arabba). On all sides are traces of the War. The road winds round the head of the Val di Cordevole, and skirts the Monte Sief and the Col di Lana, the head of which was blown off by an immense Italian mine in April 1916. To the S.E. the gigantic Monte Civetta (10,558 ft.) rises abruptly from the Lago d'Alleghe; farther E. is the Pelmo, to the S.W. the Marmolada, to the N.W. the Sella and the pyramid of the Boe. — 48f m, Pieve di Livinallongo (4840 ft.), completely destroyed in the War, but restored. We overlook Andraz, likewise in ruins. The ascent to the Passo di Falzarego begins, at first through forests. On the left rises the castle of Andraz. A new panorama is unfolded, including the Settsass, Monte Ca- stello, Sasso di Stria, Piccolo Lagazuoi, and the Marmo- lada with its glaciers. — The peaks surrounding (58J m.,m Me. Uf CORTINA Venczia 94 km.) the Passo di Falzarego (6946 ft.) are full of me- mories of the War; the summit of the Castelletto was blown up by an Italian mine in July 1916. We descend in zigzags, skirting the cliffs of the Tofana; to the right are the strangely shaped Cinque Torri, with the Croda del Lago and the Antelao rising behind them. In the foreground appears the Val Boite, with the basin in which Cortina lies. 67 m. (108 km.) Cortina d'Aftipezzo (4015 ft.), charmingly situated in an undulating cultivated basin, and surrounded by a circle of some of the grandest peaks of the Dolomites, is much visited as a summer resort and as a centre for winter sports. The neighbourhood suffered severely in the battles of 1916, when the Italians conquered height after height from the Austrian army. Hotels. *Grand-H6tel Mira- monti, 200 beds, R. 15, D. 22* pens. 501.; * Palace-Hotel Cristallo, 150 beds; *Cortijsta, R. 9, D. 15, pens. 351.; D^pendance Hotel Tre Croci; *Bellevue, R« 8, D. 14, pens. 841.; *Faloria, R. 12, D. 18, pens. 401.; * Parc-Hotel Concordia, R. 8, D. 16, pens. 341.; *Posta Main ago; Croce Bianca; Victoria, etc. •— At Tre Croci: Tre Croci, open all the year, 120 beds. Conveyances. Motor Omnibuses to Bolzano and to Dobbiaco in sum- mer, see p. 172; also to Pieve di Cadore and Villabassa. The parish church has an imposing modern campanile, nearly 250 ft. high, commanding a splendid panoramic view of the valley and the Dolomites. The altar of the first chapel on the left, in the interior, is the work of Brustolon. Cortina has a small museum of antiquities. From Cortina to Misurina and Pieve di Cadore, 34J m. (55 km.), motor- omnibus twice daily in July-Sept, (railway, see p. 238). The road branches N.E, and mounts steeply, offering a glimpse of the Antelao and, later,, views of the Monte Cristallo, the three peaks of the-Tofana, the Becco di Mezzodi, and the Pelmo. — Beyond (If m.) Alvera (4365 ft.) we enter larch plantations and mark numerous traces of the War — 3| m. Hdtel Tre Qroc% (5932 ft.), at the. highest point of the road.' We descend gently at firstj then abruptly into the Valbona. The cfeepclef f of the Val; Ansiei; with thd . of' tSie -S6rapis is seen to the right; in front ar« the ciiriouslyshajfed peajks ot tiieiCiiAa fiadsao; to the N.E. the TreCime di Lavaredo. - Wejoin (6£m.) the road from Auronzo to Misurina, and turn left, mounting again to (tj i%.) the *L»go di Misurina ft.; *Hot. Mhurina, R. 8, D. 22 pens. 381.; Sdfapis). - Returning to the rriatl1 fbrk, we take the middle road and follow the Val Ansiei (views). —13 m. Stahi- ziane. On the right rise the Marmarole, with woods at the foot of their cliffs.; — 18 m. Giralba (3215 ft.), amid pastures. 21m. (34 km.) Auronzo (2835 ft.; Hot. Auronzo, 90 beds; Cadore), a con- siderable place (3861 inhab.), is a centre for excursions and ascents. The descent continues along the beautiful pastoral valley, with glimpses of jagged peaks on either hand. At Gogna is a small hydropathic establishment. — Beyond Tteponii we cross the Piave, and ascend again to (27£ m.) Lozzo di Cadore (2470 ft.), at the meeting of several valleys. — We follow a road high above the stream vi4 (30 m.) Domegge to (33 m.) the Hdtel Marmarole (2610 ft.), at the junction of two roads, that to the right leading to Calalzo (p. 237).—There are good views of the Marmarole and the Tudaio chain as we approach (31£ m., 55 km.) Pieve dl Cadore (p. 237). From Cortina to Calalzo and Dobbiaco by railway, see p. 238.iP! atzwi Scala dil'100000 3oa». Qajs] Kopffe Z'\ V ~.T Pallad.Fedes 31&R - 2080 .......y•?, CrodaRosSa" , ^JD. l\K CasteldiValbona Costad.Pin \ 2813 2403 » \ £\, . V a v'"£7 Corfhiddo '%k\ VySC. ) * M.delleScale 3/ \ Cimabaachi 2278 Fornacc Croda deH'ArVgoffi L.Bunvco Bosco < kW* tffll'Anco Ptad.Foram'e 18B6 2411 Fiammea' 2A&2 ! iVf»* &>n Cestellis Fondi cKjofana '2277 V, Croda Peroseco [derail ' • Tliicuiutlnrx n ] Uirelto \t,S/aoli/i ij&r^r I.agosav '' •■d'ccol ) v-~. L.di. Costalovea,' . ZvMandres V hrr/.o. Col Druscie • illBl \(bjanna FraindS 2768 disott,, disotto =:» "*7 ^ ^ 100 Sort/yFcHzon. 2V.6 12727 .aooddeqliStombi :o < • „ .C2732 n 2?B8 2«'fy " ilZurlong 2718 2 870 CO 2732 26JJ7 Crests Bianca 2304 M.Cristallo Mlfi 3182 P.Popena 0/8$ ColdaVarda 2206 Pfclelk- UFF.CARTOG. DEL T.C.I - Capo Ciriognrfo: P.CORBELLINI 6>v *»° \ ^ /^'iFalori" 1/ nondi di Faloria La Cesta (laCed 1el) /Croda Rotta Jr/ 2869 2712 *tfjLS 2539 PuntaNera A\Trideniina MENDOLA Ug me. 175 We turn N. along the Valle d'Ampezzo, with its wooded slopes above which tower the fantastic summits of the Do- lomites. To the left rise the Fondi di Tofana and other curious peaks. The road enters the valley of the Rio Freddo, and mounts steeply in zigzags, passing through woods that were partially devasted by gas-shelling in 1916. To the left are the imposing heights of the Croda Rossa and, nearer the road, the Golfreddo and the Croda dell'Ancona. — Beyond (70 m.) Cimabanche we pass the mountain tarns of the Lago Nero and Lago Bianco.—The descent is made to (78 km.) Carbonin or Schluderbach (4738 ft.), the starting-point of the road to Misurina. Farther on there is a marvellous *View of the Monte Cristallino and the Tre Cime di Lavaredo. The road bears to the N. and skirts the Durren-See.— The Rauchkofel, on the right above (80 m.) Landro, was a nest of Austrian artillery, and most of the trees in this region were injured. — We descend the Hohlenstein-Tal, affording strik- ing glimpses of Dolomitic peaks to right and left. The Lago di Dobbiaco (Toblacher-See) is skirted. — 86J m. (139 km.) Dobblaco (Toblach), see p. 165. G. From Bolzano to Trent via Mendola. 53J m. (85£- km.). Electric Railway from Bolzano to San?Antonio, 11J m. (18 km.) in 1 hr. (9 1. 15, 4 1. 65 c.). — Thence Funicular Railway to Mdndola, 1£ m. (2| km.) in £ hr. (from Bolzano, 11 1. 40, 7 1. 60 c.). — Thence Eleqtric Railway to Dermulo, 16f m. (27 km.) in 1^ hr. (11 1. 90, 6 1.), and to Trent, 40£ m. (62 km.) in 4£ hrs. (23 1. 95, 11 1. 80 c.). — For the direct railway from Bolzano to Trent, see p. 167. Bolzano, see Rte. 24 D. We cross the Isarco and the Adige, and begin to ascend; the Adige winds like a ribbon in the valley below. — 3} m. Castel Firmiano, see p. 169. — 6} m. Appiano (Eppan; 1312 ft.). The Lago di Caldaro is seen below. — 9^ m. Caldaro (Kaltern) is a good starting- point for walks. — From (lljm.) Sant Antonio (1673 ft.) we ascend by funicular railway to Mendola. The *View be- comes more and more impressive, with the lakes of Caldaro and Montiggl seen in the valley and the great peaks of the Latemar and Catinaccio coming gradually into view.—■ 1-2$ m. (20J km.) M6ndola (4462 ft.; *Grand-H6tel & Penegal, R. 20, D. 25, pens. 601.; *Mendola; Paradiso; Kaltererhof, R. 6, D. 16, pens. 40 1.; Tre Ville, R. 5, D, 12, pens, 301.; several pensions) lies in the beautiful wooded *Valico della Mendola, much visited as a summer resort. The Monte Penegal (5703 ft.) may be ascended in 1£ hr. by a path through woods, and the Monte Roen (6939 ft.) in 2$ hrs.176 Rte. 24 k TRENT Venhia The terminus of the eleclric railway to Dermulo and Trent is close to the funicular station. — We skirt (14£ m. from Bolzano) Ruffre, in an idyllic situation. The line winds through pine forests. — 16f m. Belvedere (*Hot. Regina del Bosco, 60 beds). — 18 m. Malosco, with a castle. — 18f m. Fondo (3210 ft.; Hot. Posta; Croce Bianca) is a large village (1731 inhab.) separated into two parts by a chasm spanned by a bridge. — 20 m. Sarnonico has a castle and an ancient Gothic church. — 20f m. Cavareno (Hot. Roen; Corona). -—22 m. Romeno (3150 ft.; Hot. Corona) preserves in its parish church some paintings by G. B. Lampi the Elder (1757-98), who was born here.—We descend past (24 m.) Malgolo, which has a 14th cent, church and a fine castle. — 26J m. (43 km.) Sanzeno (2150 ft.; Hot. Rizzi; Corona) was once a Roman station. The large transitional church, built on the site of a temple of Saturn, contains a painting by Lampi (see above). About | hr. S. of Sanzeno is the picturesque sanctuary of *San Romedio, formed of five small superposed chapels. Farther on is the Gola del Rio Virdes. We skirt the banks of the Rio di San Romedio, and proceed in view of the precipice at the foot of which flows the Noce. — 29 m. (47J km.) Dermulo, and thence to (53J m., 85J km.) Trent, see p. 180. H. Trent. TRENT, Ital. Trento, (630ft.), the chief town (ai, 146 inhab.) of Venezia Tridentina, is situated on the Adige, at the foot of the Val Sugana, in a magnificent amphitheatre of hills and mountains. It is a charming old town with many Roman relics and with some admirable examples of Romanesque and Renaissance architecture. Though one of the frontier towns of Austria until Nov. 3rd, 1918, it is en- tirely Italian-speaking. Hotels. Grand-Hotel Trento (PI. a; B 2), Piazza Dante, closed in 1924; Bristol (PI. b; C 3), 3 Via Torre Verde, R. 12, D. 20, pens. 40 1.; Mayer, near the station, R. or D. 101.; Europa (meuble), Piazza Roma, R. 91.; San Marco, Via San Marco, R. 8, D. 10, pens. '20 1. Restaurants. Station Buffet; Eden Maffei, Piazza Silvio Pellico; Forst, Via Oss-Mazzurana; Caf£ Eu- ropa e Specchi, music daily. Post Office (PI. D 2), Piazza A. Vittoria. History. Trent was the Tridentum of the Romans and the seat of a Lombard duchy and Carlovingian countship. In 1027 it was presented by Conrad II Conveyances. Cabs, 41. per drive in the town; at night 5 1. 35 c. —- Motor Omnibuses ply to Brescia, Ro- vereto, Canazei via Predazzo, Arsiero, Pinzolo, Riva, Cav6dine, and Borgo (2-3 departures daily). Amusements. Teatro Sociale, the opera house, Via Oss-Mazzurana; Eden Maffei, Piazza Silvio Pellico; Estivo G. Modena, Corso San Fran- cesco. Enquiry Office. Federazione Con- corso Forestieri, 2, Via Alfieri.Tridentina TRENT 24 h Rte. 177 (the Salic) to the bishops, who ruled it until 1796, except for the short periods of domination of Ezzelino da Romano, the Scaligeri, and the communal au- thorities. In 1511 Austria established a protectorate over the principality,, and her influence steadily increased. Trent had periods of historic splendour under Bp. Bernardino Clesio, the pation of the arts, and Bp. Cristoforo Ma- druzzo; it was under the bishopric of the latter that the oecumenical Council of Trent met here (1545-63). The entry of the Italian armies on Nov. 3rd, 1918 marked the end of the Austrian domination. On leaving the station we cross the Piazza Dante, in which is an admirable Monument to the poet, by C. Zocchi (1896) ; to the W. rises the imposing tower of San Lorenzo. The Via Alfieri crosses the Old Adige, beyond which on the left is the Renaissance Palazzo Galasso (Pl. C 2), dating from 1551. We turn to the right by the Via Roma, and then to the left by the Via Belenzani, in which (1.) is the graceful 16th cent. Palazzo del Municipio (PI. C, D 2), containing a council chamber with frescoes by Brusasorci and a library and Mu- seum. In the latter are the celebrated Tabula Clesia, with an edict of the Emperor Claudius (dated the Ides of March, 46 A.d.), and a bust of Lorenzo Cappello, by Vittoria. On the other side of the street are the Casa Geremia, in the Venetian Renaissance style, and the Casa Salvadori. The Vicolo del Colico leads to the graceful and simple Re- naissance church of Santa Maria Maggiore (PI. C, D 2), by A. Medaglia (1520). The great portal of the fa9ade dates from 1535; on the S. side is a 16th cent. Lombard portal. In the interior were held several sessions, including the last, of the Council of Trent (see above). The *Organ Gallery, richly carved in white marble, is the worjc of Vincenzo Grandi (1534). We return to the Via Belenzani and follow it as far as the Piazza del Duomo (PI. D 2), in which are a handsome 18th cent, fountain of Neptune, some picturesque old houses, the Torre Grande, a Roman tower (one of the Trenta Torri from which Trent is erroneously supposed to have taken its modern name), the Palazzo Pretorio, once the episcopal palace, and the Duomo or cathedral. The * Duomo (PI. D 2), a handsome if rather severe Ro- manesque building, entirely of marble, was begun by Adamo d'Arogno in the 13th cent., but was not finished until 1515. The exterior is impressive, especially at the E. end, where the three apses and the Castelletto (the rear part of the adjoin- ing. Palazzo Pretorio) combine with a singularly striking effect. In the interior are numerous tombs of bishops and frescoes of the 14-15th cent. (N. transept). The Crucifix before which the decrees of the Council of Trent were pro- mulgated is preserved in one of the side chapels. The altar beneath the cupola is modelled on that of St. Peter's in Rome. 6178 Rte. 24 h TRENT Venezia We follow the Via Calepina, in which is the. Palazzo Sar- dagna, and cross the Piazza della Posta (PI. D 2), with its graceful monument to Aless. Vittoria, by Rubino (1908). The Via Mantova and Via San Pietro lead to the picturesque Cantone, whence we proceed along the Via San Marco to the *Castello del Buon Consiglio (PI. C 4), the episcopal stronghold during the middle ages (adm. free daily, 10-12 and 3-5). The castle consists of the Castello Vecchio, to the N., rebuilt in the Gothic style by Lorenzo da Bormio (13th cent.), and the Renaissance Palazzo Clesiano, dating from the bishopric of Bernardino Clesio (p. 177). In the interior are frescoes by Fogolino, the Dossi, and II Romanino. The courtyard is surrounded by an elegant loggia, and from the massive Torre di Augusto a fine view is obtained. In the fosse the last victims (among them, Cesare Battisti) of the Austrian domination in the Trenti.no were executed. — The Torre Verde, to the N., is another very ancient tower. — The Capuchin convent, behind the Castello, commands the best view of the town. From the Castello the station may be regained directly by way of the Piazza Sanzio and Via Romagnosi; but if time permits a visit should be paid to the graceful Palazzo Tabarelli (PI. D 2), of the Tuscan Renaissance, in the Via Paolo Oss-Mazzurana, and to the Romanesque church of Sant'Apollinare (PI. B 1), on the farther bank of the Adige. Near the latter is the isolated rock (950 ft.) called Doss Trento (PI. A, B 1), the Verruca (' wart ') of the Romans. From Trent to Bolzano and Innsbruck, see Rte. 24 C; to Venice, see Rte. 24 B; to Verona, see Rte. 24 A; to Mendola and Bolzano, see Rte. 24 H; to Mate, see below. I. Front Trent to Male and back. ALight Railway, 36 m. (58 km.) in 3f-4hrs. (17 1.85, 8 1.25), con- nects Trent and Maid, while a Motor Coach plies three times daily in July-Sept, by the circuitous road (60£ m.; 97 km.), via Tione and Madonna di Campiglio. From Trent to Campiglio via Tione twice daily (45 1. 50 c.). From Campiglio to Maid twice daily (12 1. 50 c.). Tourists are recommended to make the journey from Trent to Maid by motor coach, returning by train; the excursion is here described in this direction. Trent, see Rte. 24 H. The Motor Coach starts from the Hotel Trento (p. 176) and crosses the Adige, leaving the Doss Trento on the left. —We mount to the Belvedere, command- ing a*viewof the;,basin in which Trent lies, and enter (If m.) the Buco di Vela, a narrow gorge. — The valley widens before we reach (3f m.) Cadine and the Passo di Cddine (1624 ft.), whence we descend in view of the little Lago di Terlago and the cliffs of the Monte Gazza and Paganeila. Vigolo Baselga, near the lake, was damaged in the War. — Beyond (8 m.), Vezzano, near which are some ' pot-holes ' ofBolzano lato di ogiil quadraTa • nt. Scala di i» 12 000 so '00 1 1 im?°TTi iii Umone Pi;r/./.ii 8 [aitino .Lui-cnxo NGiaitlihp^ . ^PiWblw ?| Z asa'n Tr.eVanc OfflriniicteJ alasso ^oHft.Pieb-o " J6 ' <' .wy/ jTst.it. UaoologicQ. BancaCt dfllajTollii Muova 4 •inita IWbunate^ •VeccKia! ft1 'J , f Yf Clurtp6Sant o ^ Pia 7.7.t dellaFio ,0^°' — Verdi 1-2D — Zanetta ID Vie {Streets'): — Belenzani R. 2DC — Borsieri 1-2E — Brigata Acqui 3-4E — Buonarroti 1BC 2ABTridentina MADONNA DI CAMPIGLIO 24 i Rte. 179 glacial origin, a fine view opens of the Lago di San Massenza and *Lago di Toblino. We cross the causeway between the two lakes; picturesquely situated on a promontory is the Ca- stel Toblino. The mountainous background becomes more impressive. At (12 m.) AHe Sarche (Hot. Castel Toblino, R. 12, pens. 35 1.) a road to Arco and Riva (omnibus: see p. 141) diverges on the left. We cross the Sarca and mount again, by-and- by traversing a romantic gorge, m. long; the last spurs of the Brenta group (r,) tower above the road. — 17J m. Bagni di Comano (1280 ft.) has a thermal establishment (100 beds) and several modest hotels (Grand-Hotel, R. 5, D. 12£, pens. 23 1.; Opinione, pens. 20 1.; al Cervo; etc.)., —r I8f m.„(30 km.) Ponte Arche (c. 1290 ft.) is the junction for the motor omnibus service to Ballino and Riva (comp. p. 141). The valley narrows again into the winding and varied *Gola della Scaletta. — 24^ m. Saone, (1675 ft.).-— 27J m. Tione (1411 inhab.; Hot. Tione, pens. 20 1.; Post a), has a church containing frescoes by the Baschenis, We turn N. and ascend the Val Rendena, watered by the Sarca. — 29f m. Villa Rendena (1980 ft.); then the hamlets of Iavre, Davre, Vigo Rendena, and Pelugo. To the left opens a view of the Care Alto, flanked by woods and glaciers. -t— 33 m. Spiazzo or Pieve Rendena (2130 ft.)- is noteworthy for /the 16th cent, church of San Vigilio, with frescoes. St. Yigilius, the patron saint of Trent, was martyred here, and the spot is marked by an oratory. — 33 J m. Mortaso has picturesque Jiqus^s : with wooden galleries. — 35J m, Cader- zone (2373 ft.). ■— We cross to the left bank of the Sarca. To the left is the *Val di Genova, noted for the bqauty, of its: scenery and its glaciers streaming down from the Adamello and Presanella. In front appears the Val Nambrone. 38m. (61km.) PInzolo (2526ft,; Hot. Pinzolo, Corona, pens. 301.) is a considerable village (1304 inhab.), whence numerous ascents may be made in the Brenta, Adamello, and Presanella groups. The church of *San Vigilio, J m. N. on the road to Campiglio, is noteworthy for its frescoes of the Dance of Death, by Simone Baschenis (1539). We ascend rapidly in the Val Nambino, where chestnut groves give place to beeches, larches, and pines. - Beyond (41 m.) Sant'An- tonio di Mavignola (3701 ft.) the Brenta group appears in all its magniiicence, with its Dolomitic towers rising above dark forests. The picturesque basin of Campiglio is soon reached. 46 m. (74 km.) Madonna di Campiglio (4970 ft.; Grand- Hdtel delle Alpi, R. 10, D. 24, pens. 38 1.; Carlo Magno, R. 15,ISO Rte. 24 i MALt D. 26, pens. 45 1.; Savoia, R. 10, D. 20, pens. 35 1.; Rainalter, R. 10, D. 14, pens. 301.; Dolomiti, 50 beds; open in summer only), named from a pilgrimage church, is a favourite summer resort and excursion centre, and may be made a base for climbs in the Brenta and Presanella groups. - The road winds upward through the Campiglio forest to its summit-level (5595 ft.), with occasional glimpses of the Brenta group, and begins the long wooded descent into the Val Mele- drio. We enjoy a fine view of the Val di Sole. — Im- mediately beyond (57£ m.) Dimaro (2520 ft.), damaged in the War, we strike the road in the Val di Sole and turn to the right. [In the opposite direction this road leads to the Passo del Tonale and Edolo, p. 140]. Traversing the broad meadows of the Val della Noce, we finally reach (60J m., 97 km.) Male (2420 ft.; Hot. Male, pens 28 1.), the chief village (1220 inhab.) of its valley, with a Romanesque and Gothic church. A motor omnibus plies in summer from Male (Bolzano) to iEdolo (see above and p. 140). The Light Railway from Male to Trent descends past (f m.) Magras Rabbi, the station for (2 hrs.) the little spa of Rabbi (Grand-Hdtel Rabbi, pens. 25 1.; Pangrazzi; Penasa), charmingly situated. — 2J m. Caldes. We pass a bridge boldly thrown across a chasm, in which the Noce foams. —- Beyond (7 m.) Mostizzolo (1940 ft) begins the romantic *Valle di Non or Andunia, with its woods and castles. — 8 m. Dres. — We ascend to (9J m., 15 km.) Cles (2140 ft.; Hot. Vittoria, pens. 22 1.), the chief place (3165 inhab.) of the val- ley, with an interesting Renaissance church possessing a good treasury, and some Renaissance and galleried wooden houses. The Noce is crossed by the single-arch bridge of Santa Giustina, 470 ft. above the stream. — 12|- m. (20 km.) Dermulo (1740 ft.) is the junction for Mendola and Bolzano (seep. 176). — 14m. Tdio has a reputation for the manu- facture of whip-stocks. About £ hr. distant is the inter- esting Castello Bragher, the best preserved of the castles in the Valle di Non.—Near (21m.) Rocchetta the valley ap- pears to be completely closed l?y two huge crags; we pass beneath one of them, which is fortified. The valley of the Adige comes into view. — 23 m. Mezolombardo (754 ft.; Hot. B or ghetto) is the centre of the wine trade of this region; on every hand are vineyards. — 24£ m. Mezocorona is finely situated at the foot of crags. — We intersect the line from Bolzano to Trent at (25 m.) San Michele p. 167. — 36 m (58 km.) Trent, see p. 176.VICENZA 25 Rte. 181 25. FROM VERONA TO VENICE Railway, 71* m. (115 km.) in 2-H hrs. (54 1. 50, 361. 90, 21 1. 75 c.); to Vicenza, 80 m. (48 km.) in f-1 hr. (23 1. 45, 16 1. 10, 9 1. 75 c.); to Padua, 48i m. (78 km.) in lj-lf hr. (37 1. 40, 25 1. 40, 15 1. 15 e.). Best views on the left as far as Vicenza, then on the right. Verona, see Rte. 23. On the left the Monti Lessini show up to advantage, with their parallel valleys descending in succession towards the railway. Near the line is San Michele, the birthplace of Michele Sammicheli (1484-1559; p. 153), with his fine church of the Madonna di Campagna. — Beyond (8J m.) Caldiero, with hot springs, is (1.) the fortified town of Soave (tramway from Verona), preserving 14th cent, walls and a castle of the Scaligeri. — 12J m. Sambonifdcio. At Ay cole, 3f m. S., Napoleon defeated the Austrians in Nov. 1796. Tramways run from this station as well as from (16 m.) Lonigo to (c. 3m. S.) the little town of Lonigo (4804 inhab.; Hot. Rosa d'Oro), where there are a modern Romanesque church (1877) and the beautiful Villa Giovanelli. — On the right rise the volcanic cones of the Monti Berici. — 25 m. Tavernelle is connected by tramway and motor omnibus with Recoaro (p. 185). 30 m. (48 km.) VICENZA (Rfmts.), a cheerful and beau- tiful city (42,628 inhab.) at the foot of the green Monti Berici, and at the junction of the Retrone with the Bacchiglione, is famous for its buildings by Palladio and other architects of the later Renaissance. It preserves likewise many in- teresting monuments in the Venetian Gothic style and of the early Lombard Renaissance. Here the term for ' street' is ' Contra ' (or contrada), instead of the usual ' Via.' to San Felice. — Steam Tramways Hotels. Roma (PI. a; C 2), Corso Principe Umberto, R. 81.; Centrale (PI. b; C2); Due Mori, R. 6£, D. 121.; Gran Parigi (PI. c; C 2), three modest houses in the Contrk Due Ruoti; Al Cavalletto (PI. d; C 3), Piazza della Biava, R. 71. Restaurants. Rosa d'Oro, with beds; Agostini, Contrk Coppari e Vecchi, both plain but good. Post Office. (PI. B 3), Piazza Santo Stefano. Cabs within the town limits, 10 1. per hr. Electric Tramways from the Railway Station along the Corso to Borgo Padova; from Porta Castello History. A city on this site, possibly of Ligurian foundation, was taken from the Gauls in 177 b,c. and became the Roman Vicetia, After tfje barbarian from the Tramway Station (PI. C 1) to Bassano (p. 163), 22 m. in If hr., thrice daily; to Montagnana, 30 m. in 2£ hrs., thrice daily; to Recoaro and Chiampo (p. 185), 4 times daily. Motor Omnibuses to MaXo and Schio (15£m.); to Thiene (12£m.); and to Lusiana (22£ m.), going on in summer to (35 m.) Asiago (p. 185); to Bassano (24 m.); etc. Theatres. Eretenio (PI. D 2); Verdi (PI. CI); Olimpico (PI. B 3; see p. 183). Railway Ticket Office, Chiari & Sommariva, Corso Principe Umberto.182 Rte. 25 VICENZA Basilica invasions the town was ruled by its bishops from the 11th cent, until it joined the Lombard League (p. 16). Lalfsr/the government passed through the hands of the Da Romano, Carrara, Scaliger, and Visconti families and iell at length to Venice in 140-1. In the revolt against the Austrians the Vicentines made a stalwart stand for liberty in the Monti Berici (June 10th, 1848). The greatest name in the history of Vicentine art is that of Andrea di Pietro (1508-1580), nicknamed Palladio by his fellow-citizen the poet Gian Giorgio Trissino (d. 1615). He practically undertook the rebuilding of the town, and from him it is called the ' citt& di Palladio.' His work was carried on by Vin- cenzo Scamozzi (1552-1616). An earlier architect was Tom. Formentone. The most illustrious painter of Vicenza is Bartolomeo Montagna (1460-1523), a native of the province of Brescia; he was followed by his son Benedetto, by Giov. Buonconsiglio (il Marescalco), and by Marcello Fogolino. Among other famous Vicentines are Ant. Pigafetta (1491-1534), the fellow-voyager of Magellan, Giac. Zanella (1820-88), the poet, and Ant. Fogazzaro (1842-1911), the novelist. We enter the town by the Porta Castello (PI. CI), the great tower beside whicfi is a relic of a stronghold of the Scaligeri demolished in 1819. In the Piazza Castello, beyond, is a monument to Garibaldi, and (r.) the unfinished Palazzo Giulio Porto, now Breganze, built by Scamozzi, possibly froin Palladio's designs. In the Corso Principe Uijiberto, the main street, which leads hence to the N.E., are many fine palaces: No. 7, the Palazzo Bonin by Scamozzi (1590); Nos. 16-18, the Palazzo Pagello, by Bertotti Scamozzi (1790); No. 21, the Palazzo Clementi, a dignified and simple building of 1477; No. 23, the Gothic Palazzo Thiene (15th cent.); No. 28, the Casino Lampertico, by Calderari (1803); No. 33, the Palazzo Brunello (15th cent. Gothic). On the right (before No. 46) is the Municipio (PI. B 2), an imposing build- ing by Scamozzi (1588). On the other side of the Municipio, in the Piazza dei .Signori, rises the majestic *BasiIica (1549-1614), Palladio's masterpiece, with two open colonnaded galleries, Tuscan Doric below and Ionic above, enclosing the Gothic Palazzo della Ragione (several times restored). On its S/W. sid^ is a statue of Palladio (1859). Adjoining is the lofty Torre del- I'Orologio (12th cent,), to which additional stories were added in 1311 and 1444. On the N.W. side of the piazza are the Loggia del Capitayiio (Palladio; 1571), and the Monte di Pieta (1499-1553), in two parts separated by the church of San Vincenzo, by Paolo Bonin (1614-17). Two graceful columns at the end of the piazza bear the lion of St. Mark (1464) and the Redeemer (1640). In the adjoining church of Santa Maria dei Servi (PI. C 3) are two fine Renaissance altars. — A little S.W. is the Gothic Duomo (PL C 2), a 12th cent, foundation, many times altered, with a strangely confused W. front. In the 4th N. chapel are frescoes by Bart. Montagna; in the 5th N. chapel a marble console by Antonino da Venhia (1448). In the 5th S. chapel is 3Teatro Olimpico VICENZA 25 Rte. 183 curious polyptych by Lor. Veneziano (1366). The raised choir (1574), with its sumptuous altar surrounded by twelve pictures, makes an imposing effect. — The Romanesque campanile stands on a ruined Roman building. On the W. side of the Piazza del Duomo is the Bishop's Palace, with a Palladian facade by Verla (1819), and, in the courtyard, a charming * Loggia by Bern, da Bissone (149-1). Going on S. by the Contrk Pasini (where are the two attractive Cass Piccoli, one Gothic, the other Renaissance), and the Contrk Carpagnon, we cross the Ponte Furo (Pi. D 3), over the little Retrone. On the left (No. 30, Contrh Santi Apostoli) is the fine Gothic Casa Navarotto (14th cent.). The Contrh Porton del Luzzo leads to the Piazzuola dei Gualdi with the two Renaissance Palazzi Gualdi. Hence we may recross the river by the * Ponte San Michele (at the end of the Contra Ponte San Michele is the Contrh Piancoli with several interesting houses) and return to the centre by the Contrk delle Gazzolle, in which (1.) is the partly Gothic Palazzo Galletto; or from the Piazzuola dei Gualdi we may take the Contrk San Michele to the left, past the charming Gothic Casa Caorla, and cross the Ponte San Paolo. On the left beyond the bridge is the Contrh della Luna, with the Casa Pigafetta (No. 5; comp. p. 182), a Gothic building of 1481 with additions in the Lombard Renaissance style. In the main Corso, beyond the Municipio, are (No. 57) the Palazzo Da Schio, a fine example of Venetian Gothic (15th cent.) with a Renaissance gateway, and (No. 69) the wrongly-named Casa di Palladio. At the end, in the Piazza Vittorio Emanuele (PI. B 3), is the Palazzo Chiericati, an excellent specimen of Palladio's work (1551-57), in which is now housed the *Museo Civico (adm. 10-3, 2 1.; holidays, 10-1, free). In the Vestibule are fragments from the neighbouring excavations in the Roman Teatro Berga. — On the -1st Floor is the picture gallery: Room I: Bart. Montagna, Virgin and Child with saints, Presentation in the Temple, and other fine works, — R. II: Works by Battista da Vxcenza; *12. Buonconsiglio, Pietk. — R. Ill: lacopo & Leandro Bassano, Portraits. — R. IV: 38. Buonconsiglio, Madonna and saints. — R. V: *49. lac. Bassano, Senators at the feet of the Virgin.—■ R. VII: Pain tings by Tintoretto, Veronese, and Lor. Lotto; * Portrait by Giorgione, — R. VIII: *105. PiazzeUa, Ecstasy or St.TFrancis; Tiepolo, 106. Beheading of St. John, 107. Immaculate Conception. — R. X: *146. Cima, Madonna; 152. After Antonello da Messina, Scourging of Christ. — R. XI: 190. Maineri, St. Dominic. — R. XIV: Val. Belli, Two crystal intaglios. — R. XVI: *288. Van Dyck, The Ages of Man; 297. Memling, Crucifixion. — Adjoining the picture gallery are a Museum of the Risorgimento and a Natural History Museum, rich in local fossils, and containing objects from the lake-dwellings'of Lago Fimon in the Monti Berici. To the N. is the *Teatro Olimpico (PI. B 3), the last work of Palladio (1580; finished by Scamozzi), a curious building of wood and stucco with fixed scenery representing a piazza and streets in perfect perspective. The opening play, given by the Accademia of Vicenza in 1585, was Sophocles's ' CEdi- pus Tyrannus.' Just across the bridge over the Bacchiglione is the Contra Venti Settembre, with (No. 19) the fine Palazzo Regau (15th cent. Gothic). The Contrh Santa Corona leads N. from the Corso to the early Gothic church of Santa Corona (PI. B 3; 1260, restored 1504), containing a painting of Mary Magdalen and other184 Rte. 25 VICENZA From Verona saints by Montagna (2nd N. chapel), the *Baptism of Christ, by Giov. Bellini (5th N. chapel), good stalls of intarsia work, and, in the raised choir (1482), a sumptuous altar and taber- nacle. — In the N. transept of the church of Santo Stefano, to the W., is a beautiful painting of the *Madonna with SS. George and Lucy by Palma Vecchio. Opposite are the *Casa Longhi, the most successful Gothic building in the city, and the Renaissance Palazzo Negri. The Palazzo Thiene has an unfinished fa9ade by Palladio (1556) in the Contrk Banca Popolare, and another fa9ade by Lor. da Bologna, with a splendid gateway in the Contra Porti. Within is a fine covered gallery. Likewise in the Contrk Porti are: No. 5, the dignified Palazzo Porto Barbaran (1570), by Palladio; No. 10, the Gothic Casa Bartolini; No. 11, the Palazzo Porto Breganze, also Gothic, with a Renaissance doorway; No. 13, the magnificent 14th cent. Palazzo Colleoni-Porto; and No. 15, Palladio's Palazzo Biego (1552). The Contr& Riale, No. 4 in which is the Palazzo Guzan Rossi, with brick ornamentation at the gateway, and No. 8 the sumptuous Palazzo Cordellina (by Calderari, 1776), and the Contra San Lorenzo (1.) bring us to the majestic 13th cent, church of San Lorenzo (PI. B 2). Its fine portal dates from 1344; within (1. of the entrance) are the tombs of Sca- mozzi(d. 1616), Bart. Montagna (d. 1523), and Trissino (p. 182); other tombs by Palladio; and frescoes by Montagna. — In the piazza is a monument to Zanella (p. 182), and, opposite, the baroque Palazzo Rep eta, by Muttoni (1711; now Banca dTtalia). We return to the Cor so passing (No. 15 Contra San Lorenzo) the Palazzo Tecchio, by Scamozzi (1575), and (No. 8 Contra Pozzo Rosso) the Palazzo Valmarana, by Palladio (1566). Outside the Porta Castello (PI. CI), on the right, is the Giardino Salvi, with a loggia by Palladio, £ m. beyond which stands the church of San Felice, with a curious campanile (1166), a fragmentary mosaic pavement (8th cent.), and a stone Madonna, by Ant. da Venezia. The Madonna del Monte or di Monte Birico (PL F 2-3) is reached either through the Corinthian arch (1595) at the Porta Monte (Pl. D 4), or via the Porta Lupia (Pl. D 3) and the Portici (PL E-F 3), 167 votive arches built by various citizens or fraternities. This church, built in 142S to commemorate an apparition of the Virgin, was added to in 1578 and again in 1688. The S. facade belongs to the original oratory. To the right of the high altar is a *Pieta, by Bart. Montagna. In the Refectory of the adjoining convent is the *Supper of St. Gregory the Great by Veronese (1572), cunningly repaired after being hacked to pieces by the Austrians in 1848. The two monuments behind the church are in memory of the 1848 fighting (see p. 182). The view of the Alps is particularly fine. — On the way down we may turn to the right at the Spia- nata del Cristo to reach the Villa Valmarana, with a hall frescoed by Tiepolo, and then to the right again for the celebrated Rotonda Capra, by Palladio (1550) and Scamozzi, the original ' Palladio's Villa,' copied at Nuthall Temple, near •Nottingham, at Chiswick House, etc. From Vicenza to Treviso, 37£ m. (60 km.), railway in 2 hrs. (24 1. 10,P ROPR-DEL T.C.I rRIPROD.VIFIT. Latodi Bassai lano ^S.S.Vlto e Lucia pta yLucia Lep HI Gisrdino / Quirini Didle Ore S.M. X d\\raca:ii Ara™*li S ..V C.iMi.fricorti£ S-Marco ltrv PaL Colleoni . Pal-Fonto, S.Pietro P - d-Servi"^ P.-efcUa~ is.C;iv£- >taj/ux>va< P'-'.i Nuova . • W|r • JW, . C avail. dnarieti ^Vesoov. . SiChiiira. J J . 'Cai1? Fant. ^ k'eDistrrtbo « <"*, Cag° g $<.,■!* anti — ^ P, Monte = .-"-;=====s P*? Lupia Ca^aAl]jini rmuiti one ■ , A. a- 1alOisto- V^ftrto CMda. Cjlei :*Ui Vaiti v'fBragaduuf Scaladi 1:17 000 100 200 300 *»00 MeS " "" _ Trarmtie. urbane, — — » . Ratruzirbane. V^Sahrv Mont? UfFCARTOGR.DEL T.C.IrC»po Csrtografb' RCORBELLINI STAMPA: A.VALLARDI-MILANOVICENZA. A i berghi (Hotels): — Cavalletto 30,d Oentrale 20,b ■ Gran Parigi 20,c Roma 20,a Banca dMtalia 2B Barriere (Town Gates) —- Ere tenia "D — Porta Lupia ( j Bum San Michele 30 Ca d'Oro 3B Caserme (Barracks): — Alpini 3D —r Oavalleria IB 1-2 B 10 — Fanteria 2A 4D ...... Fanteria e I)i- stretto 3-4D C h I e se < <1h urch.es) : -- San Domenico 4AB — San Faustino 3B — San Filippo 20 — San Giacomo 2B — San Lorenzo 2B — San Marco 2A — San Pietro 4B — Santa Chiara 3 41) —• Santa Corona 3B — Santa Croce 1A Santa Maria d'A- racoeli 8A — S. Maria d. Sen i 3BO Santa Maria del Carmine 1AB — S. Maria d. Grazie 20 — SS. Vito e Lucia 4A -— Santo Stefano 3B Control (Streets): — Battisti 20 — Barche (delle) 30 — Oanove 3B — Cantarane 1CB — Oarmini (dei) IB — Carpagno 20 — Cavour 20 — Fontanelle (d.) 4BA — Lodi IB -— Manin 3B — Misericordia(d.) 1-2 A j— Oratorio dei Servi 3B — Pasini 20 — Pedemuro 2B — Ponte S. Michele 30 — Porta Padova 4B — Porta S. Lucia 3B 4 A — Porti 2B — Quartiere (del) 1B0 — RiaJe 2B — San Domenico 4B - San Francesco 2A Contrh: (Streets): — San Francesco VecoMo 20 -— San Lorenzo — San Mar cello 20 — San Marco 2A San Pietro 4B — San Silvestro 3D ~ Santa Caterina 3 41) — Santa Corona 3B — Santa Croce 1A — S. Maria Nuova IB — San Tnramaso 3D — Soccorso (del) IB — Torretti (dei) 3.BA — Zanella G. 2-3B Corso Principe Um berto 2CB 3B Duomo 20 Fiume Bacehiglio- ne 1A 2B Qlardinl (Gardens): — Quirini Dalle Ore 28A — Salvi lG Marostica 1A Mad. di M. Berico 2-3F Monti Berici 1-2F 2-3-4E Motton S. Lorenzo ICB Municipio 2* SB Mure dei Carmini 1AB Mure Corpus Domini 1AB Mure Palamaio 20 D Mure Porta Nuova 10 Mure S. Rooco ( replacing the originals by Giotto which were destroyed by fire, In the S.E. corner of the Piazza dei Frutti, N. of the Salone, are the re- mains of the Palazzo degli Anziani (1256), with two admirable Byzantine capi- tals. From the N. side of the piazza runs the Via Marsilio da Padova which ends in an archway beneath the Palazzo di Ezzslino il Balbo. The facade of this palace overlooking the Via Santa Lucia has graceful double windows of 1160 and a 13th cent, window of three lights. Following this street to the right we cross the Bacchiglione by the Roman Ponte Altinate, beyond which, ipitfte Via Altinate, are (No. 18) the Palazzo Melandri with a beautiful fourrlight window, and the Byzantine church of Santa Sofia (PI. D 5), the remarkable ^pse of which (9th or 10th cent.) is diversified with large niches.188 Rte. 25 PADUA San? Antonio The Via San Francesco, on the left beyond the University is soon joined by the Via del Santo. At their junction (PI. D 4) is the alleged Tomb of Antenor, a marble sarcophagus (probably 9th cent.) on short 13th cent, columns. Straight ahead is the church of San Francesco (1420), containing a monument of 1498, with bronzes by Bellano, and an As- sumption by Veronese. — The Via del Santo (see above) leads S. to the Piazza del Santo, in which stands the eques- trian * Statue of Gattamelata (Erasmo da Narni, the Venetian condottiere, d. 1443), a masterpiece by Donatello (1453), and the first great bronze cast in Italy after the Renaissance. During the Great War it was sent for safety to Rome. The *Basilica of Sant*Antonio (PI. E 4), commonly called 11 Santo, was begun in 1231 as a temple for the tomb of St. Anthony of Padua, and practically finished in 1307. Exterior. The six hemispherical domes in the Byzantine manner, the cone of the central cupola, the turrets, and the two minaret-like campaniles, give a curiously fantastic appearance to the church. In the lunette of the principal doorway in the somewhat meagre facade are SS. Anthotay and Bernard adoring the Sonogram of Christ, by Mantegna (1452). The bronze doors are modern (1895). The Interior, though Gothic in detail, is Byzantine in plan and inspiration. In the Nave: by the 1st pillar on the S. side, Tomb of Ant. Trombetta by Briosco; 2nd pillar, Monument to Card. Bembo by Sammicheli; 3rd and 4th pillars, 14-15th cent, frescoes; by the 1st pillar on the N. side, Madonna by Stef. da Ferrara, and Angels by Lippo Lippi; 2nd pillar, Curious monument to Aless. Contarini (1555) by Sammicheli, with some statues by Vittoria; beyond the chapel of St. Anthony, Monument to Ant. Rosselli by Bellano. — In the S. Aisle: 1st chapel, monuments of Erasmo and Giannantonio Gattamelata, attr. to Bertoldo da Firenze; 2nd chapel, Crucifix, with SS. Mary and John, a graceful work by Pietyo Damini. The next chapel, the *Cappella di San Felice (1372-77), with a variegated marble entab- lature, has damaged frescoes by Avanzo and Altichieri (1377). — In the N. Aisle is the Cappella di Sant'Antonio, with the tomb of St. Anthony of Padua (p. 186). The chapel was designed by Briosco in 1500, begun by Giov. and Ant. Minello, and completed by Falconetto in 1546. The nine reliefs of the miracles of St. Anthony which line the walls are (1. to r.) by Giov. Minello, Dentone, Cattaneo and Girol. Campagna, Sansovino, Ant. Minello and Sansovino, Tullio Lombardo (two), Ant. Minello and Paolo Stella, and Ant. Lombardo; Tiziano Aspetti made the statues on the altar (1593). The bronze doors of the Choir are by Cam. Mazza (1661), the four statues on the balustrade by Aspetti (1593). The 12 bronze * Reliefs on the wall are by Bellano and Briosco;Museo Civico PADUA 25 Rte. 189 on the left of the grille is a portrait of St. Anthony, attributed to Giotto. The splendid *High Altar by Donatello (1443-50) was rearranged in 1895; especially noteworthy are the angel musicians, the paintings on wood depicting the miracles of St. Anthony, the magnificent Crucifix, and, behind the altar, a Deposition in stone from Nanto in the Monti Berici. On the left is a *Candelabrum by Briosco (1507-15). A baroque chapel (5th from the S.) in the ambulatory houses the *Treasury (adm. 34* 1. for one or more pers.; apply to the sacristan), containing more than 100 reliquaries. — The ceiling-painting in the Sacristy, by P. Liberi (1615), shows the Entry of St. Anthony into Paradise; in a marble frame is the Miracle of the Praying Mule, a relief by Beilano. — In the adjoining Chapter House are fragmentary frescoes by Giotto.— To the S. of the church are four Cloisters, with many tombstones and monuments. From the cloister with the large pointed arches we ascend to the Biblioteca Antoniana, which contains many MSS. and incunabula, including a MS. of sermons annotated in St. Anthony's own handwriting. Adjoining is the not very interesting Museo Antoniano. In the Piazza del Santo are (No. 8) the Oratorio di San Giorgio, and the Scuola del Santo (for adm. to both apply to the sacristan of the basilica). The Oratory contains *Frescoes by Altichieri and lac. Avanzo (1384); in the Scuola are some fine paintings of the Life of St. Antony, three of which are by Titian, the others by Dom. Campagnola, Bart. Montagna, Fil. da Verona, Giov. Con- tarini, Girol. del Santo, and Ant. Buttafoco. In the S.E. corner of the piazza is the Museo Civico (PI. F 4), with a facade and staircase by Cam. Boito (1889). Adm. weekdays 9-4, 21.; Sun. 9-1, free. The museum, which is in process of reorganisation, contains antiquities (prehistoric, Greek, and Roman), a cabinet of coins, terracottas by Riccio and Mazzoni, ceramics, tapestries, lace, miniatures, and the following noteworthy paintings: 33. Marco Basaiti, Madonna and two saints; 49. Lotto, Madonna and saints; 50, 56. Paintings on wood, by Giorgione; 655. A less. Longhi, Portrait of a sea-captain; *648. Tiepolo, St. Patrick healing a sick man; And. Previtali, Madonna (1501); *669. Romanino, Madonna and saints (1513); 663, 672, also by Romanino; 665. L. Longhi, Martyrdom of San Giordano; Guariento, Tempera paintings; etc. In the Via Cesarotti, E. of the Basilica, is (No. 21) the Palazzo Giustiniani, in the courtyard of which are the charming loggia and a little casino from the demolished palace of the writer Alvise Cornaro (1475-1566). In the Via Ospedale Civile, beyond, is (No. 14) the Palazzo Treves, whose garden affords a delightful view of the domes of Sant'Antonio and Santa Giustina. Beyond the Museum is the Botanic Garden (PI. F 4; open 8-12 and 2-dusk), the most ancient in Europe (1545), with some fine old trees and interesting hothouses. To the W. extends the wide Piazza Vittorio Emanuele (PI. F 3), or Prato della Valle, which includes the Isola Memmia, encircled by a canal bordered by statues of famous citizens, professors, a»4 sfeicteats of the University, On the W. side of the piazza190 Rte. 25 PADUA From Verona is the Loggia Amulea (1861); under two of its arches are statues of Giotto and Dante by Vela (1865). The church of Santa Giustlna (PL G 4), designed by Briosco in 1502, but modified by its builder Aless. Leopardi, recalls by its eight cupolas the exotic aspect of Sant'Antonio. The imposing cruciform interior (130 yds. long) contains: (2nd S. altar) Ecstasy of St. Gertrude, by P. Liberi; (4th S. altar) Death of St. Scholastica, by Luca Giordano; (5th S. altar) St. Benedict, by Palma Giovane. The magni- ficent inlaid *Stalls are by Riccardo Taurino,a Norman, with the collaboration of Vicentine craftsmen (1556-60). The *Martyrdom of St. Justina, in the apse, is by Veronese. On the S. of choir a passage leads to the 14th cent. Gothic choir of an earlier church, also with fine woodwork. The Via Umberto I (PI. F-E 3) leads northward again. No. 4, near the farther end is the Casa Valmarana, with a four-light * Window by Donatello. In the Via Seminario, to the W., is Santa Maria in Vanzo (PI. E-F 2), a Lombard church of 1436, enlarged in 1525, containing a *Madpn,na and saints by Montagna (apply for adm. at the adjoining Seminario). Thence we follow the Riviera Tiso di Campo- sampiero to the little chapel of San Michele (ring at No. 27; gratuity), frescoed by lac. da Verona (1397) with the Life of the Virgin; among the figures are portraits of the Carraresi. The Observatory opposite occupies a tower of the castle of Ezzelino (p. 186; view). — The bridge at the end of the Via, Seminario leads to the Via G. Barbarigo, in which (en- trance, No. 35 Via Marsala) is the baroque Palazzo Papafava; within is the Fall of the Angels, a marble group of 60 figures by Agost. Fasolato. — A little farther is the Cathedral (PI. D 2), designed by Michael Angelo, but much altered by And. da Valle and Agost. Righetti (1552). The uncompleted facade was struck on two occasions in 1917-18 by Austrian bombs. The interior is ponderous but impressive. By the 1st altar on the N. side is a Madonna by Stef. DalVArzere. The adjo|ning *BfPxisTE;^Y (MUl dent. Romanesque) is profusely frescoed by Giusto de' Menabuoi. The Sacristy, on the N. side of the choir, contains a Deposition attr. to Marco Zoppo, a Madohnia,' by Padovanino, and another Deposition, on wood, by Perugino. On the altar of the Chapel of the. Cross, in the Crypt, is a *ReJiquary, mainly by Bart, da Bologna.—The Bishop's Palace (No. 5 in the Piazza del Duomo) contains a portrait of Petrarch and an * Annunciation with saints by lac. da Montagnana. Opposite is the Palazzo del Monte di Pieta of the 13-14th cent., remodelled in 1530. — No. 31 in the neighbouring Via del Vescovado is the *Casa degli Spccchi or ' House of the Mirrors,' so-called from its facing of polished marble, an early 16th cent. Lombardesque building by Ann. Maggi. In the Piazza Unita d'ltalia (PI. D 2-3) is a partly Roman column surmounted by the lion of St. Mark. The 15-16th cent. Palazzo del Capitanio on the W. side and the Piazza del Capitaniato behind occupy the site of the castle of the Carraresi, of which a 14th cent, portico survives in the Via Accademia. In the Piazza del Capitaniato, No, 6 is thePADOVA. Alberghl (Hotels): — al Sole 8C,c — Aquila Nera 4C,h — Croei Bianche 4E,e — Fanti - Stella d'O- ro 30,b — Leon Bianco 3D,f — Rlst. al Paradiso 30, d — Rist. della Sta- zione 3A,g — Storione 3D,a — Terminus 4A,i Arena 40 Barrier© (Town Gates): — Pontecorvo 4-5F -— Saracinesca IF — Trento 1A — Vittorio Eman. II 2H Biblioteca Universita- ria tD Cafffe Pedrocchi 3D Camera di Commereio 3-4D Campo Sportivo 8G Career! 5D 2E Carmini (i) 3B Casa di Rieovero 2B Caserme (Barracks): Artiglieria 1C —- Oavalleria IE — Fanteria 3-4G — Guardie 3E — San Marco . 1-2B0 Chi esc (Churches): — Duomo 2D — Pace (d.) 6B Sun Benedetto 1C — $ui Pietro 20 — Santa Giustina 3-4G — Santa Maria dei Servi 3E — Santa Maria in Vanzo 2-3E — Sant'Antonio di Padova 4E — Santa Sofia 4-5D Circolo Filologico 4E Corsi: (Avenues): — del Popolo 30 4BA — VJttorio Emanue- . le II 2H 2-8G Duomo 2D Eremitani 4C Fiume Bacchiglione (Tronco Mae- stro) 1FGH Foro Boario 3G Intendenza di Finan- za 4D Istituti Universitari 5-6C Istituto (R.) 2E Loggia 2-3D Loggia Amulea 3F Madonna dell*Arena 40 Monumento a Gatta- melata 4E Municipio 3D Museo 4F Officina del Gas 4B Orto Botanico 4F Osservatorio Astrono- mico 2E Ospedale 5E » Militare 2A Palazzi (Palaces): — Oapitanio (del) 2D — Giustiniani 4E — Papafava 2-3DE Piazze (Squares); — Castello (del) 2E -i- Oavour 3-4D — Erbe (delle) 3D — Frutti (dei) 3D — Mazzini 2-3B — Petrarca 2-3B — Santo (del) 4E — Unita d'Italia 2-3D — Vittorio Eman. II Prato della Val le) 8F Ponte Molin 2-3C Porte .(Gates): -t-. Euganea IE — Santa Croce (di) 3H — Savonarola 1BC — Venezia .60 Poste (R.R.) 30 Prato della Valle (Piazza Vittorio Eman. II) 3F Prefettura 3-4D Questura 2D 3E Riviera LIvio T. 3ED » Mussato Alber- tino 2 DC » Paleocapa 1EF » Ruzzante - 3E » San Benedet- to 1D0 » Tiso da Cam- posampiero 2E Rotonda (la) 3A Salone 3D Scuola del Santo 4F » di Medicina 5DE Seminario 2-3F Stazioni (Railway-Stat.) — FF, SS. 4A — Tramvie 50 Strade (Roads): — Citolo da Perugia 1BA 2-3A — di Circonvallazione esterna 1BCDEF — Orsini Nicola 1CDEF —• Sanmicheli Michele 2-3H 4G 4-5F Teatri (Theatres): — Garibaldi 3-4D — Verdi 2C Tribunale 4C Tronco Piovego 5C University. 3-4D Vescovado 2D Viali (Alleys): — Codalunga 3AB — Mazzini 2-3B Vie (Streets): — Aocademia 2D — Acquette 2-3F — Altinate 40 4-5D —- Barbarigo Greg. 2DE — Beato Pellegrino 1A2B — Belludi U 3E 3-4F — Belzcni Giambatti' sta 5-6D — Borromeo (del) 30 —' Briosco 4F — Calatafimi 30 D — Oarducci 3HG — Oassa di Rispar- mio 3-4D 4-5E — Cavalletto A. 2F — Cesarotti 4E — Conciapelii 3 BO — Oristofori B. 2BC — Dante 2DC 30 — Donatello 8-4F — Dondi 2CD — Eremitani 40 — Euganea ID — Falcone 30 — Faloppio (del) 5D — Foscolo 4B — Fra Paolo Sarpi 1-2-3A — Fusinato Am. IB — Gabelli A. 5DE — Galilei 4E — Garibaldi 30 Giordano Bruno 2-3-4II 4G 5F (Continuation).Rovigo-Vicenza-^tiatelfranco 3 Cittadella -- - II 1 Vw—------ \r> laRolotN • ^ ^ Offic inn ♦del Vfis igsiim S. Ro.tc ■•0 (ft senna di Cavalleria ia Galilei Barrier**' Saracinesca ..Orto •; , «\ BQjjWlCOi V J/ PA DOVA Scala di 1:17000 Barr™yltt.Emi Metri Rovigo 2 Bagnoli Bovolenta 4 UFF CARTOGR.DEL T.C.I.-C»po C»rtogn»ft> P.CORBELLIN I 3TAMPA- A VALLARDi - MILANOVie (Streets): — Gozzi Gaspare 4 5B 40 — in Vanzo 2FG — Leoni 0. 20 —• Livello (del) 20 — Loredan Leonardo 3-4B 4-5-60 — Manin D. 2-3D — Marsala 2-3 D — Marzolo Franc. 5-60 — Memmo A. 2-3F — Mentana 3-4E — Monte di Piet& 2D — Morgagni 40 5CD — Mugnai 30 — Ospedale Civile 5E — 8 Febbraio 3D — Paolotti 5CD — Patriareato 2D Vie ( Streets): — Porciglia 40 — Portello 6DC — Rialto 3E — Riello Ang. 1-2F — Rogati (d.) 2-3E — Rolando 20 — Roma 3ED — San fiiagio 4D —• San Francesco 3-4D 4-5E — San Giovanni di Verdara 20BA — San Martino e Sol- ferino 2-3D — San Massimo 5-6E 6D — San Pietro 20 — San Prosdocimo ID — Santa Luoia 80D — Santa Rosa 2E Vie (Streets): — Santa Sofia 4-5D — Sant'Eufemia 6D — Santo (del) 4DE — San Tomaso 2E — Savonarola (dei) 1-2C — Seminario 2EF — Soncin (d.) 2-8D — Speroni — Stampa G. 8-4® — Tadi 2D — Tommaseo NicolO 3-4A 4-5-6B — Trieste 3-4-5B 5-60 — Umberto I 8EF — XX Settembre 2-3E — Venturina 3G — Vescova-do (del) 2D — Zabarella (dei) 4DCto Venice MESTRE 25 Rte. 191 Sola dei Giganti, with 12 colossal figures of the Caesars and a portrait of Petrarch in the N.W. corner, all painted by Guariento. On the S. side of the Piazza Unita is the Loggia del Consiglio or della Gran Guardia, a tasteful Lombard building begun by Ann. Maggi (1496) and finished by Biagio of Ferrara (1523). — At the other end of the Via Dante is the church of the Carmini (PI. B 3), which suffered severely from air- raids. On the right (No. 3; apply to the sacristan) is the Scuola del Carmine with frescoes, some by Dom. and Giulio Campagnola, and the ^Meeting of St. Joachim and St. Anne, by Titian (1511?). From Padua a railway runs to (30 m.) Bassano vik (11 m.) Camposampiero (junction for Castelfranco and Montebelluna, 17i m.; comp. p. 236) and (20£ m.) Cittadella (p. 185). From Padua to Fusina and Venice (from Padua to Venice 101. 30, 61. 65 c.) electric tramway in 1£-1£ hr. to Fusina, 22| m. (36 km.); steamer thence in connection to (35 min.) Venice (Riva Schiavoni), a very pleasant way ot reaching Venice.—4^ m. Ponte di Brenta (see below). We pass many attractive villas of the Venetian aristocracy and cross the canalised Brenta. — 7i m. Stra is notable for the Villa Pisani or Nazionale, a typical 18th cent, villa with *Frescoes by Tiepolo and a fine garden. We follow the Naviglio di Brenta. —11J m. Dolo. — At (15 m.) Mir a the post office occupies the Palazzo Foscarini, where Byron, between 1817 and 1819, wrote the fourth canto of " Childe Harold' and was visited by Thomas Moore. Here, too, he first met Margherita Cogni, whom he called 'la bella Fornarina.' —19£ m. Malcontenta is a junction for Mestre (see below). Beyond the Laguna Morta is (22£ m.) Fusina, whence the steamer starts for Venice (Rte. 26). From Padua to Bologna, see p. 259. Beyond Padua the railway crosses the Brenta at (52 m.) Ponte di Brenta, and beyond (58J m.) Dolo (see above), the Canale di Mirano.— 66 J m. (107 km.) Mestre (Rfmts.; Hot. Moderno, at the station; Vapore, Gallo, in the town), junction of the lines to Trieste, tJdine, and Trent. From the town, 1 m. N. (tramway) where there is an old clock-tower (1108), tramways run to (3f m.) Malcontenta (see above) and to (3 m.) San Giuliano, whence steamers ply to (^ hr.) Venice (Rialto, see p. 219). The railway crosses the Laguna Morta, a network of waterways, and passing between the forts of Marghera (1.) and Rizzardi, begins the passage of the Venetian Lagoon by a bridge of 222 arches and nearly 2£ in. long. Ahead on the left Venice rises from the water. — 71J m. (115 km.) Venice, see Rte. 26. 26. VENICE VENICE, or Venezia, stands on an archipelago of 117 islets, or shoals, 2J m. from the mainland and 1J m, from the open sea,. whose force is broken by the natural break- water of the Lido. The city has X 02,698 iohab., gome 25,000192 Rte. 26 VENICE Hotels less than when the republic was at the zenith of its power. Its unique position, the fanciful grace of its marble buildings, and its continually changing colours contribute to make it the most charming and poetic city in the world. The mother of soldiers, statesmen, philosophers, travellers, and artists, Venice bore unshaken the upheavals of the middle ages, and later was a rampart of Christendom against the Turks; and, at the head of the largest empire Italy has known, save the Roman, stood forth resplendent in maritime glory, in political wisdom, and in artistic magnificence. The extremely irregular plan of Venice is traversed by more than 150 canals of which the Grand Canal divides the city into two unequal parts. The other canals, called Rii (sing, no), with the exception of the Cannaregio (Pi. 7), have an average breadth of 4-5 yds. and are spanned by over 300 bridges, mostly of brick or stone. The streets, nearly all very narrow, are called Calle, Calletta, or Callesella; a few are known as Via, Ruga (from the French rue), or Stretto. A street alongside a canal is called Fondamenta; a Rioterra is a street following the course of a filled-in rio. Salizzada was the name given to the first paved streets; Piscina is a place where a pool formerly existed; Lista a lane which led up to an ambassador's palace. The only Piazza is that of St. Mark; there are two Piazzette, one in front of the Doges' Palace, the other the Piazzetta dei Leoni. Other open spaces are called Campo, Cafnpiello, or Campazzo, according to their size. Names of streets and canals are written up in the Venetian dialect, which has made some curious corruptions (San Stae = Sant'Eustachio, San Trovaso = Santi Gervasio e Protasio, etc.). —Notable features of some of the campi are the Vere, or well-heads, which surround the mouths of the old cisterns; the Comignoli are the characteristic ornament of the house-tops; the Altane are the wooden balconies in which the ladies of the palaces used to take the air. The gondolas which ply up and down the canals are of ancient origin and peculiar build; the curious toothed projection forward, called the Ferro, balances the weight of the gondolier. In cold or rainy weather passengers are protected by a wooden shelter, or Felze, which can be removed at will (cavar il felze), and is replaced in summer by an awning. The cries of the gondoliers as they round a corner are peculiar to themselves. A small gratuity should be given to the Gmztr armed with a boathook who pulls the gondolas to the shore and assists passengers to alight. Bauer-Grunwald (PI. e; 21), 250 beds, Campo San MoisiS, R. 15, B. 5, L. 17, D. 20, pens. 501.—Less expensive: Canal Grande & Monaco (PI. g; 21), Grand Canal, entered from Calle Valaresso, R. 10, D. 25, pens. 451.; Regina (PI. f; 28), in a quiet situation on the Grand Canal, entered from Calle Traghetto, R. 15, D. 18, pens. 45 1.; Savoia & Iolanda (PI. o; 22), 4183 Riva degli Schiavoni, R. 414, D. 16, pens. 451.; Luna (PI. k; 21), Calle Larga Ascensione, R. 12, D. 20, pens. 45 1. — Simpler 2 Bonvecchiati (PI. v; 21), Calle Gol- doni, well spoken of, with small garden, R. 10, D. 14, pens. 36 1.; Cavalletto, (PI. s; 21), Calle del Cavalletto, R. D. 15, pens. 40 1.; Vapore (PI. t; 21), Ponte Baratteri, R. 81; Bella Ve Railway Station (Rfmts.; PL 6), near the W. end of/the Grand Canal. Service of gondolas from the quay outside. Hotels. Hotels de luxe: *Royal Danieli (PI. a; 22), 310 beds, in an old palazzo on the Riva degli Schia- voni, R. 25, B. 7, L. 20, D. 301.; *de l'Europe (PI. b; 28), 90 beds, on the Grand Canal, entered from the Casino del Ridotto, R. 25, B. 7, L. 25, D. 35, pens 75 1. — 1st Class: ♦Grand-Hotel (PI. c; 27), 250 beds, on the Grand Canal, entered from the Calle Larga Ventidue Marzo, 2322 Ramo Minotto, R. 25, B. 5, L. 25, D„ 35, pens, 75 1.; *Britannia (PL d; 28), 250 beds, on the Grand Canal, entered from the Corte Barozzi, R. 52, B. 6, L, 20, D. 25, pens. 60-70 L; *d'ItAuaGondolas VENICE 26 Rte. 193 n£zia, Calle dei Fabbri (PI. 21), R. 8, D. 8, pens. 271.; Beau Rivage (Pl. i; 22), Riva degli Schiavoni, R. 15, D. 16, pens. 40 1.; Gabrielli, 4111 Riva degli Schiavoni, R. 8, B. 2£, L. 8, D. 8, pens. 30. 1.; Internazionale (PI. q; 20), 2399 Calle Larga 22 Marzo, R. 10, D. 16, pens. 30 1.; Giorgione (PI. w; 9), 4587 Santi Apostoli, R. 7 1.; Panada, Calle Lar- ga San Marco, R. 81.; de la Gare; Terminus (PI. x; 7),R. 10, D. 151. H6tels Meubles. Moderne Ma- rtin & Pilsen, Bacino Orseolo, near St. Mark's; Serenissima, Calle Gol- doni, R. 91.; Vittoria (PI. m; 21), R. 10 1., 1812 Ramo dei Fuseri, Frez- zaria; Citta di Trieste, 370 A Calle Larga San Marco. Pensions. Calcina (PI. r; 27), quietly situated on the Giudecca Canal, simple but good, pens. 401.; Casa Biondetti, Casa Petrarca, on the Grand Canal, pens. 35 1.; Casa Conti, San Gregorio, pens. 25 1.; Visentini, Santa Maria del Giglio, pens. 301.; Casa Fontana, 4161 Riva degli Schia- voni, pens. 32 1.; Bucintoro,--Riva degli Schiavoni, pens. 15 1.; Casa Adria, Riva degli Schiavoni, pens. 30 1. Restaurants. Pilsen, at the Hot. Manin, see p. 192; Italia, at the Hot. d'Italia, see p. 192; at the Bonvec- chiati, Cavalletto, Vapore, Luna, Panada, and Bella Venezia hotels (see above); Falciani, Campo San Fan tin; Paganelli, Campo San Fan- tin; Montin, Fondamenta delle E- remite; etc. Caf6s. Florian, a famous house on the S. side of the Piazza San Marco; Quadri, Lavena, Ortes, on the opposite side; Rosa, on the S. side. --- Giacomuzzi, Calle Vallaresso; Orientale, alle Nazioni, Riva degli Schiavoni. — Evening concerts in the Piazza San Marco in summer; afternoon concerts at other seasons. Post Office (PI. 14), Fondaco dei Tedeschi, near the Rialto. —• Telegraph Office (with branch P.O.; PI. 21), Piazza San Marco. — Police Station (PI. 15), Fondamenta San Lorenzo. — British Consulate, 4590 Campo San Luca (PI. 21); American Consulate, 1113 Dorsoduro San Trovaso (PI. 26). Gondolas. For 1 or 2 pers., 4 1. for the 1st } hr., 61. for the 1st hr.; each extra £ hr., 31.; each extra pers. 2 1. — Suit-case, 1 1., trunk 2 1. Charges doubled for two- oared gondolas. Higher prices are charged on f6te-days (see p. 194), but they should not exceed 40 1. per gondolier for the duration of the fete.—Special charges: to Murano (2 pers.), 12 1.; to the Lido (3 pers.; 2 gondoliers), 251. — Pri- vate gondolas may be hired on ap- plication at the principal hotels. The chief stations for gondolas are at the Station, at the Molo near the Piazzetta, at the Riva del Carbon near the Rialto, and near the prin- cipal hotels. — Any dispute as to charges should be referred to the ' vigili' (policemen), or to the Ispet- torato at the Municipio (Pal. Lo- redan, Grand Canal). Traghetti (ferries) across the Grand Canal, either straight (diretti, 20 c.) or oblique (trasversali, 40 c.); midnight to 6 a.m., 50 c. and 3 1, — From the Molo to San Giorgio Maggiore, 11.; from the Gesuati to the Giudecca, 50 c. Motor Launches. Coo'perativa Conducenti, 80 1. per hr. up to 8 pers., then 51. per pers.; from St. Mark's to the Lido, or to any point in the town, 401. up to 6 pers.; from the station to the Lido, 90 1. up to 6 pers.; tour of the Lagoon, 180 1. — Coopera- tiva Gondolieri, 70 1. per hr. up to 6 pers.; from St. Mark's to any point in the town, up to 6 pers., 501.; to San Giuliano or Fusina, 1501.; to Mestre, 200 1. — Luggage from 4 1, Vaporetti. These little steam- boats take the place of the tramways in other towns. — 1. From the Sta- tion to the Giardini Pubblici and the Lido, every 15 min. — 2. & 3. Riva degli Schiavoni-Lido (No. 3 via San Lazzaro), hourly. — 4. Riva degli Schiavoni-Lido San Nicolo, hourly. — 5. Zattere-Giudecca, at frequent intervals. -r- 6. Fondamenta Nuove- San Michele-Murano, every 20 min, — 7. Riva degli Schiavoni-San Ser- volo, 4 times daily; — 8. Riva degli Schiavoni-San Clemente-Sacca Ses- sola, 4 times daily. — 9. Riva degli Schiavoni-San Giorgio-Croce-Stazione Marittima, hourly on week days. Other services ply to Fusina (p. 191), San Giuliano (p. 191), Chidggia (p. 234), Burano and Tor cello (p. 232).194 Rte. 26 VENICE History Theatres. Fenice (PI. 20), Campo San Fan tin, for opera and ballet; Rossini (PI. 20), Campo San Bene- detto; Goldoni(PI. 21), Calle dei Fabbri; Malibran (PI. 14), San Giovanni Crisostomo. Popular Fetes. The feast of the Redentore (3rd Sun. in July) is the most popular of these, when a bridge of boats unites the Zat- tere with the Giudecca; its vigil is celebrated with aquatic concerts, fireworks, etc. The Festa della Sa- lute (Nov. 1st) is celebrated by two bridges of boats, one opposite Santa Maria Zobenigo (PI. 27), and one at the Dogana (PI. 28). In summer aquatic concerts are given on the Grand Canal and in the Piazza San Marco. — International Art Exhi- bitions are held every even year in the Giardini Pubblici (PI. 31). English Church (St. George's), Campo San Vio (PI. 27), services on Sun. at 8, 10.30, 11.30, 3.30 or 5.30, and 7.30. — Scottish Presbyterian, Ca Struan, Ponte della Salute, ser- vice on Sun. at 11. — English Doc- tor. Dr. W. Blaydes, 51 Zattere. Tourist Offices. E.N.I.T., 49-50 Procuratie Nuove (PI. 21); Thos. Cook & Son, 284 Piazzetta dei Leoncini, near St. Mark's; International Sleeping Car Co., at the station and at 45-46 Piazza San Marco; Navigazione Generate, Procuratie Vecchie. History. The inhabitants of Aquileia and the other cities of Venetia who took refuge in the lagoons from the barbarian invasions (comp. p. 151) decided to make their shelter a permanent abode when they saw the Lombard rule firmly established on the mainland. The patriarch of Aquileia migrated to Grado; Torcello became the commercial centre, Eracliana and later Malamocco the political. In the 6th and 7th cent, the lagoon was subject to Byzantium and governed by 4 maritime tribunes ' who, though elected by the local nobility, were subject to the veto of the emperor. In 697 a ' dux ' (doge) took the place of the tribunes; at first nominated by the emperor, after 726 he was elected, though subject to ratification from Byzantium until the 10th century. After an ineffectual attempt by Pepin, son of Charlemagne, to capture the lagoon, the Venetians moved their capital to the islands round the Rialto (812). Their political and commercial conquest of the East now began. By 1000 they had quelled the pirates of the Narenta and acquired the mastery of the Dalmatian coast; they prohibited a Norman landing on the Albanian coast; drew com- mercial profit from the Crusades; and established trading stations along the Balkan coast and as far E. as the Sea of Azov and Palestine. Though keeping aloof at first from Italian affairs, they joined the Lombard towns against Bar- barossa; and Venice was the scene of the reconciliation of the Papacy with the Empire in 1177. By the influence of Doge Enrico Dandolo the Venetians led the ships of the 4th Crusade to the conquest of Constantinople (1201) and the establishment of the Latin Eastern Empire, keeping for themselves the major part of the captured booty and territory. This outstanding success, capped by the conquest of the Cyclades and Crete, aroused the envy of Genoa; and in the war that ensued Venice was within an ace of destruction, but, thanks to the re- source of Vittor Pisani, she crushed her adversaries at Chi6ggia (1380). Hardly had the danger from Genoa disappeared, when the rise of the Turks threatened a greater danger in the East. Venice became the chief bulwark of Christendom against the Ottoman power. At first she tried to come to terms, but after the fall of Constantinople in 1453, she lost piece by piece her Eastern empire — Negropont, Argos, Lepanto, Scutari, the Morea, and finally Cyprus, which had been ceded to Venice by Caterina Cornaro in 1489. The heroic stand of this last island ended in the torture and death of Bragadin, the gallant defender of Famagusta, on Aug. 17th, 1571. The Venetian power, thus checked in the East, expanded rapidly on the Italian mainland. The conquest of the March of Treviso in 1339 was followed by the voluntary surrender of Feltre, Belluno, Vicenza, and Bassano. Padua and Verona fell in 1406, Odine and the Friuli in 1420, B&rgamo and Brescia ill 1428, Peschiera and Legnago in 1440, Ravenna in 1441, Crema in 1454, Rovigo in 1484, Cremona in 1499. All these conquests except Ravenna were retained until the fall of the Republic; but they were not won without a grim struggle, di-Constitution VENICE 26 Rte. 195 rected especially during the long dogeship of Fr. Foscari against Fil. Maria, last of the Visconti. Foscari's spirit was at length broken by the evil conduct of his son Iacopo and, at the age of 84, he was forced to abdicate (1457). In the wars with the Visconti some of the most famous condottieri were engaged: Gattame- lata, Colleoni, Fr. Sforza, and Carmagnola, the last of whom was unjustly be- headed for treason in 1432. Besides her permanent conquests Venice held brief sway over Rimini, Cesena, imola, Rovereto, Gorizia, Trieste, and Fiume, and the extent of her power, rousing the jealousy of Europe, led to the formation of the League of Cambrai (1508). With almost all Europe against her, Venice lost a great part of her empire, but her skilful diplomacy sowed discord among the allies, Pope Julius II raised the cry " fuori i barbari," and by 1516 Venice had regained her Italian domains. Henceforward, however, she relinquished her dream of Italian hegemony. The discovery of America and the circumnavigation of the Cape robbed Venice of her preeminent commercial position, and the decadence of the Republic set in. The project to pierce the isthmus of Suez was checkmated by the war of 1508; and the victory over the Turks off Lepanto (1571), in which 111 of the 243 Christian vessels were Venetian, failed to compensate for the loss of Cyprus. However, in a dispute between the Republic and Pope Paul V over the rights of the civil power, the Pope, though he placed Venice under an interdict, was forced to yield, thanks largely to the able defence of the city's cause by Fra Paolo Sarpi. The war of Gradisca (1615-17), fomented by Austria, brought little good to the Republic, and the defence of Crete against the Turks (1644-99) further exhausted her resources. The brief reconquest of the Morea in 1699 by Fr. Morosini, endured only till 1718. In the 18th cent, the power of the Republic was negligible; life was one continual carnival and the boundless wealth accumulated in happier days was idly frittered away. On May 17th, 1797, Napoleon entered the city without trouble, and deposed the last of 120 doges, Ludovico Manin. By the treaty of Campof6rmio (Oct. 17th, 1797), Venice itself was ceded to Austria, and most of her terrestrial domain was united with the Cisalpine Republic. The treaty of Pressburg (Dec. 26th, 1805) restored Venice to Italy, but with the fall of Napoleon, the whole of Venetia reverted to Austria. The rising of 1848 led to the formation of a republic under Daniele Manin, which offered a heroic resistance to Austria until Aug. 23rd, 1849, and in 1866 Venice was finally reunited to Italy. During the Great War 620 bombs were dropped upon the city, but the damage caused to artistic monuments, though considerable, was happily less than might have been feared. The Republican Constitution, at first democratic, gradually became oligarchic, the power being concentrated in the hands of a few families. The appointment of Councillors and Senators limited the power of the Doge, and the ' Serrata del Maggior Consiglio ' (1297), rendered the power of the doge's council absolute. The rebellion of Querini and Tiepolo in 1310 against the serrata was quickly crushed, but led to the appointment of the Council of Ten for the punishment of crimes against the State. This council in 1355 beheaded the doge Marino FaHero, who had sought to turn his elective office into a despotic seigniory. At the height of its power the government of the Republic was thus constituted: the Executive Power lay with the Doge, six Councillors, and three leaders of the Quarantia (a tribunal of 40 members), who together constituted the ' Serenissima Signoria the Legislative Power was vested in the Maggior Consiglio, the Senate, and the Collegio, a sort of Parliamentary committee; the Judicial Power was managed by the Council of Ten, the Inquisitori di Stato, the Avogadori del Comun, the Quarantia (see above), the Signori di Notte, and other officials. Among famous Venetians are Marco Polo (c. 1254-1324), the first European to reach the Far East; Marin Sanudo the elder (d. c. 1320) and Fra Mauro (d. c. 1459), the geographers; Marin Sanudo the younger (d. c. 1531) and P. Bembo (1470-1547), the humanists; John Cabot (?1451-98) and Sebastian Cabot (? 1477-?1557), who explored the coast of America from Hudson's Bay to Flo- rida and were the first to touch the American mainland; Fra Paolo Sarpi (1552-1623), the write? (comp, p. 195) J Carlo Goldoni (1707-93), the writer of196 Rte. 26 VENICE comedies; and five popes: Gregory XII, Eugene IV, Paul II, Alexander VIII, and Clement XIII. Besides the fetes mentioned on p. 194, the Festa della Sensa (Ascension) was formerly famous. On this occasion the doge used to sail in the ' Bucentaur' (p. 211) to the Porto del Lido, where he threw a ring into the sea, thus symbolising the marriage of Venice with the Adriatic. The custom dated from Venice's first naval success in the year 1000. Architecture. From the close relation of Venice with Byzantium, Ravenna, and Grado, it was natural that the first inspiration of Venetian architecture should be Byzantine; the semi-oriental splendour of Venetian taste was responsible also for the peculiarities of the local Gothic, for the characteristics of the Venetian Renaissance, and for the exuberance of the local Baroque. The Byzantine style, admirably expressed in the Basilica of St. Mark, long held sway not only over architecture, but also over sculpture and painting, and in the coloured mosaics which survived even the triumph of mural painting. The incursion of Italian Romanesque after 1000 lasted little more than a century, for in the early 13th cent, we find Gothic detail applied to Romanesque forms (San Giov. e Paolo and the Frari), and soon after the undiluted Gothic appears, both in churches and palaces, with its unrivalled opportunities for ornament (Doges' Palace, Ck d'Oro). Sculpture at first progressed slowly in Venice but, late in the 14th cent., Iacobello, Pier Paolo dalle Masegne, and others, some under the influence of the French Gothic style, aroused it from its lethargy. From the beginning of the 15th cent, sculpture and architecture walked hand in hand. French and Tuscan craftsmen came to Venice and the art which they developed soon spread over Emilia, the Marches, and Dalmatia. Matteo Raverti, Giov. and Bart. Bon the elder, and many other sculptor-architects produced work of such charm that the New Art did not oust the old Gothic until comparatively late. However, from 1460 onwards Renaissance influence gradually strengthened, under the influence of Fra Giocondo, Bart. Bon the younger, Rizzo, Pietro Solari, a Lombard from Carona, and others. To Pietro and his sons was due the inception of the style called Lombardesco, a tradition carried on by Lor. Bregno and Aless. Leopardi the latter originally a goldsmith. Next came the period of massive builders — Sammicheli, Sansovino, Palladio, and Ant. da Ponte, the last a Venetian; and then the era of Baroque, with Scamozzi, Aless. Vittoria, Gius. Sardi, and, greatest of all, Baldassare Longhena. Baroque sculpture flourished under Danese Cattaneo, Girol. Campagna, Tiziano Aspetti, Giulio dal Moro, and Vit- toria, the daring of whose sculptural imagination far exceeded his skill as an architect. In the 17th cent., architecture and sculpture alike declined into the error of exuberance. The inlaid furniture of And. Brustolon (early 18th cent.) is unusually graceful and imaginative. Architecture in the mid-18th cent, returned to the heavy classical lines of Palladio, while in sculpture the most famous pupil of the academy of Venice was Antonio Canova. Painting. The 14th cent, painters, from Paolo (fl. 1332-58) to Iacobello Bonomo (fl. 1385), with Giov. da Bologna, did little more than adapt Gothic forms to Byzantine conventions. In 1365 the commission for decorating the hall of the Maggior Consiglio (p. 208) was given to the still old-fashioned Guariento, while the innovator Ant. Veneziano (fl. 1369), pupil of Agnolo Gaddi, was so little appreciated that he sought a wider field at Florence. In the 15th cent., how- ever, Gentile da Fabriano and Pisanello were summoned to Venice (c. 1410-19) to continue the decoration of the palace, and their influence was at once acknow- ledged by Iacobello del Fiore, Mich. Giambono, and especially by Ant. Vivarini (1440-76). With the latter's school at Murano were associated his brothers Bartolomeo and Alvise, and Giov. d'Alemagna, and among their pupils were Quirizio and Andrea da Murano. A more interesting painter was Iacopo Bellini (? 1405-70) who had studied at Padua the work of Squarcione, Mantegna, and Donatello. He laid the foundation of the great school of Venetian painting, perfected by his sons, Gentile (1429-1507), the great portraitist, who worked for a time for Mahomet II, and Giovanni (? 1430-1516), the painter of loving- kindness, full of religious sentiment. Meanwhile, c, 1450, another definitePiazza VENICE 26 Rte. 197 artistic impulse displayed itself, with the imitators of Squarcione. Ant. da Negroponte was followed by Carlo Crivelli (fl. 1457-93), most of whose work, however, was done in the Marches. Another outside influence was that of Antonello da Messina whose striking personality found many admirers in Venice, notably A1 vise Vivarini (after 1446-c. 1504). Among his successors were Marco Basaiti, Girol. Moceto, Bart. Montagna, chief of the school of Vicenza (p. 182), and, less directly, the frank and exuberant Cifna da Conegliano, Boccaccino, Buonconsiglio, Bonsignori, and last but perhaps greatest Lor. Lotto. Another school noted for the fecundity of its descriptive power included Laz. Bastiani, Bened. Diana, and the fresh and vivacious Vitt. Carpaccio (fl. 1482-1525). The main current of Venetian painting, however, followed the lead of the Bellini. Hosts of disciples emerged from the school of Giovanni: Lattanzio da Rimini, Marco Marziale, the faithful pupil Fr. Bissolo, Nic. Rondinelli, Fil. Mazzola, lac. dei Barbari, Vettor Belliniano, Vine. Catena, Rocco Marconi, and And. Previtali. Decadence did not set in with imitation, for in the same chain come Giorgione (Giorgio Barbarelli, 1478-1510), who raised Venetian painting to a high pitch of fame, and Titian (Tiziano Vecellio, ? 1477-1576), with whom came the highest renown. Around the rich genius of this master arose many disciples, themselves of high renown: Palma Vecchio with his warm colours, Bonifacio Veronese, brilliant but unequal, Seb. del Piombo, who assimil- ated whatever style he encountered, Paris Bordone, the Brescian painters (p. 185), and Lor. Lotto (comp. above), who carried the Venetian tradition to B&rgamo and the Marches, Dosso Dossi, called ' the Ariosto of painting ' from the scope of his imagination, Pordenone, and, greatest of all, lac. Tintoretto (1518-94) who united Titian's colouring with Michael Angelo's power of design. With Paolo Veronese (1528-88) clear atmosphere replaces the hot colouring of Titian and Tintoretto. Towards the close of the 16th cent, the light of Venetian painting failed and the mannerists held sway — Palma Giovane, Dom. Tintoretto, and others, with the imitators of Veronese — his son Carlo and Gabriele, his brother Benedetto, and G. B. Zelotti, best of his followers. The most out- standing painter of the 17th cent, was Padovanino (1580-1650), in whose work still glows the light of Titian. Towards the 18th cent, a revival was felt, thanks to Giulio Carpioni the violent, the fertile Seb. Ricci, and the Rembrandtesque Piazzetta (1682-1753). More consonant with the easy life of the time were the delicate pastels of Rosalba Carriera, the clear detail of Canaletto (Ant. Canal, 1697-1768), and the marine impressionism of Fr. Guardi (1712-93), and Bern. Bellotto, also nicknamed Canaletto; while over all shone the fertile imagination of G. B. Tiepolo (1696-1770). Followed his sons Gian Domenico and Lorenzo, and the engraver G. B. Piranesi (1720-78), who worked mostly at Rome. In the 19th cent, the Venetian Fr. Hayez was the leader of the Romantics, but he spent his life at Milan. Giac. Favretto was an anecdotic painter of considerable verve, and of recent days an important school of landscape painters has sprung up. Central and Eastern Quarters. The *Piazza San Marco (PI. 21), or simply ' la Piazza ' is without an equal in the world. Surrounded on three sides by the arcades of noble palaces, bordered on the east by the wonderful fa$ade of St. Mark's, and paved with marble and trachyte from the Euganean hills, it is of unrivalled charm, whether crowded with people at the concert-hour, or silent in the moonlight. The famous pigeons of St. Mark here were fed at the public charge in republican days, but now depend on private liberality (little packets of ' gran- turco,' i.e. maize, are sold in the piazza).198 Rte. 26 VENICE Civic Museum Above the entrance to the Merceria (p. 211), on the N. side of the square, rises the Torre dell'Orologio, by Mauro Coducci (1496-99) with wings attributed to P. Lombardo (1506), Above the great clock-face are two bronze fig- ures (1497), the ' mori/ who strike the hours. The me- chanism of the clock may be seen on application at No. 47, under the archway. The rest of the N. side is oc- cupied by the arcades of the Procuratie Vecchie, reconstructed by P. Lombardo, Bart. Bon the younger (1517), and Sansovino (1538). These, the former residence of the Procurators who had charge of the fabric of St. Mark's, are fronted by three open galleries, of which the lowest has 50 arches, the upper two 100. — Sansovino's church of San Geminiano, on the W. side, was pulled down in 1807 to make room for the Fabbrica Nuova, a building by Gius. Soli, the two lower floors of which copy the Procuratie Vecchie, while on top is a heavy attic, — The Procuratie Nuove, on the S., repeat the design of the Libreria Vecchia (p. 206). Up to the tenth arch from the left they are the work of Scamozzi (1584), and they were completed by Longhena in 1640. They were a later re- sidence of the Procurators (see above), and became a royal palace under Napoleon. In 1920 they were presented to the city by the royal family, and since 1923 they have, been oc- cupied by the Civic Museum of art and history. The entrance is in the Portico dell'Ascensione, facing St. Mark's; adm. 31. on weekdays 9.30-12.30 and 2-5; Sun. and holidays, 9.30-12, free. Only the 1st floor, containing the historical collections, is at present open; the 2nd floor, with paintings, costumes, souvenirs of the Risorgimento, etc., will be opened in 1924 (catalogue in the press). An imposing Napoleonic staircase ascends to a corridor hung with 18th cent. Venetian landscapes. At the end on the left begins the series of rooms now open. Room I. Antonio Canova, Daedalus and Icarus, his best early work (in the centre); scenes from the life of Socrates and from Homer; sketches and souvenirs of the artist. — Room II, a good example of Empire decoration, contains a bust of Teodoro Correr (1750-1830), founder of the museum, and (provisionally), Fr. Guardi, Retreat, and the Nuns' Parlour. — Room III. Reconstruction of the assembly-room of a ' scuola ' (see p. 215). Furniture and Flemish tapestry of the 16th cent.; bronzes and busts by Vittoria and his school; Leandro Bassano, St. Dominic served by angels. — Room V. Statutes, ,etc., signed by the doges, some of them finely illuminated; book-bindings; lectern (? Flemish 14th cent.), bearing an illuminated choir-book (15th cent.).—• Room VI. Costumes of doges, councillors, and other mag-?Civic Museum VENICE 26 Rte. 199 istrates; state documents, including some relating to the election of the doges; straw hat and basket given to the doge on his annual visit to San Zaccaria and Santa Maria Formosa; Bart. Vivarini, Doge Fr. Foscari; Giov. Bellini, Doge Giov. Mocenigo; in the centre, kneeling statue of a doge (perhaps Tom. Mocenigo). — Room VII. Lod. Gallina, Doge Paolo Renier; Bernardino Castelli, Doge Lod. Manin; portrait of Elisabetta Querini-Valier, the last dogaressa to be crowned; in the centre, insignia of the Order of St. Mark. — Room VIII. Armour, including state swords, and (in the cases) jousting helmets, jewelled breastplates, two ' lingue di bue,' or short- bladed daggers. The large ship's standard bears the arms of Doge Dom. Contarini. — Room IX. Fragments of the last ' Bucentaur/ and trap for dropping the wedding-ring into the Adriatic (comp. p. 198); standards, lanterns, navig- ating instruments, portulans; in the centre ' mariegola ' or statute of the Shipwrights of the Arsenal. — Room X. Mo- del of a 17th cent, galley; naval battle-scenes. — Room XI Memorials of Francesco Morosini ' il Peloponnesiaco '; coat- of-arms; paintings of Morosini's two campaigns in the Morea or Peloponnesus (see p. 195). - Rooms XII and XIII contain further mementoes of Morosini; admiral's baton and Sword of honour; Giov. Carboncino, Portrait; Greg. Lazzarini, Morosini presenting the conquered Morea to Venice (note the pistol hidden beneath the prayer-book); Turkish arms; etc. — Room XIV (Papadopoli). Coins and medals of the Re- public; on the walls, Vicentino, Entry of the Dogaressa Morosina Morosini Grimani into the palace; Aliense, Arrival at Venice of Catherine Cornaro. — Room XV. Ebony and boxwood furniture by Brustolon: Chinese and Delft ware; 17th cent. Flemish tapestry; Lazzarini, Hercules and Om- phale; Room XVI. Giov. Bellini, Pieta, Transfiguration, Crucifixion, *Madonna, etc.; Carpaccio, *Ladies on the Balcony, Visitation; Antonello da Messina, Entombment; Ansuino da Forli, Portrait; Cosimo Tura, Entombment; Bart. Vivarini, St. Anthony; Dom. Tintoretto, Doge's portrait; Rosalba Carrier a, Portrait; Tiepolo, Abigail's peace-of- fering; Canaletto, Tower of Marghera; P. Longhi, In the Studio; School of Velasquez, Portrait of an Infanta; Ant. Rizzo, Bust of a nobleman; Venetian School, Madonna, a 15th cent, sculpture. — The small rooms which follow contain further Morosini collections, arms, standards, models of ships, a ' bocca di leone ' (comp. p. 208), etc.; in the last room are souvenirs of Canova, models, sketches, etc. The Campanile of St. Mark (325 ft. high), standing200 Rte. 26 VENICE Loggetta isolated in the S.E. corner of the piazza, was first built in the 10th cent.; on July 14th 1902 it collapsed without warning. From the proceeds of a world-wide subscription an exact reproduction of the original was put up and opened on Apr. 25th, 1912. The brick tower of the campanile is surmounted by a bell-chamber with four-light windows of Istrian stone, and a square story decorated with two winged lions and two figures of Venice beneath the symbol of Justice; the spire at the top is crowned by an angel weather-vane. The bell-chamber (9-12, 2-7), reached by a lift (31.) or by an easy sloping walk (1£1), commands a magnificent *View of the town and lagoon, the Euganean hills, and the Alps. Only one of the old bells survived the collapse of the tower. At the base of the campanile is the *Loggetta dei Cavalieri, a masterpiece by Sansovino (1540), which was crushed by the fall of the tower but has been carefully restored. It was occupied by three military procurators. Its three arches, supported by twin columns, are surmounted by an ornate attic bearing statues of Pallas, Mercury, Apollo, and Peace, all by Sansovino. Within is a charming terracotta group of the Madonna and St. John, by the same artist, in front of which are two admirable little bronze doors by Ant. Gai (1734).—The three bronze *Pedestals (by Aless. Leo- pardi* 1501-05) in front of the basilica support huge flagstaffs which formerly on feast-days flew the red pennon of the Republic, to-day replaced by the Italian tricolour. The **Basilica of St. Mark (PI. 21) stands high in import- ance among the churches of Christendom not only by virtue of its sumptuous architecture, its artistic riches, and its mosaic splendour, but also because of its great antiquity and the history and legend which encompass it. Its inspira- tion is certainly Byzantine, and the five domes of nearly equal circumference which cover it at once suggest St. Sophia and the great churches of Constantinople. In its plan, nevertheless, may be seen the beginnings of that compromise between the schemes of the centripetal shrine and the aisled basilica which was to become the foundation of the typical Western church; and from the influence which it exercised over later builders St. Mark's may in some sort be styled the first of modern churches. The building is 250 ft. long, including the atrium, and 205 ft. across the transepts. Admission. Tickets (3 1.) for the Treasury and the Pala d'Oro (on view 10-2 every week-day) are obtained at the Cathedral Offices entered from the chapel on the left of the choir. The interior and exterior galleries (tickets 3 1.), shown daily 9-12 and 2-6, are entered from the little door in the atrium on the left of the principal door. The baptistery is shown by the sacristan (gratuity). The rest of the church is open free all day. History. Legend tells how St. Mark the Evangelist, storm-tossed in a voyage to Aquileia, saw, near the islands of the Rialto, a vision of an angelSt, Mark's VENICE 26 Rte. 201 who greeted him with the words ' Pax tibi, Marce, Evangelista meus." This portent was fulfilled in 828 when Venetian merchants brought the body of St. Mark from Alexandria and placed it in charge of Doge Giovanni I Partecipazio who caused the first church on this site to be built in the form of a basilica. Burned down in a popular rising (976) this church was replaced by Doge P. Orseolo, but the present form dates from a second rebuilding by Doge Dom. Contarini (1043-71). On its completion it was faced with marble from Ravenna, Sicily, Byzantium, and the East, and at the end of the 11th cent, the mosaic decorations were begun in the Byzantine manner. These, however, have almost all been restored from the 16th cent, onwards. Though the basilica has been a cathedral only since 1807 (it was formerly the chapel of the Doges' palace), \he name and symbol of St. Mark (a winged lion) have been emblematic of Venice since the earliest days of its history. Exterior. The marvellous *Fa$ade, which changes colour as the light changes, is in two tiers, each of five semicircular arches. The two rows of columns which support the lower arches are of different kinds of marble, some probably from older buildings. In the recesses above and in the soffits of the arches are Mosaics; the five principal subjects (1. to r.) are: the Translation of the Body of St. Mark to the Basilica (original); Magistrates adoring the Body of the Saint (by Leop. dal Pozzo, 1728, from the design of Seb. Ricci); Last Judg- ment (1886); Venice welcoming the Arrival of the Body; Removal of the Body from Alexandria (the two last by Pietro Vecchia, 1660). Around the portals are bas-reliefs and other fragmentary decorations. The central doorway is notable for the reliefs by Antelami (Virtues and Months; note especially May and August in the soffit). The central bronze door is either from the first basilica or else was brought from Byzantium. The S. door was cast by the Venetian goldsmith Bertuccio (1300). — Of the five arches of the upper tier only the central one contains a window; the other four are filled with mosaics (1. to r. Descent from the Cross, Descent into Hell, Resurrection, and Ascension), rearranged by Luigi Gaetano (early 17th cent.) from designs by Maffeo da Verona. In the curves of the arches, among wind-swept foliage, are Angels and Prophets by Venetian artists of the late 14th century. Surmounting the central arch is a statue of St. Mark, and over the side-arches, a Warrior Saint, and SS. Theodore, Demetrius, and Procopius; in the Gothic tabernacles are the Annunciation, the Archangel Gabriel, and the Evangelists (1385 et seq.). The famous bronze ♦Horses are a Greek work of the time of Alexander, or just after, and were part of Venice's share of the booty from Constantinople, taken from the hip- podrome there in 1204. In 1798 they were carried off to Paris by Napoleon, where they remained until 1815; and in 1917-19 they were removed for safety to Rome. The arcades of the S. Side, which are surmounted by a 16th cent, pediment, continue the design of the W. front. The bronze door admits to the baptistery. Between the four and five light windows of the upper story is a Byzantine Madonna, in front of which two lamps are lighted nightly in fulfilment of the vow of a sea-captain. The two plain walls of the treasury, on the right, are adorned with marbles and fragments of ambones and plutei. In the corner are two curious porphyry groups, possibly fragments from a late-Roman triumphal arch, possibly of Eastern origin. Near by are two isolated pillars, brought by Lor. Tiepolo from the church of St. Saba at Acre; they are a rare example of 5th cent. Hellenistic art. At the S.W. corner of the facade is the Pietra del Barido (Stone of Banishment), a stump of a column, also from Acre, from which the decrees of the Signoria were promulgated (comp. p. 221). The impressive N. Side consists of four arches. Beneath the fourth is the Porta dei Fiori, with a ' Presepio ' in its lunette. Outside the projecting chapel of St. Isidore is the tomb of Daniele Manin (p. 195). To the N. extends the Piaz- zetta dei Leoni or di San Basso, with the Palazzo Patriarcale (1837). It is worth while to go past this palace to the bridge beyond, which commands a fine view of the Rio di Palazzo. Just beyond the bridge is the Palazzo Trevisan (early 16th cent.). The Atrilim formerly surrounded the W. arm of the church on three sides.202 Rte. 26 VENICE St. Mark's but the S. side of it is now walled off. Its slightly pointed arches are the earliest of their kind in Italy, and it is covered, in addition, by six small domes. The lower part of the walls is completely encased in marble; the upper part and the pavement are mosaic. The mosaics of the domes and arches depict (r. to 1.): 1st dome, Story of Genesis to the Death of Abel, probably the oldest mosaic in the church (12th cent.); under the 1st arch, the Flood; under the 2nd arch (1. of the door), Death of Noah and the Tower of Babel; 2nd dome: Story of Abraham; 3rd-5th Dome, Story of Joseph; 6th Dome, Story of Moses. The ♦Columns of the fine Inner Facade were either brought from the East, or are fragments of the first basilica. Of the three doors, that on the right, the Porta di San Clemente, is said to have been a gift from the Emperor Alexis Comnenus. The rough damascening in silver is the earliest example of its kind in Europe. The great door, the work of Leone da Molin (1112-38), is modelled on the other. The unrestored mosaics on the wall above represent the Evangelists, the Madonna, and six Saints, and in the semi-dome is St. Mark in Ecstasy, a wonderful mosaic rearranged from a cartoon of Titian's by the brothers Zuccato (1545). In the square space before the door are the Raising of Lazarus, the Crucifixion, the Descent from the Cross, and the Burial of the Virgin; on the consoles are the Evangelists. The slab of red Verona stone with a white marble lozenge on the pavement marks the spot where Barbarossa did obeisance before Alexander III. Against the outside wall are the tombs of Doge Vitale Falier (d. 1096) and his wife, made up of Byzantine fragments. In the apse of the 3rd dome is the tomb of Doge Bart. Gradenigo (d. 1342), by a Pisan sculptor. Interior. Five great domes cover the Greek cross of the interior, alternating with barrel vaults; each of the four arms has vaulted aisles supporting a triforium and entered by semicircular arches; the capitals of the columns are exquisitely foliated. The whole church is encased in marble below and in mosaic on a gold ground above; and the mar- vellous effects of light reflected from the rich hues of the mosaics are themselves an explanation of the church's sur- name ' Basilica d'Oro. ' — The Pavement, supported on piles, has an extremely irregular surface, and consists of a mosaic of antique marbles arranged in geometric designs, with representations of various animals, etc. In the W. Arm or Nave, in the lunette over the entrance, is a mosaic of Christ between the Virgin and St. Mark, a classic example of Byzantine art believed to be among the oldest in the church. In the archivolt of the great W. window (better seen from the atrium) are the Exaltation of the Cross, the Triumph of the Elect, and the Punishment of the Damned, impressively designed from cartoons by Tin- toretto, Aliense, and Maffeo da Verona. In the archivolt of the entrance: Dream of St. John, modern; Seven Angels protecting the Seven Churches, Angel transfixing the Beast, both by the Zuccato brothers (1579); Mystic Repast of the Lamb, after Pordenone; the Madonna, and the Apocalypse, modern. In the dome: the Holy Ghost enthroned enlight- ening the Apostles; between the windows, the Converted Iq the inner archivolt: Judas's Kiss, the CrownSt. Mark's VENICE 26 Rte. 203 of Thorns, the Crucifixion, the Maries at the Tomb, the Descent into Hell, the Doubting of St. Thomas, antique mosaics of vigorous execution. — In the S. Ajsle is a Stoup of oriental porphyry borne by children, in the 16th cent, style, and resting on an Altar of Neptune. Opposite is the entrance to the Baptistery (apply to the sacristan), which, with the Chapel of San Zeno, occupies the S. arm of the atrium. The Font, by Sansovino, has a lid with bronze reliefs by Tiziano Minio and Desiderio Fiorentino; the statue of St. John the Baptist, above, was executed by Segala (1565) from designs by Sansovino. Here are also the tombs of the Doges And. Dandolo (d. 1354) and Giov. Soranzo (d. 1328). On the altar is a 14th cent, relief between SS. George and Theodore (Byzantine). The roof is adorned with rather crude mosaics of the late 14th cent.: Head of Christ, Nine Orders of Celestial Spirits, Virtues, Heavenly Powers; the Apostles ordained to Baptize; Head of Christ with Prophets, and the Stable at Bethlehem; Life of St. John the Baptist. In the pendentives, Doctors of the Church. — The adjoining Cappella Zen, or chapel of San Zeno, contains the bronze *Tomb of Card. G. B. Zeno (d. 1501) by Ant. and P. Lombardo and Leopardi (1505-15), who cast also the bronze altar. In the niches: five statues of the school of Antelami (12th cent.); the vault-mosaics (13th cent., restored) relate the story of St. Mark. On the S. wall of the church are five rectangular mosaics of the Virgin and four Prophets; higher up, the Agony in the Garden, a perfect example of Venetian-Byzantine work. In the vault, Scenes from the lives of Apostles. — The N. Aisle contains a stoup of ' bardiglio ' marble and the little * Chap el of the Crucifix, with a pyramidal marble roof sur- mounted by a huge oriental agate and supported by six columns of precious marble with gilded Byzantine capitals. It contains a painted wooden crucifix brought from the East. — The five mosaic rectangles on the N. wall show a beardless * Christ with four prophets; above is the Glory of Paradise; and in the vault, Death of St. Peter, St. Paul, and other Apostles.—The Central Dome is adorned with mosaics of the purest Byzantine style. Round the central Ascension are the Virgin between two Angels, and the Apostles; between the windows, the 16 Virtues of Jesus; in the pendentives the Evangelists above the four Rivers of the Bible which typify them. At the spring of the pendentives are four marble * Angels (10th cent. Byzantine). The S. Transept is lighted by a fine round window. On the left is the Altar of St. James, a charming work by P. Lom- bardo (1462), and two candelabra by Mafifeo Olivieri (1527). Beneath the inner arch: Scenes from the life of Jesus. In the dome: Saints. Beneath the outer arch: Miracles of Jesus. The W. Transeptal Aisle depicts the Prayers for and the Miraculous Discovery of the Body of St. Mark, interesting especially for their reproduction of the interior of the basilica. Above, Present&tipi* in the Temple.204 Rte. 26 VENICE St. Mark's The trefoil arch at the end admits to the Treasury (adm. see p. 200), contain- ing a rich store of booty from the sack of St. Sophia in 1204. Most of its treasures were removed in 1797 and replaced in 1834. In the anteroom is a fine silver statuette of St. Mark. On the left is the Sanctuary of Relics (open Fri. 8-10), with a Byzantine Madonna and many precious reliquaries, mostly Byzantine also. On the right is the Treasury proper, containing four rich *Evangelistaries, the marble Chair of St. Mark, two silver altar-fronts, the sword of Fr. Morosini, vases, reliquaries, caskets, many objects of agate, crystal, turquoise, etc. In the E. Aisle of this transept is the Altar of the Sa- crament, with a tabernacle borne by columns of porphyry and pavonazzetto (purple marble). By the inner face of the left-hand entrance-pilaster a square of marble and mosaic lit by a lamp marks the place where St. Mark's body was hidden and where the saint appeared miraculously on June 24th, 1094. On the wall are mosaics of the life of St. Leonard the Hermit; in the vault, Miracles of Jesus. On the right of the N. Transept is the Altar of St. Paul, by P. Lombardo, with candelabra by Cam. Alberti (1520). In the vault-arches are the Last Supper, the Marriage at Cana, and Miracles of Jesus; in the dome, Life of St. John the Evangelist; on the pendentives, Doctors of the Church; on the end wall, the Ancestry of the Virgin. — The E. Transeptal Aisle contains the Altar of Madonna Nicopceia (patroness of victory), with a tabernacle supported by precious columns, and an icon from the sack of Constantinople. On the wall: the Institution of the Eucharist; above, Jesus expelling the vendors from the Temple, and other scenes from His Life. — The W. Transeptal Aisle may be entered from the atrium by the Gothic Porta di San Giovanni, with a mosaic lunette. In the aisle is a Greek marble stoup; on the wall, Susanna and the Elders, after Palma Vecchio and Tintoretto; above, Dream of St. Joseph, Flight into Egypt, Jesus among the Doctors; in the arch, Life of the Virgin, according to the apocryphal gospels. The Chapel of the Madonna dei Mascoli (1430), at the end of this aisle, has a Gothic altar attributed to Bart. Bon. The vault *Mosaics of the life of Mary (1446-49) are partly by Mich. Giambono; partly, however, they suggest the work of lac. Bellini and Mantegna. — At the end of the transept the Chapel of St. Isidore has a florid Gothic altar and is rich in vigorous mo- saics in the 14th cent, style, depicting the history of the patron saint. Choir. Against the E. pillars of the central dome are (r.) the Pulpit of the Epistle, where the newly-elected doge showed himself to the people, and (1.) the Pulpit of the Gospel, consist- ing of two pulpits one above the other, supported by precious marble columns and surrounded by parapets of verde antico.St. Mark's VENICE 26 Rte. 205 It is crowned by a curious little Moresque cupola. — The Sanctuary is raised upon 16 little marble arches of fine workmanship, from the basilica of Orseolo. The imposing Rood-Screen, with eight columns of dark marble, bears the great Rood, a work in silver and bronze by lac. Benato of Venice (1394), and marble statues of the Virgin, St. Mark, and the Apostles by the Dalle Masegne. Within the pil- asters are the stalls reserved for magistrates and kings; on the parapet of the lower row are bronze reliefs by Sansovino (1537-44; miracles and martyrdom of St. Mark), and below are intarsio panels. On the marble balustrade are the Evangelists, by Sansovino. The baldacchino of the high altar is borne by four * Columns of cipollino marble sculptured with New Testament Scenes which are extremely interesting both from an artistic and from a historic point of view. The two front columns are possibly of the early 6th cent.; those behind are later Romanesque copies. Behind and above the altar is the *Pala d'Oro (to view, see p. 200), glowing with precious stones, enamel, and old gold. Made in 1105 for Doge Ordelaffo Falier, it was renewed by Doge P. Ziani in 1209 with fragments of a 12th cent, altarpiece and enamels from the sack of Constantinople, and finally enriched and enlarged by Doge And. Dandolo in 1345. - The Apse, with two fine capitals from Orseolo's basilica, has three large niches. In the central one is an altar with six precious columns including two of unusually transparent alabaster. The door in the left-hand niche (entrance to the sacristy) has bronze reliefs by Sansovino (Entombment, Resurrection, heads of the artist, of Aretino, and of Titian). The mosaics in the archivolt of the choir arch depict the Adoration of the Magi, Annunciation, Transfiguration, Presentation in the Temple, Baptism of Christ, after Tin- toretto; in the dome, Christ holding a half-revealed Scroll, surrounded by the Virgin and 13 Prophets; in the pendentives Symbols of the Evangelists; in the apse, Christ in benediction (1506); between the windows, SS. Nicholas, Peter, Mark, and Hermagoras. — The S. Choir Aisle is entered by a transenna bearing statues of the Madonna and four female saints. On the left is a Gothic reliquary. The wall-mosaics depict the Life of St. Clement the Pope (late 13th cent.); in the vault, Capture of the Body of St. Mark (13th cent.). At the E. end is the Chapel of St. Clement. —Another similar transenna forms the entrance to the N. Choir Aisle; on the right is another Gothic reliquary. The mosaics of the wall and vault are modern restorations (Lives of SS. Peter,206 Rte. 26 VENICE Piazzetta Mark, and Hermagoras). At the end is the Chapel of St. Peter,. behind whose altar is the entrance to the sacristy, between two columns with superb Byzantine capitals. In the charming Renaissance Sacristy by Bart. Bon (1486-90} are decorative mosaics after Titian and Pordenone and inlaid cupboards from designs by Sansovino. — The Crypt (rarely open), which is supported by 50 ancient columns, is approached from either of the choir aisles. The * Piazzetta (PI. 21), with the Doges' Palace on the left, and the Old Library on the right, extends from St. Mark's to the Canale di San Marco which forms an incomparable background. Near the water's edge are two monolithic columns from Constantinople or Syria; one bears a lion (? Assyrian; wings modern), the other a statue of St. Theo- dore, the first patron of Venice. The Libreria Veccilia di San Marco, or Old Library, the masterpiece of Sansovino, was finished by Scamozzi (1536-82). The architect succeeded in the seemingly impossible task of creating a building which should be a fitting pendant to the marvels of the Doges' Palace opposite. Palladio adjudged it the richest and most beautiful building since the days of antiquity. — The monumental Staircase, with stuccoes by Vittoria, leads up to an Atrium whose ceiling is adorned with a *Fresco of Wisdom by Titian. The Great Hall adjoining has 21 ceiling-medallions and ten paintings of philosophers, by Tintoretto, Veronese, and Schiavone. 7— Beneath the portico is the entrance (No. 7) to the Biblioteea Nazionale Marciana (open on weekdays, 9-4), which occupies the buildings of the Zecca or Mint. The nucleus of the library was the gift of books made by Petrarch to Venice in 1362, to which in 1468 were added the codices collected by Card. Bessarion. A later acquisition was the *Grimani Breviary (facsimile, shown), illuminated by Mabuse and other Flemish artists. — The severe facade of the Zecca, also by Sansovino (1586), may be seen from the quay; beyond it is the Giardino Reale, with a neo-classic pavilion. The *Doges' Palace or Palazzo Ducale (adm. weekdays 9-4, 5 1.; holidays 10-1, free), the residence of the doge and the chief magistrates of the Republic, is the concrete expression of the power and glory of the Serenissima. Founded c. 814, it was rebuilt after destructive fires in 976 and 1105, and remodelled in its present form in 1309 and 1404 (S. side) and in 1424-42 (W. side). After another conflagration in 1483, Ant. Rizzo began the chief interior fagade and the Scala dei Giganti, and the work was continued by P. Lombardo, Giorgio Spavento, and Scarpagnino. Again burned in 1574 and 1577, it was restored by Ant. da Ponte, and the courtyard finished in the 17th cent, by Bart. Monopola. The Gothic Exterior, almost fantastic in its originality, is lightened by a porticus of 36 admirably decorated columns, and by a loggia of 71 columns. Higher up, the fapade of pink and white marble is pierced by large windows. At the S.E. corner is represented the Drunkenness of Noah, with St. Raphael above; at the S.W. corner, Adam and Eve (modern copy), with St. Michael; at the N.W. corner, ♦Judgment of Solomon, and St. Gabriel. Between the palace and the basilica is the * Porta della Carta (1439-43), an extremely graceful gateway by Bart, and Giov. Bon. It owes its name to the ' carte,' or announce- ments of new laws, which used to be affixed here. The statues and especially the delightful putti on the pediment are admirable examples of the transition fr.om Gothic to Renaissance.Doges* Palace VENICE 26 Rte. 207 Passing through the Porta della Carta we enter a passage and thence turn to the right into the *Cortile, a charming Renaissance composition, of which the E. side is perhaps the most successful. On the N. side are the baroque facade of the Orologio by Monopola (1604-18) and the Arco Foscari (early Renais- sance with florid Gothic elements). On the side of the arch towards the court is a statue of the condottiere Fr. Maria I della Rovere, Duke of Urbino (1490- 1538) by Giov. Bandini (1587) and (r.) a *Page by Ant. Rizzo, who sculptured also the *A.dam and Eve on the other side. In the centre of the courtyard are two bronze Well-Heads (1556-59). The Scala dei Giganti, in the N.E. corner, decorated with a wealth of imagination and delicacy, is likewise by Rizzo (1484-1501). The colossal statues of Neptune and Mars are by Sansovino (1554). On the landing at the top the doges used to be crowned with the corno ducale or zoia. Interior. From the top of the Scala dei Giganti we follow the loggia to the right to reach the Scala d'Oro, built by Scarpagnino under the direction of Sansovino, and decorated with stuccoes by Vittoria. This we mount to reach the Piano Nobile, or third floor. The Salotto Quadrato, which we first enter, has a fine wooden ceiling painted by Tintoretto with Venice and Justice presenting the Sword and the Scales to Doge Girol. Priuli. — On the right is the Sala delle Quattro Porte by Da Ponte (1575), probably assisted by Palladio. On the right of the entrance, Titian, Doge Ant. Grimani before the Faith, probably finished' by Marco Vecellio, Titian's nephew; over the win- dows, Tiepolo, *Neptune offering his gifts to Venice. The rich ceiling, by Palladio, has frescoes by Tintoretto, spoilt by restoration. - Opposite the entrance is the Anticollegio, or Waiting Room, with a rich frieze, and a ceiling and fire- place by Scamozzi; opposite the window, Veronese, *Rape of Europa, admirable in colour and composition; lac. Bassano, Jacob's Return to Canaan; on the end walls, Tintoretto, Vulcan's Forge, Mercury and the Graces, Bacchus and Ariadne, Minerva dismissing Mars, powerful in conception and exe- cution. The Sala del Collegio, where the doge and his councillors sat in judgment, is a treasure-house of art. The chimneypiece is by Campagna. The *Ceiling, by Da Ponte, the finest in the palace, is doubly precious on account of the wonderful series of paintings by Veronese, with their superb colouring and skilful design; the most remarkable is that in the centre at the farther end: Justice and Peace offering the Sword, the Scales, and the Olive-Branch to triumphant Venice. Over the entrance, Tintoretto, Doge And. Gritti before the Virgin; above the throne, Veronese, *Doge Seb. Venier offering thanks to Christ (1575-77). Facing the fireplace, Tintoretto, Marriage of St. Catherine, Doge Nic. da Ponte invoking the Virgin, Doge Alvise Mocenigo adoring Christ, three magnificent paintings. — The *Sala del Senato,Rte. 26 VENICE Doges* Palace the seat of the doge and his senators, has another fine ceiling, with Venice exalted among the Gods, by Tintoretto, as a centrepiece. Over the throne, Tintoretto, *Descent from the Cross; on the left wall, Palma Giovane, Venice receiving the homage of Brescia, tJ"dine, Padua, and Verona, Doge Pasquale Cicogna praying to Christ, an Allegory of the League of Cambrai (p. 195), and, farther on, the Doges Lor. and Girol. Priuli praying to Christ. — The door on the right of the throne admits to the Antichiesetta (under restoration), next to which is the Chiesetta, the doge's private chapel, with a Madonna by Sansovino. Returning to the Sala delle Quattro Porte, we pass, by a corridor, into the Sala del Consiglio dei Dieci, the seat of the Council of Ten (p. 195). The walls are adorned with historical paintings. In the right hand farther corner of the ceiling is an * Old Man in Eastern costumc with a Young Woman, by Veronese. In the centre of the left hand side is Veronese, Juno offering gifts to Venice, taken by Napoleon to Brussels in 1797 and returned in 1919. The original of the central subject was taken to Paris in 1797. — The adjoining ante-room, or Sala della Bussola, has a marble chimney- piece, and, on the right of the farther door, the ' Bocca di Leone ' an opening in which secret denunciations were placed. — On the right is the Sala dei Tre Capi del Con- siglio dei Dieci, with a similar chimneypiece and ceiling- paintings by Veronese and Zelotti. — From outside the Sala della Bussola the Scala dei Censori descends to the Sala delta Quarantia Civil Vecchia, on the second floor, beyond which are the Sala del Guariento, with the remains of a fresco of Paradise by Guariento (1365-67), and a passage with large windows looking on to the quay. — Hence we enter the *Sala del Maggior CoisrsiGLio, the seat of the governing body of the Republic, a fine hall 177 ft. long, 82 ft. wide, and 50 ft. high. On the entrance wall is * Paradise, by lac. and Dom. Tintoretto (1587-90), the largest oil painting in the world (72 by 22 ft.). Beneath it were discovered in 1903 the remains of a fresco by Guariento. On the other walls are large historical canvases: by the Tintoretti, the Bassani, Aliense, And. Vicentino, Palma Giovane, and others. The frieze of 72 portraits of doges (from Obelerio Antenovico, c. 810, to Fr. Venier, d. 1556) is by the Tintoretti; the space blacked in at the W. end takes the place of the portrait of Marino Faliero (p. 195); an inscription records his execution. The *Ceiling is divided into 35 compartments of which the m^st noteworthy are the three central panels: Palma Giovane,Dogesi Palace VENICE 26 Rte. 209 Venice welcoming the conquered Nations around her Throne; Tintoretto, Venice surrounded by Gods gives an olive-branch to Doge Nic. da Ponte; and Veronese, *Venice surrounded by Gods and crowned by Victory, a masterpiece of light and colour. The balcony commands a fine view of the canal of St. Mark, San Giorgio, and the lagoon. — From the last door on the right we pass through the Sala delta Quarantia Civil Nuova into the Sala dello Scrutinio, where the votes of the Great Council for the new doge were recorded. The wall paintings by Vicentino, Peranda, Aliense, Tintoretto, P. Liberi, and others, record the victories of Venice. At the farther end is a triumphal arch in honour of Fr. Morosini; the frieze continues the series of portraits of the doges down to the last one, Lod. Manin. The rich ceiling has paintings by Aliense, Fr. Bassano, etc., descriptive of Venetian history. From the balcony we enjoy a view of the Piazzetta. Returning through the Sala del Maggior Consiglio we take the gallery on the left and enter the Doges' Private Apartments, in which the Archaeological Museum is temporarily ac- commodated. The first room is the Camera degli Scarlatti, or Robing Room, with a fine chimneypiece by the Lombardi (c. 15021, and, over the door, a * Bas-relief by P. Lombardo, Doge Leon. Loredan at the feet of the Virgin. The ceiling is admirably gilt and moulded (1503).—The walls of the Sala dello Scudo are covered with maps and charts. In the centre is the famous *Map of Fra Mauro (1459), with the bust of the geographer attr. to Bellano, and six wood- cuts of the map of Hadji Mehemed of Tunis (1559). — Opposite the entrance is the *Sala Grimani with a chimneypiece by the Lombardi and a ceiling decorated with rosettes. The two winged lions are by Iacobello del Fiore (1415) and Carpac- cio (1516), and two of the busts are by Vittoria. — The Sala Erizzi, beyond, has a similar chimneypiece and a good ceiling, and contains a collection of medals, coins, and small sculptures. — A passage with a Lombardesque ceiling leads to the Sala dei Stucchi (1741-52), on the right of which is the Sala dei Filosofi, which housed for a time Tintoretto's paintings of philosophers (p. 206). On the staircase, above the door on the right, Titian, *St. Christopher, a fresco of 1524. — The three small rooms on the other side contain chimneypieces by the Lombardi, collections of Renaissance bronzes, etc., and a ' corno ducale ' (comp. p. 207). The room without a fireplace was the doge's bedchamber. A small staircase descends to the Piano delle Logge (first floor) on which are the rooms of the Cancelleria Inferiore, now containing the Greek and Roman Collection. The chief objects of interest are: R. IV. Bust of a Philosopher (3rd cent. b.c.); a bust of Apollo, and Cupid bending his bow, of the school of Praxiteles; and three *Gallic Warriors, copies of a group presented by Attalus of Pergamum to Athens; R. V. Busts of Roman Emperors, including Tiberius and *Vitellius; R. VI. Two fragments from a Throne of Neptune, like the reliefs in San Vitale at Ravenna; R. XI. Fine collection of gems and cameoS, including *Zeus Aigiochos, an onyx cameo of the best Greek period, from Ephesus. — R. XII. Paintings by Giov. Bellini and Tintoretto, etc. Between the ScaJa d'Oro and the Scala dei Censori is the entrance to the rooms which replace the prisons or Piombi, so called from their position beneath the leaden roof. Their miseries are described by Casanova who escaped from them in 1775. Here also is the entrance to the Pozzi, eighteen dark dungeons in the two lowest stories, reserved for the most dangerous criminals. The 7210 Rte. 26 VENICE Bridge of Sighs lowest of them, however, were not below the street level, and they were less terrible than the usual mediasval prison. The Molo, or Quay, beneath the S. front of the palace, is the principal station for gondolas. At its E. end is the Ponte della Paglia, which crosses the Rio di Palazzo. From this bridge we may view the Renaissance E. front of the pa- lace, and the famous Bridge of Sighs or Ponte dei Sospiri, a rather clumsy flying bridge by Ant. Contino (1600), named from the fact that it was used for the passage of prisoners from the Nuove Prigioni to be examined by the Inquisitors of £>tate. The Prisons themselves are a plain construction by Ant, da Ponte (1589). — The Riva degli Schiavoni (PI. 22; steamers, see p. 193), beyond the Ponte della Paglia, was for- merly the mooring-station for the trading vessels from Dalma- tian and other Slavonic ports. Passing the prison (see above) and the Gothic facade of the Hotel Danieli, we cross the Ponte del Vin and reach the fine Victor Emmanuel Monument,, by Ettore Ferrari (1887), with figures symbolising the oppression and deliverance of Venice. The Sottoportico San Zaccaria leads inland to the church of San Zaccaria (PI. 22), one of the most characteristic of Venetian churches (1458-1515). The fagade, begun in a Gothic style by Ant. Gambella, was completed after the Renaissance by Mauro Coducci. Over the doorway is a *Statue of the patron saint by Vittoria. The elegant interior, by Gambella, has an aisled nave and a Gothic apse with a coronet of chapels. On the aisle walls are 17th and 18th cent, paintings. In the Chapel of St. Tarasius (1st on the right in the ambulatory) are three fine *Anconas, or altar-paintings, by Ant. Vivarini and Giov. d'Alemagna (1443-44), with ornate Gothic frames. At the end of the N. aisle is the Tomb of Aless. Vittoria (1528-1608), with a bust of the artist by himself (1595). By the 2nd altar on this side is a *Madonna with four saints, by Giov. Bellini (1505). Beyond the next bridge is the church of La Pieta, with a ceiling decorated by Tiepolo. Still farther on we turn to the left beyond the barracks to reach the Campo Bandiera e Moro and the church of San Giovanni in Br&gora (PI. 22). The dark interior contains: N. aisle, Paris Bordone, Last Supper; on the pillars right and left of the choir, G. B. Cima, St. Helena and Constantine (1502), and Alvise Vivarini, * Resurrection, the artist's masterpiece (1498); in the apse, Cima, *Baptism of Jesus (1494). —The Salizzada Sant'An- tonino and the Fondamenta dei Furlani lead N. to San Giorgio degli Schiavoni (PI. 22), with a fa9ade after Sansovino (1551). Within are a series of * Paintings by Carpaccio (1502-11) relating to the lives of SS. Jerome, Tryphon, and George, the best of which are St. Jerome absorbed in study (interesting details), and St. George slaying the dragon. The orthodox Greek church of San Giorgio dei Greci (1539-71), to the S. W., has a leaning campanile (1587-92) and an iconostasis with late Byzantine figures on =4 gold ground. n;Sun Salvatove VENICE 26 Rte. 211 The Arsenal (PI.. 23-24) was founded in 1104 and now occupies 80 acres. At the height of Venetian prosperity it employed 16,000 workmen (comp. Dante's ' Inferno,' xxi). It is surrounded by crenellated walls with towers, and is entered through a great Renaissance gateway (1460), perhaps by Alberti or Fra Giocondo, with 16-17th cent, additions. The four lions were sent by Fr. Morosini from the Piraeus in 1687 as spoils of war. On the right of the entrance are two charac- teristic towers on either side of the canal. Within, on the left, is the Museo d'Armi, containing arms and captured ensigns, and (1st floor) remains of the last ' Bucentaur' (1728), the gala ship used for the marriage of Venice with the sea (see p. 196). On the main quay S. of the arsenal is the former church of San Biagio (18th cent.), fronted by a monument to the Ital- ian Army. Thence the Via Garibaldi leads to the Isola San Pietro and San Pietro di Castello (PI. 24), the cathedral of Venice from the 11th cent, until 1807. The present Palladian church (1557-94) contains, on the right, a marble throne from Antioch, with Cufic inscriptions, and a sumptuous high altar and a baroque chapel in the N. transept, both designed by Longhena. The isolated campanile dates from 1482-90, with a cupola of 1670. The pleasant Public Garden (PI. 31-38), S. of the Via Garibaldi, laid out in'1807; contains several monuments, and the pavilions of the International Exhibition of Modern Art (held every even year; 1924, etc.). II. Northern Quarters. oThe narrow winding Merceria (PI. 21-14) runs from the IfQrre dell'Orologio to the Rialto; it is the liveliest street in Venice and, contains the best shops, Passing San Giuliano (1553)> 9, little off the street to the: right,, ;we reach the church ofnllS^.i^va^O {?L 14). ; , ? >The.jp€iby|idiixg of thi& churchy. begun by Spavento (1506), was continued by Tullio Lombardo and finished by Sansovino in 1534; the baroque facade, by Grius. Sardi, was added in 1663. — Within, the plan of the dome and vaults is worth studying as the best example in Venice of the way in which problems of light and construction were solved at the height of the Renaissance. In the S. Aisle, between the first two altars, Monument to And. Dolfin by Giul. Dal Moro (1602); between the next two, Monument to Doge Fr. Venier (d. 1556) with statues of Charity and *Hope, made by Sansovino when nearly 80 years old; over the 3rd altar (by Sansovino) is T Man's splendid * Annunciation, painted when the artist was 89. In the S. Transept, Tomb of Catherine Cornaro, queen of Cyprus (p. 194). Over the High Altar, by Gugl. Bergamasco, is a silver Altarpiece, a chef d'ceuvre of Venetian goldsmiths' work (1290; shown only on high festivals); in the chapel to the N., Supper at Emmaus, by Bened. Diana; inf the sacristy, Transfiguration, by Titian (c. 1560). The column outside the church commemorates Manin's defence of Venice (p. 195). On the right is the Campo San Bartolomeo (PI. 14), the most crowded centre of Venetian life, with a spirited statue of Goldoni (p. 196), by Ant. dal Zotto (1883). In the church of San Bartolomeoare paintings of four saints by Seb. del Piombo (1505). Hence we go N. skirting the Fondaco dei Tedeschi (p. 219), now the Post212 Mte. 26 VENICE Gesuifi Office, to reach San Giovanni Crisostomo (PI. 14), a Lom- bardesque church rebuilt by Mauro Coducci (1497) in the form of a Greek cross. The simple interior contains, by the 1st S. altar, *SS. Christopher, Jerome, and Augustine, a good late work by Giov. Bellini (1513); by the 2nd N. altar Coronation of the Virgin, a bas-relief by Tullio Lombardo. Over the altar are seven *Saints, the masterpiece of Seb. del Piombo (1508). — On the right of the church is the Corte II del Milion, with two Romanesque arches (No. 5858), a relic of the house of Marco Polo (p. 195). Going on N., we cross the Ponte San Giovanni Crisostomo and reach (1.) the church of the Santi Apostoli (PI. 14), which has a picturesque campanile of 1672. The Cappella Cornaro (2nd on the S. side) is a Lombardesque work (late 15th cent.), attributed to Mauro Coducci. Over the altar is the Communion of St. Lucy, by G. B. Tiefiolo (c. 1748), and to the right and left are the tombs of Marco Cornaro (attributed to Tullio Lombardo) and Giorgio Cornaro (school of the Lombardi). From the Apostoli we make our way N. by the Salizzada del Pistor, the Rioterr^ dei Franceschi and Santi Apostoli, the Salizzada del Spezier, and the Salizzada Seriman (No. 4851 is the fine Palazzo Contarini-Seriman, c. 1450), to the church of the *Gesuiti (PI. 9), rebuilt in 1715-30 by Dom. Rossi, with a baroque facade by Fattoretto. The imposing inter* ior is ornamented with stuccoes in imitation of frescoes and hangings. On the left is the Martyrdom of St. Lau- rence, by Titian, much blackened; in the chapel N. of the over-decorated high altar, is the monument to Doge Pasquale Cicogna, with a fine effigy by Girol. Campagna. — Almost opposite is the Oratorio dei Crociferi, with paint- ings by Palma Giovane. We retrace our steps to the Rio Santa Caterina which we follow to the right to reach the church of Santa Caterina (PI. 9). The Interior (apply to the porter of the Convitto Foscarini, No. 4941) is a typical Gothic construction of the late 14th cent., with a wooden roof. Over the high altar is the famous *Marriage of St. Catherine, by Veronese, a masterpiece of imagination and fresh colouring in excellent condition. The six paintings on the choir wall of the Life of St. Catherine are probably a late work of Tintoretto. In the nave, paintings by Vicentino (1607); in the N. aisle a sculp- tured polyptych of the early 15th cent.; beneath the monks' choir, the Nativity, in the 14th cent, manner. Beyond the church we take the Calle della Racchetta to the left and the Via Vittorio Emanuele to the right to reach San Felice (PI. 8), a church attributed to Sante Lombardo (1551-56). Farther on (No. 2292) is the principal of the Palazzi Giovanelli, with a Gothic fa$ade overlooking the Rio di Noale. The collections within (gratuity) include the *Tempest, by Giorgione, and a statue of Young Columbus, by Monteverde. To ti^ N.W. is the Campo Santa Fosca, with a statue of Fra PaoloMad. dell'Orto VENICE 26 Rte. 213 Sarpi (1892), overlooked by the excellent 15th cent. fa$ade of the Palazzo Correr. We turn to the right across the Ponte Santa Fosca; on the right (No. 2400) is the noble Renaissance fa9ade of the Palazzo Vendramin; on the left a picturesque Gothic doorway, a fragment of the church of the Servi, destroyed in 1812. The Calle Zancani, straight ahead, leads to the church of San Marciliano (PI. 8), containing *Tobias and the Archangel, a vigorous work by Titian (c. 1540).— Going thence to the right along the Rio della Misericordia and then left along the Rio di Noale we reach the Vecchia Scuola and Abbazia della Misericordia, in a lonely and pic- turesque corner of the town. We now follow the Rio della Sensa to the Fondamenta dei Mori. A tablet on No. 3399 marks the residence of Tintoretto from 1574 to his death in 1594. At the Campo dei Mori we turn to the right to reach the * Madonna dell'Orto (PI. 3), formerly San Cristoforo, a church of Romanesque design with Gothic detail (1350). The portal of 1460 shows the transition to Renaissance; the 15th cent. Romanesque campanile is finely preserved. — The basilican Interior is imposing without loss of grace. It contains in the S. aisle: by the 1st altar, Cima's masterpiece of *St. John the Baptist and four other saints (c. 1493; charming background); by the 2nd alt-ir, Madonna, by Giov. Bellini (c. 1480). The Contarini Chapel (4th on the N. side) contains family busts (two by Vittoria), and, over the altar, St. Agnes raising Licinius, a notable work by Tintoretto; in the next chapel is his * Presentation of the Virgin. Two large pictures, also by Tintoretto, adorn the choir, and in the chapel on the right a modest slab marks the painter's resting-place. The Calle del Capitello, another turning on the right from the Fondamenta dei Mori (see above), leads to the late 14th cent, church of Sant'AIvise (San Luigi), closed after 9.30 a. It contains a Crown of Thorns and a Scourging by Tiepolo (S. wall of nave) and, in the choir, a *Calvary, by the same. At the side of the entrance are eight little tempera paintings (school of Laz. Bastiani), so na'ive in conception that Ruskin attributed them to the very early youth of Carpaccio. We may make our way hence to the W., through the Ghetto, with its lofty houses and many synagogues, and along the broad Cannaregio to the Lorn- bardesque church of San Giobbe (PI. 1-6; open in the early morning), built by Gambello and P. Lombardo, with a fine doorway and a graceful campanile. On the right of the nave are a monument by Claude Perrault (c. 1651) and, in the 4th chapel, Three saints, by Paris Bordone. In the Ante-Sacristy (r.), Holy Family, by Girol. Savoldo; in the Sacristy, Triptych by Ant. Vivarini. The *Choir is a fine example of Lombardo's work, as is likewise the tomb slab of Doge Crist. Moro (d. 1471) and his wife Cristina Sanudo, in the pavement. The Lady Chapel, on the left, is the work of 15th cent. Tuscans; in the vault are five Delia Robbia medallions. On the altar are statues of St. John the Baptist, by Rossellino, and other saints, by his pupils. The statue of St. Luke, in the 1st N. chape J, is by Lor, Bregno. If at the Ponte San Giovanni Crisostomo (p. 212) we turn t9 the right we presently reach San Canciano, wjiere w£214 Rte. 26 VENICE SS. Giov. e Paolo turn to the right again for * Santa Maria del Miracoli (PI. J 4), a precious example of the work of Pietro Lombardo (1481-89),. In the lunette over the door in the admirably proportioned facade is a Madonna by Lascari. Both sides of the church and the apse are equally worthy of study. The nave vault (if shut apply to the sacristan of San Canciano) is adorned with 50 panels bearing Heads of Prophets and Saints by Pier Maria Pennacchi (1528). On the raised choir and domed apse were lavished the full artistic powers of Pietro and Tullio Lombardo; note especially the beautiful reliefs. From Santa Maria the Calle Castelli leads E, crossing the Fond. Sanudo (on the left, No. 6099, the Gothic Palazzo Sanudo, now Van Axel) and the Rio Panada. From the bridge we follow the Calle delle Erbe and, after another bridge, we turn to the left to reach the Campo San Zani- polo. Here, on its fine pedestal, rises the equestrian * Statue pf Bartolomeo Colleoni, the famous condottiere (c. 1400-48). This famous monument, a masterpiece oi grandeur and strong simplicity, was begun by Verrocchio in 1481; the pedestal wis finished after his death by Leopardi (1489). During the Great War it accompanied the Horses of St. Marl? to Rome. The church of *Santi Giovanni e Paolo (San Zanipolo; PI. 15), the ' Pantheon of the Doges,' disputes with the5 Frafi (p. .252) the fir^t place among the Gothic churches of Venice. It was- begun by the Dominicans in 1246r though not con- secrated until 1430, and has been restored since 1904. The fine fagade, with a doorway after Ant. Gambello, was never finished; on the left are three 13th cent, dogesj' tombs. The capacious cruciform Interior (315 ft, long; 141 ft. across the transepts), which has lofty aisles separated by ten co- lumns from the nave, is notable for the slenderness of its arches and its luminous choir. Around the doorway is the colossal tomb of Doge Alvise Mocenigo (d. 1577): an$, h|s wife; to the right and left are the monuments, to '"Doges Pietro Mocenigo (d. 1476) by, P. Lombardo, and Giovanni Mocenigo (d. 1485) by T. Lombardo. — In the S. Aisle: 1st chap., Fr. Bissolo (?), Madonna and saints; monument to Marcantonio Bragadin, the defender of Famagusta (p. 194), flayed 9,live by the Turks; in the 4th chapel (of St. Dominic) are bronze reliefs by Gius. Mazza (1670), and a ceiling-painting of the Saint in Glory by Piazzetta, slightly damaged by a bomb in 1916. — S. Transept: at the angle, Bart. Vivarini, St. Augustine, fragment of a polyptych. The adjoining tomb of Nic. Orsini (d. 1509), defender of Padua against the League of Cambrai, has an equestrian statue of gilded wood; in the 1st chap., Lor. Lotto, St. Antonine (1542). The stained glass jjl| $ie iP*eat is from cartoons by Bart. Vivarini (?)Scuola di S. Marco VENICE 26 Rte. 215 and Girol. Moceto (1473); 2nd chap., Rocco Marconi, *Christ and two saints. — N. Aisle: 1st chap., Vittoria, statue of St. Jerome, altar by Gugl. Bergamasco; tomb of Gen. Baglioni (d. 1617), over-decorated; 2nd chap., Old copy of Titian's St. Peter Martyr (see below); next come the tombs of *Doge Nic. Marcello (d. 1474), by P. Lombardo, *Doge Tom. Mo- cenigo (d. 1423), in a transitional style, by Pietro di Nic. Lamberti of Florence and Giov. di Martino of Fiesole, and several other tombs, including that of Alvise Trevisan, the scholar (d. 1528). Over the sacristy door are busts of Titian and the elder and younger Palma; beside it are two carved benches, wrongly attr. to Brustolon (1698).—N. Transept: Tomb of Leon, da Prato (d. 1511), with a wooden equestrian statue; tomb of Agnese and Orsola Yenier (d. 1411), a sumptuous Gothic work by Fil. dalle Masegne, commemorat- ing the wife and daughter of Doge Ant. Venier (1400) whose tomb, in a similar style, is above the adjoining door of the Chapel of the Rosary (see below). On the end wall of the transept is the tomb of Doge Seb. Venier (d. 1578), who commanded the Venetian fleet at Lepanto, by Ant. del Zotto (1907). The Chapel of the Rosary, erected at the end of the 16th cent, from the designs of Vittoria in memory of the battle of Lepanto, was gutted in 1867 by a fire, in which perished Titian's St. Peter Martyr and a Madonna and saints by Giov. Bellini, which had been placed there temporarily. An attempt is being made to restore it to its original appearance. Choir. On the pillars of the choir-arch are SS. Dominic and Laurence, two more fragments of Vivarini's polyptych (see p. 214). On the right are the Gothic *Tomb of Doge Mich. Morosini (d. 1382), highly approved by Ruskin, and the Renaissance tomb of Doge Leon Loredan(d. 1521; wrong- ly dated), by Girol. Grapiglia (1572). On the left are the *Tomb of Doge Ant. Vendramin, a masterpiece of ornament by Tullio Lombardo, and the Gothic tomb of Doge Marco Corner (d. 1368), after Nino Pisano. In the outer chapel on the right, tomb of Sir Edward Windsor (1374); in the inner, monument to Vittor Pisani, a modern reconstitution except for the urn and the top statue; in the outer chap- el on the left, tombs of lac. Cavalli (d. 1384), by Paolo di lacobello dalle Masegne, and of Doge Giov. Dolfin (d. 1361). On the N. side of the campo is^the ScUola di San Marco, one of the six great philanthropic confraternities of the Republic. The sumptuous fa9ade is by P. Lombardo and Giov. Buora (c. 1488-90) and Mauro Coducci (c. 1500). The sculptures are by Tullio Lombardo, except for St. Mark with the brethren of the Scuola, by Bart. Bon the younger, in216 Rte. 26 VENICE Grand Canal the lunette of the over-ornate doorway. The interior is now occupied by a hospital. — We may now skirt the admirable S. wall of San Zanipolo, passing a fine well-head and, farther on, the baroque church of the Ospedaletto (1674). Farther on, beyond the little church of Santa Giustina, we turn first left, then right to reach San Francesco della Vfgna (PI. 16), a church designed by Sansovino (1534), with a facade by Palladio (1568-72) and two bronze statues by Tiziano AspettL In the S. transept is the Virgin adoring the Infant Jesus, a sweet and har- monious composition by Ant. da Negroponte (c. 1450). In the choir are the tomb of Doge Ant. Gritti (d. 1538) and his ancestor Triodano, and, in the pavement the fine tombstones of And. Bragadin (d. 1487) and Marcantonio Trevisan (d. 1554). The Giustiniani Chapel, on the left, is profusely adorned with sculptures by P. Lombardo and his school. From the N. transept we enter the Cappella Santa, containing a Madonna and saints by Giov. Bellini (1507). In the sacristy, beyond, is a triptych by Ant. Vwarini. In the 3rd and 2nd chap, of the N. aisle: Chiaroscuri by Tiepolo, and three statues of saints by Vittoria. ■ The street nearly opposite the Ospedaletto (see above) leads to the church of Santa Maria Formosa (PI. 14-15), partly destroyed by a bomb in Aug. 1916 and now in course of restoration. The campanile is in the baroque style. Of the two facades, that towards the campo is of the early 17th cent.; the other, late 16th cent., overlooks the canal. The interior was transformed by Mauro Coducci in 1492. On the 1st S. altar (to be replaced on completion of the restoration) was a composite ♦Altar- piece by Palma Vecchio (c. 1509), notable especially for the majestic figure of St. Barbara in the centre, typical of the Giorgionesque style of Venetian beauty over the next altar is a triptych by Bart. Vivarini (1473). III. The Grand Canal. The *Grand Canal (Canal Grande or Canalazzo), nearly 2J m. long, 100 to 230 ft. wideband with an average depth of 17 ft., is the high road of Venice. In its course through the city, winding like an inverted S, it passes nearly 200 marble palaces, Gothic or Lombardesque in style, and mostly dating from the 14-18th cent., though a few date back to the 12th. The wonderful changing vistas afforded at every turn of this splendid waterway are unequalled in the world; and the poetic mystery of a voyage by moonlight on its waters will not easily be forgotten. The posts or ' pali' in ffpjx£ of the palaces show the colours of the livery or ' divisa,' of their proprietors. The leisurely gondola is the ideal vessel for the voyage; the motor launches travel too quickly for the stranger to appreciate his changing impressions. In the" itinerary which follows the most interesting objects are marked R. or L. according as they appear on the right or left bank after starting from the Piaz- zetta. The gondolier will name the various palaces. i For the traghetti, carnivals, etc., see pp. 193, 194.—The stations of the Vaporetti are: San Marco (R.), Santa Maria deila Salute (L.), Santa Maria del Qiglio (R.), Accademia (L.), San Tomk (L.)? Sant'Angelo (R.), San SilvestroS. M. delta Salute VENICE 26 Rte. 217 Rialto (R.; Riva del Carbon for the service to the station, Cerva for St. Mark's), C& d'Oro (R.), San Marcuola (R.), Ferrovia (arrival; R.), Ferrovia (departure; R.), Santa Chiara (L.). Leaving the Piazzetta we pass (R.) the Rio del Palazzo Reale and the Capitaneria di Porto, a Lombardesque building of 1483. The 15th cent. Gothic Palazzo Giustinian (R.) is now the Hot. Europa. — On the Punta della Salute (L.) is the Dogana di Mare, a Doric construction by Gius. Benoni (1676-82), with a picturesque turret, two telamones, and a weathervane of Fortune. — The Pal. Treves de' Bonfili (R.)» designed by Monopola, contains statues of Hector and Ajax by Canova; the Pal. Tiepolo-Zucchelli (17th cent.; R.) is now the Hot. Britannia. — The Seminario Patriarcale (L.) comprises an oratory with a Lombardesque altar, a cloister with tomb? and monuments, a lapidary museum and the Pinacoteca Manfrediana, with several good pictures, reached by a handsome staircase. The chief paintings are: Cima, Madonna; Giorgione, Apollo and Daphne; Gentile Bellini, Portrait; Flemish School, Death of the Virgin; Rhenish School, The Vera Icon; Filippino Lippi, Christ with Mary Magdalen, and with the Woman of Samaria; Boltraffio, *Holy Family, Albertinelli, Madonna. The charming little *Pal. Contarini-Fasan (R.; 15th cent. Gothic) has been fancifully called the ' House of Desdemona.' — Opposite is the octagonal church of * Santa Maria della Salute (L.), with its famous dome, built by Longhena (1631-5C) in thanksgiving for the deliverance of Venice from the plague* With San Giorgio Maggiore it is a dominating feature of the view from the Piazzetta. In the chapels on the right of the entrance are three paintings by Luca Giordano; on the left, Descent of the Holy Ghost, a late work by Titian; in the sacristy, three ceiling-paintings and *St. Mark enthroned, youthful works by Titian, who painted also the medallions in the apse. The four marble columns beside the high altar are from the Roman Theatre at Pola (p. 255); on the left is a fine bronze candelabrum by And. d'Alessandro (1570).5 The Palazzi Ferro, 15th cent. Gothic spoilt by alterations, Fini, by Aless. Tremignon (1688), and Gritti, another disfigured Gothic building (all R.), are now occupied by the Grand Hotel and its dependencies. Opposite (L.) we see the apse and cloister door of San Gregorio (1342). Then follow three Gothic palaces: Pal. Minio or Semitecolo (L.), Barbaro (L.; 14th cent.), and Barbarigo (R.).—The Pal. Dario (L.) is a Lombardesque building in varicoloured marble. — The *PaI. Corner deiia C& Grande (R.)> a dignified edifice in the full Renaissance style, by Sansovino (1532), has a fine cortile, and is now occupied by the Prefecture. Facing it is the 7-a218 Hie. 26 VENICE Grand Canal Pal. Venier delle Torreselle or dei Leoni (L.; 1749), of which only the ground floor has been built; within is a luxuriant garden. In the Casa Biondetta (L.) Rosalba Carriera (1676- 1758) died. The Pal. Da Mula, now Morosini Rombo (L.; 15th cent. Gothic) is followed by the Pal. Bdrbarigo (L.), occupied by the Murano Mosaic Co., with a mosaic facade designed by Giulio Carlini. Beyond the Rio San Vio are the Pal. Loredan (L.; 17th cent.) and two Palazzi Barbaro (R.j, one 17th cent., the other 14th cent. Gothic. — The Pal. Manzoni Angarani (L.) is a graceful Lombardesque building. The Pal. Cavalli, now Franchetti (R.) is a sumptuous 15th cent, building, restored in 1890. We pass beneath the Ponte dell'Accademia (1854). The Accademia (L.; p. 226) faces the Pal. Giustinian-Lolin, now Levi (R.)> by Longhena (17th cent.). The two Palazzi Contarini degli Scrigni (L.) are respectively by Scamozzi (1609), and in the 15th cent. Gothic style.— The Ca del Duca (R.) was begun by Fr. Sforza, but builjiing beyond the ground floor was forbidden by the Republic. The Gothic Pal. Loredan (L.), later dell'Ambasciatore, a 15th cent. Gothic palace with decorative marbles, was occupied by the German ambassador in the 18th century.-—Pal, Malipiero (R.), restored in 1622; Pal,} Confarim Michiel (L.), Lon^bardesque. Behind its campo (R.) appears the church of San Samuele, with a little Romanesque campanile! —- The *Pal. Re^zonic© (Li),: by Longhena (c. 1680), with a third story added byGiorgio M as sari (1745), was the last home of Robert Browning, and here He died in 1889. A fine rococo room on the 1st floor has a ceiling by Xiepolo and Luca Giordano. — The Pal. Grassi (R.), likewise by Massari (1705-45), has a stair frescoed with carnival scenes, by .P, Longhi. Qf the two fine Palazzi Giusiiniani (L.; 15th cent.), the second was the residence of Wagner in 1858-59, when he • wrote the second act of • Tristan.' The beautifully proportioned *Pa!. Foseuri (L.; 1428-37) is now the seat of the Commercial School; the late Renaissance Pal. Balbi {L.), now Guggenheim, is by Aless. Vittoria (1582-90). —The two Palazzi da Lezze (R.) have been altered from their original Gothic form; the Pal. Grimani (Ll) is of the late 17th cent. — The graceful building opposite (R.) is the Pal. Contarini delle Figure in the Lombardesque style, by Scarpagnino (1504). Another Lombardesque palace is the Pal. Persico (L.), now Giusiiniani. — Opposite the two Palazzi Tiepoletto (L.), one Gothic, one Lombardesque, are thres Palazzi Mocenigo (R.)» The first was the residence of Emmanuel Philibert of Savoy (1574) and of Giordano BrunoHi alto VENICE 26 Rtt. 219 (1592), who was betrayed by his host; in the second Byron wrote the beginning of Don Juan (1817) and entertained Thomas Moore. The gracious Gothic Pal. Pisani Moretta (L.) was altered in the 16-17th cent.; the Pal. Barbarigo della Terrazza (L.)» by Bern. Contino (1569), takes its name from its fine terrace over the canal. On the R. are the Pal. Comer (Renaissance) and the Pal. Garzoni (15th cent.).—Beyond the Rio San Polo are (L.) the Pal. Cappello-Layard, called after Sir Henry Layard (1817-94), the explorer of Nineveh; andrthe Pal. Grimani, a simple and tasteful structure by Mart. Lombardo (16th cent.). —The Lombardesque *Pal. .Corner- Splnelli (R.) is probably by Mauro Coducci. The Pal. Benzon (R.), in the time of the Countess Marina Benzon (c. 1818), was the rendezvous of Venetian fashion and was visited by Byron, Moore, Canova, etc. The Pal. Bernardo (L.) has a lovely Gothic facade; the Pal. della Madonnetta (L.) is a Romanesque building dating from the 12th cent.; the Pal. Papadopoli (L.) is a work of the best Renaissance period, after the style of Sansovino. — The Pal. Cavalli (R.) is a good example of 15th cent, work; the Pal. Grimani (R.), now the seat of the Court of Appeal is a masterpiece by Sam- micheli (c. 1550) . — The Pal. Businello (L.) is another Roman- esque palace. The modern Pal. Rava {h.)t the last on this side before the Rialto, occupies the site of Petrarch's house and the palace of the Patriarchs of Grado.— The Romanesque 12th cent. *Palazzi Farsetti and Loredan (R.) are now oc- cupied as:thq Town Hall. Next come the Gothic Pal. Dan- dolo (R.), the 15th cent. Pal. Bembo (R.) in the style of Bart. Bon, the birthplace of P. Bembo (p. 195), and the Pal. Manin (R.), now the Banca dTtalia, by Sansovino. The *Ponte di Rialto, which crosses , the canal at this point, was built by Ant. Da Ponte in 1588-92 to replace the previous wooden bridge, which had in its turn superseded a bridge of boats in 1264. Its: single arch, 90 ft. in span and 24 ft. high, is notable rather for strength than for grace. The roadway above is divided into three lanes by two rows of shops, w- We pass between the FoMacQ dei TedescM (R.) and the Pal. ©amerlenghi (L.). The former, once the warehouse of German merchants, was built in 1505 by a German known as Girolamo, and is now occupied by the General Post Office; the: latter, by Gugl. Bergamasco or Bart. Bon the younger (1525^28) is overcharged with ornament; it was once the seat of the lords of Exchequer. — The Pa/. Lion (R.) is an early 13th cent, building. — The Fabbriche Nuove di Rialto (L.), now the Assize Court, are a reconstruction of220 Rte. U Venice Ca d*drd Sansovino's work of 1552-55. Here the boats used to put in laden with fruit and vegetables for market. — The Pal. Da Mosto (R.), Romanesque with Gothic features, was the birthplace of Alvise da Mosto (1432-80), discoverer of the Cape Verd Islands; the Pal. Michiel dal Brusa (R.) was rebuilt after a fire in 1774; the Pal. Michiel dalle Colonne (R.) is a 17th cent, building. — The Pescheria (L.), a graceful modern Gothic building, is interesting to visit when the consignments of fish arrive: behind it is the 13th cent. Pal. Querini. — The 14th cent. Pal. Sagredo (R.) has a sumptuous 18th cent, stair, and is adjoined by the 15th cent. Pal. Pesaro (R.). The famous *Ca d'Oro (R.), the most beautiful Gothic building in Venice, built by Giov. and Bart. Bon (1421-40) and others, was presented to the state in 1895 and contains a St. Sebastian, by Mantegna, a portrait by Van Dyck, and other good pictures. — The Pal. Fontana (R.; 16th cent, after Sansovino) was the birthplace of Clement XIII (C. Rez- zonico, 1693-1769). The Pal. Corner della Regina (L.), by Dom. Rossi (1724), is now the Monte di Piet& and stands on the site of the birthplace of Queen Catherine Cornaro (p. 194).—The enormous Pal. Pesaro (L.), a fine baroque building by Longhena (1679-1710), now contains the Gallery of Modern Art (see p. 222). The Pal. Foscarini (L.) is by Gius. Sardi (17th cent.); the Pal. Grimani della Vida (R.) was probably built by Sammicheli. — The church of San Stae (Sant'Eustachio) has a picturesque baroque fa$ade by Dom. Rossi (1709) and contains a wealth of 18th cent, paintings. — The 17th cent. Pal. Barbarigo (R.) has a fa9ade frescoed by Cam. Ballini. On the L. are the Palazzi Priuli (or Bon, or Dandolo; Byzantine), Duodo (Gothic), and Tron (1590); on the R. the Pal. Soranzo (now Piovene; Lombardesque) and the Pal. Erizzo alia Maddalena (now Boldrini; 15th cent. Gothic). Then come (L.) the Pal. Battagia (formerly Belloni), by Longhena (1608) and the battlemented Storehouses of the Republic. The Pal. Marcello (R.; Romanesque) was the birthplace of Bened. Marcello (1686-1739), the composer. — The *Pal. Vendramin Calergi (R.), by Pietro or Martino Lombardo, is the finest Lombardesque palace in Venice. Wagner died here on Feb. 13th, 1883; the commemorative inscription on the garden wall is by D'Annunzio. — The Fondaco dei Turchi (L.), from 1621 the warehouse of the Turkish merchants, is the most characteristic Romanesque palace (13th cent.) in Venice; it was poorly restored in 1860-69. The church of San Marcuola (R.; Santi Ermagora e For- tamato), by Giorgio Massari (1728-36), the fa9ade of whichScalzi VENICE 26 Rte. 221 is unfinished, contains several paintings by Fr. Migliori, a lit- tle known 18th cent. Venetian. — On the right diverges the Cannaregio, the second largest canal in Venice; it is crossed by the busy Ponte delle Guglie, just short of which is the Pal. Labia, with frescoes by Tiepolo. On the other side of the Grand Canal is the 15th cent. Gothic Pal. Giovanelli (L.). — The church of San Geremia (R.), is a clumsy building by C. Corbellini (1753-60). The interior is more successful and the fine campanile is among the oldest in Venice. The un- finished Pal. Flangini (R.) is attributed to Longhena. — The church of the Scalzi (R.), formerly belonging to the Carmelites, is a typical baroque building by Longhena (1649). The fagade was designed by Gius. Sardi (1683-89). The interior is pro- fusely decorated with marbles and sculptures in the baroque manner. The fanciful ceiling-fresco by Tiepolo was destroyed by a bomb in 1915. The 2nd S. chapel, however, contains his frescoes of the Life of St. Teresa (1725); on the altar is the Saint transfixed by the Angel, by Baldi, a follower of Bernini. In the chapels on the left of the ornate high altar are frescoes by Dorigny and by Tiepolo (c. 1730). We now pass under the Ponte alla Stazione (1858). On the right is the Station, on the left the lofty green dome and Corinthian portico of San Simeone Piccolo. The Giardino Papadopoli (L.) is rich in exotic plants (for adm. apply at the Pal. Papadopoli, p. 219). The Canal of Santa Chiara, on the left at the end of the Grand Canal leads to the church of Sant'Andrea (PI. 9), an early Gothic building containing a fine St. Augustine by Paris Bordone, and a sumptuous altar by Juste Le Court (1679). IV. Western Quarters. From the Campo San Bartolomeo (p. 211) we cross the Rialto bridge with its rows of shops (p. 219), enjoying a good view of the Grand Canal on either side. Beyond the bridge on the left are the Fabbriche Vecchie di Rialto, by Scarpagnino (1520-22); on the right the Palazzo dei Camerlenghi (p. 219) and the little church of San Giacomo di Rialto (PI. 14), sup- posedly the oldest foundation in Venice, but several times rebuilt. It preserves a few Corinthian capitals of the 6th or 7th century. Opposite is the Gobbo di Rialto, a crouching figure which supports a flight of steps leading to a rostrum pf Egyptian granite whence the laws of the Republic were proclaimed (comp. p. 201). Behind San Giacomo is the Erberia, the fruit and vegetable market. — Keeping straight on, we reach the church of San Cassiano (1611), beyond which, to the left, is Santa Maria Mater Domini (PI. 13; open in the morning only), a Renaissance church with a fa9ade by Sansovino (1540). The simple interior contains: (1st S, chapel) marble figures of saints by Lor, Bregno (1524) and222 Rte. 26 VENICE San Giacomo Ant. Minello de'Bardi; (2nd S. chap.) Vine. Catena, St. Christ- ina; (1st N. chap.) Fr. Bissolo, Transfiguration. In the S. transept, after Bonifacio, Last Supper; N. transept, Tintoretto, ♦Invention of the Cross. In the apse is a wooden Madonna, after Donatello. A notice-board here directs us to the Gallery of Modern Art (PL 8), which occupies the Palazzo Pesaro (p. 220), and contains a good collection of modern works, mostly purchased at the biennal exhibitions (p. 211). Adm. 9-4, 3 L. Among the pictures may be mentioned the following: Anna Boberg, Snow and Sun; F. Brantley, Sheep-shearing; Brangwyn, Communion of St. Simon Stylites; Carcano, Summer in the mountains; Claus, Autumn; Cottet, Pardon in Brittany; East, Valley ot the Nene; Favretto, On the Piazzetta; Larsson, Martina; La Touche, War; Lavery, Mother and son, Lady in Pink; Lembach, Leo XIII; Maliavin, Laughter; Mesdag, Arrival of the fishing-boats; Morbelli, Christmas with Those who Remain; Oppler, Memories; Sorolla, Mending the sail; Tiio, On thelagdon; Veruda, Portrait of a sculptor; Zorn, Brook; Zuloaga, Aunt Louise. : Amongthissculptures are: Meunier, Lonjgshttremaii; Trbntitio&€, Ti5trrann A J '^:r Puntadi Qumtavalle 2vla^sLzzini (id Punln Fran on Pimla d, Salute; •aiia diMare sr1^ G-egorio .pVuShta- Sacca. Fisolcu Pimia della Motta iiiri^oca VENEZIA Seals di 1 : 10000 3 50 100 200 30O. | • TraghetU j Yaporetti .DELT.C.I.-CAPOCARTOGRAFO P.CORBEIUKI STAMPA: ANTONIO VALLARD!7-8 11-12 24 3 7 23 14-20 23-30 22 13-14 15-22 13 24 32 4-9 1 2 25 14 14 14 21 19 20 8-13 8 22 18-19 15 12-19 m- ?o- 19 31 28 30-31 3-7-11 21 20 14 20 21 7 21 14 i 31 31-38 30-31 8-9-14 26-27 27 into 27 go 25-20 21 Campi (Camps): - Sant'Andrea! 11 - Sant'Angeloi 20 - S&nti Apostoli 14 — Santi Giovanni e Pao- lo 14-15 - San Trovaso 26 - San Yio 27 - San Vitale 27 - Sauro N. 12 - Tana (della) 23 Canal Grande 11-12-7-8-13- 14-20-19-26-27 Canati (Canals): - Galeazze (d.) 16 -Giudecca (della) 25-26-33-34-35-28 - Grazia (d.) 29-36 Lauranefri (dei) 32 - Porta Nuova 24 - San Marco (di) 29-30-37 - San Pietro 24 - Santa Chiara 6-11 — Sanfc'Elena 31*38 - Ternita (di) 16-23 Cannaregio (Canale di Mestre) 1-2-7 Cantiere 36 Career! Giudiziarie 18 Caserma 16 Caserma 22 Caserma 24 » d'Artiglieria 29 » Genio 29 » Gesuiti 9 » A. Poerio 27 » San Baniele 24 Centrale Elettrica della Cellina 6 Chiese (Churches): — Gesuati 26 — Gesuiti 9 — Gli Scalzi 6-7 — I Carmini 19 — I Frari It — II Redentore 34 — I Tolentini 11-12 —• La Fava 14 — La Maddalena 8 — La PietA 22 — Le Penitenti 1 — Le Zitelle 35 — Lo Spirito Santo 27 — Madonna dell'Orto 3 — Ognissanti 26 — San Bamaba 19 — San Bartolomeo 14 — San Benedetto 20 - San Biagio, 23 - San Canciano 14 - San Cassiaio 13 - San Fantin > 20-21 - San Felice 8 - San France ;co della Vigna ' 16 - San Francesco de Paola ' 23-24 - San Gallo 21 Chiese ( Churches): —■ San Geremia 7 — San Giacomo dalPO- rio 12-13 — San Giacomo di Rial- to 14 — San Giobbe 6 — San Giorgio degli Schiavoni 22 — San Giorgio dei Greci 22 — San Giorgio Maggiore 29 — San Giovanni 14 — San Giovanni Criso- stomo 14 — San Giovanni Decol- lato 7-8 — San Giovanni Evan- gelista 12 — San Giovanni in Bra- gora 22-23 — San Giovanni Nuovo 21-22 — Sin Giuliano 21 — San Giuseppe 81 -— San Gregorio 27 — San Lazzaro dei Men' dicanti * 10 — San Lio 14 — San Lorenzo 15 — San Luca 20-21 — San Marciliano 8 — San Marco 21 — San Martino 23 — San Maurizio 20 — San Michele 5 — San MoisS 21 — San Nicold 18 — San Pantaleone 19 — San Pietro di Cast. 24 — San Polo 13 — San Raffaele Arcan- gelo 25 — San Rocco 12 — San Salvatore 14-21 — San Samuele 20 — San Sebastiano 25 — San Silvestro 13 — San Simeone Grande 7-12 — San Simeone Piccolo 12 — San Stae 8 — Santa Caterina 9 — Santa Chiara 11 — Santa Fosca 8 — Sant'Agnese 27 — Sant'Alvise 3 — Santa Marcuola 7-8 — Santa Maria dei Mi- racoli 14 — Santa Maria della Sa- lute 27-28 — Santa Maria del Pianto 15 — Santa Maria Formosa 14-15 — Santa Maria Mater Domini 13 — Santa Maria Zobenigo 20 — Sant'Andrea 11 | is-i VENEZ1A. Chiese (Churches): — Sant'Antonlno — Sant'Aponal —> Santa Sofia — SantA Teres* — Sant'Eufemia della Giudecca — Santi Apostoli — Santi Giovanni e Pao- lo — San Tomk 19^ — Santo Stefano £o —- San Trovaao £6 — San Vitale io — San Zaccarfa 22 Cimitero 6 Commenda di Malta 15-22 Corte Canal Corte Grande Cotoniflcio Veneziano Darsena di Arsenale Vec- chio Darsena Grande 23>-24 Distretto Militare Dogana di Mare Erberia Esposizione Internationale d'Arte Fabbrica dei Tabacchi (R.) 11 Ferrovie dello Stato (Di- rez. Compartimentale) Fondamenta: — Arzere — Bari 18 — Croce (della) — Croce (d.) 34 — di Cannaregio 1- — Nuove 9 — Osmarin — Pescheria 18 — Ponte Lungo 33 — Ponte Piccolo b3 — Quintavalle 24 — Rossa 18 — San Biagio 32-83 —- San Giacomo 84 — San Giovanni 85 —• San Simeone Piccolo 11-12 — Santa Chiara 11 — Santa Lucia [11 — Zitelle (d.) 35 Frezzaria 21 Galleria Arte Moderna (Palazzo Pesaro) i 8 Ghetto Nuovo ; 2 Ghetto Vecchio i-7 Giardini Pubblici 131 Giardini Pubblici (In- j gresso) 31 Giardino Papadopoli 111 Giardino Reale 121 Giudecca (La) 32-33-34^35 I sole (Isles): — San Giorgio Maggio- re (di) 29-36 -*• San Pietro (24 Libreria Yecchia 21 Lista di Spagna 7 .Xista Vecch. ± Bari 7-12 Macelli Pubblici 1 Magazzini del Punto Franco 25 Merceria 14-21 Molo 21 Municipio (Palazzo Far- setti e Loredan) 20-21 Museo Civico (Fond. d. Turchi) 7-8 Officina del Gas 15 Orseolo 21 Ospedaletto (L') 15 Ospedali {JJospitals): —- Civile 15 — Militare 11 — Umberto I 2 PalazzI (Palaces): — Ambasciatore (d.) 19 — Balbi 19 — Barbarigo 20 — Battaglia 8 — Bembo 14 — Bernardo 20 — Camerlenghi (d.) 14 — Cavalli 27 — Contarini degli Scri- gni 26 — Contarini delle Figure 20 — Contarini Fasan 27-28 — Corner della Ca Gran- de (Prefettura) 27 — Corner della Regina 13 — Corner-Mocenigo 13 — Corner-Spinelli 20 — Da Mula 27 — Dandolo 14-20-21 — Dario 27 — Ducale 21 — Emo-Treves 21-28 — Erizzo 8 — Esposizione (dell') 31 — Farsetti e Loredan (Municipio) 20-21 — Fini e Ferro 27-28 — Flangini 7 — Foscari (R. Scuola Sup. di Commer- cio) 19 — Giovanelli 8 i — Giustiniani 19 — Giustinian-Lolin 20-27 — Grassi 19-20 — Grimani 13-? ft — Grimani 15 — Grimani 19-20 — Grimani 20 — Grimani d. Vida 8 — Labia 7 — Layard 20 •— Loredan 27 — Malipiero 19-20 — Manin (Banca d'Ita- lia) 14 — Manzoni-Angarani 27 — Mich, delle Colonne 13-14 Palazzi (Palaces): — Mocenigo — Moro-Liu 19- — Morosini — Papadopoli 11- — Papadopoli — Patriarcato (d.) — Persico — Pesaro (Galleria Arte Moderna) — Pisani — Querini-Stampalia 21- — Reale — Rezzonico — Sagredo 8-9-13- — Tiepolo — Trevisan 21- —> Tron — Yalmarana —• Yendramin Calergi Paludi di.S. Antonio Pescheria 18- Piazzale Ceiestia (d.) Piazxe (Squares): — Bandiera e Moro — Manin 20- — San Marco Piazjetta Pontl (Pouts): — Accademia (dell') — alia Stazione — dei Sospiri 21- — di Rialto — Paglia (d.) 21- — Vin (d.) Posta (Fond, dei Tcde- schi) Posta e Telegraio (Suc- cursale) Prefettura (Palazzo Cor- ner della Ca Gran- de) Prigioni 21- Procuratie Nuove Procuratie Veechie Punta della Motta Punta della Salute Punta di Quintavalle Questura Riello Rii: — Albero (dell') 20- — Angelo (dell') — Arsenale (d.) — Barcaroli (d.) 20- — Battello (del) — Beccaria (d.) — Burchielle (delle) 11- — Ca di Dio — Caffaro (d.) 11-12- — Ca Foscari — Carmini (d.) 18- — Convertite (delle) 32 — Crea (della) *— Crisostomo (di) — Croce (d.) — Eremita (dell') —- Fava (d.) — Foroaei (d.) 33 9-10-14 13 15 22 34 33 19 82 13 24 8 n (d.) 18 — Malpag4 19-26 — Marin 12 — Mendicanti (dei) 10-15 — Miracoli (d.) 14 ~ Misericordia 8 — Mocenigo 13 — Munfeghette (d.) 12 — Noal'e (li) 8 — Ognissaiiti 26 — Palazzo (di) — Palladar — Panada (della) — Pergola (d.) — Pestrin (d.) — Pietk (della) — Ponte Lungo Ponte Piccolo — San Bainaba — San Bitgio (di) — San C^siano — San D^.iele — San Felice — San Fiincesca della . Vigna 15-16 — San Giicomo dall'O- Ho 12-13 — San Gipbbe 1-6 — dan Giovanni Decol- lato 7-12 — San Girolamo 2 — San Giuliano 21 — San Giuseppe 31 — San Lorenzo 15-22 — San Luca 20 — San Polo 13-20 — San Sebastiano 18-25 1— San Serero 15-22 — Sinta Caterina 9 — Santa Fosca 8 — Santa (iiustina If — Sant'Alvise 2-3 — Santa Margherita 19 —- Santa Maria Formosa 14-21 — Santa Maria Maggiore 11-18 — Santa Marina 14 — Sant'Ardrea 9-11 —■ Sant'Anna 23-31 — Santa Sofia 9 — S&nt'Eufemia — Santi A postoli Santo dteiano Sensa — Tana Terra Terr;1 Terra 33 9-14 20 26 27 2-3 23-24 19 j( della) ®iella) fanale fcei Catecumeni 27 flei Pensieri 18 Terra .Foscarini 26-27 Terrii J^laddalena 8MURANO 26 Rte. 231 the Riva degli Schiavoni), a church on a separate island, founded in the 10th cent., rebuilt by Palladio in 1565-80, and finished in 1610 by Scamozzi. The fa$ade is one of Palladio's most successful designs. The fine Campanile, 197 ft. high, commands a splendid view: Venice is seen in its most picturesque aspect, surrounded by the lagoon and its islands; to the E., beyond the Lido, extends the Adriatic; to the W. are the Euganean hills; and on the N. and N.W. horizon rise the distant Alps. The dignified Interior, on the plan of a Latin cross reversed, has an aisled nave and a central lantern. In the S. Aisle: (2nd chap.) Crucifixion in wood, attr. to Michelozzo, but more probably by the German carver known as Lando; (3rd chap.) Tintoretto, Martyrdom of SS. Cosmas and Damian. — S. Transept: Tintoretto, Coronation of the Virgin. — Choir: on either side of the entrance, Tintoretto, Last Supper, Fall of Manna; on the altar, Campagna, Christ on a globe borne by the Evangelists, and two Angels (bronze group); in the apse, baroque * Stalls in carved wood by the Flemish artist Albert de Brule (1598); altar on the left, Tintoretto, Resurrec- tion, Morosini family. — N. Transept, Tintoretto, St. Stephen, Environs of Venice. The Venetian Lagoon (Laguna Veneta), separated from the Adriatic by a low and narrow bar called the Lido, which is pierced by five channels, is a broad expanse of shallow water, 210 sq. m. in area. A great part of this (115 sq. m.) is occupied by the Laguna Morta (comp. p. 191), which is flooded only by high spring tides. On many of the islands of the lagoon shiall towns have sprung up which are interesting not only for their unusual aspect but also for their history and art. They are served by vaporetti (comp. p. 193) and a visit to at least one of them should not be omitted. From Venice to Murano, £ m. N.E., steamer every 20min. from the Fondamenta Nuove (PI. 9). We touch first at the Isola San Michele, on which are the Cemetery and a Renaissance Church by Mauro Coducci (1469-78) with a delightful interior. Adjoining is the hexagonal Cappella Emiliani,, by Gugl. Bergamasco (1536). Fra Mauro (d. 1459), the cartographer (p. 195), was a monk in the convent, and Silvio Pellico was imprisoned here in 1822 before being sent to the Spielberg. MURANO : is a miniature Venice (5131 inhab.) on five small islands. Since 1292 it has been the principal centre af the Venetian glass industry/and c, 1441-50 it was the seat of the studio of Ant. Vivarini and Giov. d'Alemagna. From the steaihfer-quay we follow the Rio dei Vetrai to (6 min.) San - Pietro Martire, an early Gothic church considerably altered. It contains (S. side) a *Madonna byGiov. Bellini,nt Be. M TORCELLO Environs St. Jerome, by Veronese, and (N. side) an Assumption with saints, by Giov. Bellini.—Crossing the Canal Grande we turn to the right to reach the Palazzo Comunale, which ac- commodates the Museo dell'Arte Vetraria, an interesting collection of glass from the oldest Oriental ware to the products of the modern factories which have received a new lease of life under the control of Salviati, and may be seen on application. — A little farther is the basilica of *Santi Maria e Donato, a magniiicent specimen of Italian Byzantine, dating from the 7th cent, and rebuilt in the 9th and 12th. The *Apse has two rows of arches on twin columns, the lower arcade being blind; the isolated campanile is striking. The columns of the nave have interesting capitals and support stilted arches; the floor mosaic dates from 1140. In the N. aisle are a wooden relief of San Donato (1310), a Madonna by Lazz. Bastiani, and a 14th cent, polyptych of the Death of the Virgin. In the semi-dome of the apse is a Byzantine mosaic of the Virgin. — From Murano to Burano, see below. From Venice to Burano and Torcello, steamer 8 times daily to Burano, 3 times to Torcello. —The steamer leaves the Fondamenta Nuove (pier a little W. of the Murano pier), touches at Murano (Via Garibaldi), and proceeds to (5 m. N.E.) Burano, a melancholy little fishing-village, famous for its lace, but without remarkable buildings. — Mazzorbo, f m. N.E., has a picturesque cem- etery and the little church of Santa Caterina. — San Francesco nel Deserto, 20 min. S. by gondola, an island in the most deserted part of the lagoon, is identified by its clump of cypresses. It is said to have been a retreat of St. Francis in 1220 and now contains a charming little church and two cloisters. TORCELLO, 1 m. N. of Burano (15 min. in a gondola, a charming voyage), now a poor village in the most desolate part of the lagoon, was the refuge of the people of Altinum (p. 241), and from about the 6th to the 13th cent, a flourishing town of 20,000 inhabitants. Its downfall was due to the rivalry of Venice and the malaria from the ever-increasing marshes. Around the little piazza, on the right of the landing, are grouped the principal buildings. The church of Santa Fosca (1011?) is octagonal in plan with a porticus on five sides and a triple apse. The ^Cathedral is an extremely interesting Byzantine building (641), considerably altered in 864 and 1008. In the middle of the narthex which precedes the fajf Catciw \TnipTifj(iWiCl(WDtia, ii-.Gwtituw 'RlWlV Mttrajio •A,F,.,'S.XeCtrrrriA SJflchele „ y> vste' i Malawi pto aiav Moiximant«» lalttto Giare ■ Iritrre VuUf. V«Uf C«mttro ) 4 mVoUa, ,/ $ SJHetro In VnUn- .*/ P"smx>!J £ F.S.Sttom 1 s. / / VriUeKoss (.'onvittot S S.Teoiilst t Garibaldi ^ «( Cas")» ' <1 Ax'ligl. TREVISO Scaladi l : 13000 BO 100 200 300 Mftri Jhanria urbane Meutre 3Mestre UPF. CARTOOH. DEL T.C.I.-CipoCartognafo > P.CORRCLLINI 3TAMPA: A VALIARDI- MILANOTREVISO. Alherghi (Hotels): — Baglioni 3B,b — Centrale Cerva 3B,c — Stella d'Oro 3B,a Banche (Banks): — d'Italia 2B — Trevigiana 2-3B Barriere (Town Gates): — Calvi P. F. IB — Carlo Alberto 5B — Pra Giocondo 2 A — Garibaldi 4B — V ittorio Email. 3C Biblioteoa e Museo 1A B org h i (Suburbs): — Cavalli 4 A — Cavour 1A — Mazzini 4A — Vittorio Eman. 3C Oal Maggiore 2-3A 3B Canali (Canals): — del Cristo 4-5 A — della Polveriera 2-8-40 Casa di Ricovero 4A Caserme (Barracks): — d'Artiglieria 1AB 3C — di Fanteria 2 A — del Genio 4B Chiese (Curettes): — San Gaetano 4B — San Gregorio 3B — San Leonardo 3-4B — San Nicold 2B — Sant*Agnese 1A — Sant'Agostino 4 A — Santa Maria Mad- dalena 4 A — Santa Maria Mag- gicre 4-5B — Sant'Andrea 3B Cdmando del Pre- sidio 4 A Convitto Han Teo- nisto 3B Duomo 2AB Episcopio 2B Ffumi (Rivers): — Botteniga 3 A — Sile 4-5B 1-2C Fossa Urbana 1AB Giardino Pubbliro 3C Intendenza di Fi- nanza 3B istituti (Institutes): —- Oariossiane 3-4B — Tecnico 2B Maceilo 4-6B Mercato dei Grani 4A Munieipio 3 A Ospedale 3-4B Palazzo dei 300 3B Pescheria 3 A Piazze (Square*); — Bersaglio 30 — Duomo < del) 2AB — Filippini 3 A — Ordelaffi 3A — Pola 2-3B — San Francesco 3A — San Leonardo 3B — Signori (dei) 3B Pinacoteca 3B Politeaina Garibaldi 2-3B Porte (Gates): — Cavour 1A — Mazzini 4A Posta 4AB Prefettura 3AB Riviera Garibaldi 3-4B » Regina Mar- gherita 3CB Riviera San Paolo 3-4B Seminario 1 2B Staaione FF. SS. SC Strade (Roads): — della Polveriera 3-4-5C — Provinciale 5A — Santa Sofia 5B Teatro 2-3B Telefono 3B Telegrafo 3A Tribunale 2A Viali (Alleys): — Cairoli 1-2A —- Trento Trieste Intendenza di Fi- 1 ABC 2C ViCOIi (Narrow 8treets) : — Avogari 2B — Mercato dei Buoi 4A Pescheria 3 A — Re Umberto 3B Rialtc 3B Vicoli (Narrow Streets): — Risorgimentu 1-2B — Stella (della) SB Vie (Streets): .— AHoeeo 2 A — Bprberia 3B — Campana (della) 3 A .— Canova 2A — Cantarane 2AB IB — Carlo Alberto 4B — Casini (dei) 4B Castel Menardo 2B Colialto 2-3B — Commenda 4AB — Convertite 4AB — Cornarotta 2-3 A — Dotti 2A — Ferrarese 3A -• Fiunticelli 3B - Inferiore 2-3A - Istituto di Mezzo 2B - Manin 2-3B - Manaoni 3-4A - Marzolo 2A -- Mercato dei Buoi 4A - Munieipio (del) 3A - Mura (delle) 1- 2-3A - Mura di S. Teo- nisto 1AB __ Oro (dell') 2B - Orsoline 2 A - Palestro 3AB - Panciera 2A ----- Paris Bord. 2B - Pescatori 3B - Poste (delle) 4 A —. Regina Marghe- rita 3B - Re Umber to 3B - Riccati 2 A -- Risorgimento 1-2K - Roggia (della) 2-3 A - San Nicold 1-2B -- Sant'Agostino 4A __, S. Parisio 3 A - Stangade 4AB ----- Tezzone (del) 2BC ---- Tolpada 4B ---- Turazza •2 in -- vittorio Emau. 3CB 1 ABC 2Cto Vienna CIV ID ALE 27 Rte. 239 History. XJdine (Utina) is first mentioned in a document of 983, but Attila is said to have hence surveyed the burning of Aquileia (comp. p. 24.2). About 1222-38 it became part of the patriarchate of Aquileia and it afterwards de- fended itself against Cividale, Da Camino of Treviso (c. 1300), and Card. Philip of Alengon (c. 1390). In 1420, after a stubborn resistance, it surrendered to Venice. The treaty of Campo Fdrmio abandoned it to Austria but it has been Italian since 1866. In the Great War it was Italian G. H. Q. until Oct. 1917* The Via Aquileia leads to the picturesque and elegant Piazza Vittorio Emanuele, in which stands a remarkable Palazzo Civico, built in the Venetian style by Nic. Lionello (1448-56) and reconstructed after a fire in 1876. In the piazza likewise are the Loggia di San Giovanni (1533), with a clock tower, and a fountain by Giovanni da Iodine. We pass under the Arco Bollani, by Palladio (1556), and mount tp the old Castello, the former seat of the patriarchs, in which are installed the Museo Civico, Pinacoteca, and Museo Friu- lano, all of which deserve a visit. From the Piazza Vittorio Emanuele we follow the Via Belloni to the much-restored Duomo, a Transitional 'building of 1235 retaining a good Gothic portal (1390) and a heavy- campanile of earlier date. The transepts and choir with their mouldings and statues, the frescoes by Dorigny, and the carved choir stalls form an admirable ensemble in the baroque style. In the 4th chapel of the S. aisle are frescoes by G. B. Tiepolo. — To the right of the Duomo stands the Oratorio della Purita, with admirable frescoes by G. B. and D. Tiepolo. The Palazzo Arcivescovile (1610), containing frescoes by G. B. Tiepolo and a chamber painted by Giovanni da TJdihe, was the seat of G. H. Q. in 1915-17. The church of the Madonna delle Grazie, a little farther on, has a rich and elegant interior. From TJdine to Cividale, 10 m. (16 km.), railway in £ hr. The line runs N.E.:—10 m. (16 km.) Cividale {Hot. Tamburino; Friuli), a little town (4220 inhab.) pleasantly situated on the Natisone, preserves some interesting relics of medifflval times. It was the capital of the Friuli (a corruption of the Roman Forum Julii), the first Lombard duchy created in Italy, afterwards a free duchy and ' march,' of which Berengar, later king of Italy, was the most illustrious duke. From the 8th. cent, until 1238 Cividale was the usual seat of the patriarchs, of Aquileia. It was the birthplace ot Paulus Diaconus (Warnefride; 8th cent.) historian of the Lombards. — Within the Duomo, rebuilt after 1502, probably from the plans of Tullio Lombardo, is a curious octagonal *Baptistery, composed of Byzantine remains. The silver-gilt ' pala ' of the high altar and the treasury also deserve notice. The * Archaeological Museum, close by, contains Roman remains, the former pavement of the Baptistery, the so-called sarcophagus of Duke Gisulphus, fragments of Lombard and Byzantine architecture, and a number of reliquaries, psalters, etc., from the 6th cent, onward. The *Tetn- pietto, outside the Porta Brossana, is built of Roman and Byzantine fragments, with interesting mouldings, and contains finely carved Gothic choir stalls. The Natisone is spanned by the bold Ponte del Diavolo, rebuilt in 1919, beyond which are the churches of San Martino, with the marble oratory of Duke Rachis (744-749) and some primitive Lombard bas-reliefs, and Santa Maria dei Battuti, with240 Rte. if GORIZIA Prom Venice a good Madonna and saints by Pellegrino da San Daniele. The Madonna del Monte (2028 ft.; hr.) offers a splendid view. — A steam tramway plies from Cividale to (16 m.) Caporetto, memorable for the disaster to the Italian armies in the autumn of 1917. From IJdine to GorIzia and Monfalcone, 34f m. (56 km.) in lf-2 hrs. (27 1. 15, 18 1. 50, 11 1. 25 c.). The line runs E. via (13i m.) Cormons (3893 inhab.), the ancient Cor Montium, later a Lombard citadel and a seat of the patriarchs of Aquileia (628-737). We cross the Isonzo, famous for the battles of 1915-17. — 21 m. (34 km.) Gorlzia {Hot. delta Posta, R. 8, D. 11, pens. 20 1.), an almost entirely modern town (26,334inhab.) with two railway stations, on the left bank of the Isonzo, belonged to Austria practically since 1500. It was captured by the Italian armies on Aug. 8th, 1916, lost again in 1917, and recap- tured in Nov. 1918. From the Piazza della Vittoria, in which is the richly-decorated Jesuit church, the Via Rastello leads to the Duomo, remodelled in 1682 and again partially in 1877. The vaulting, with its frescoes by G. Quaglia, was almost entirely destroyed by bombardment. The treasury is interesting. The old Castello, a residence of the former counts of Gorizia, stands on a height (i hr.), with the small Gothic church of the Santo Spirito (1398) and a keep with a large Lion of St. Mark by Giovanni da Campione (1509). The view is superb. Gorizia is on the direct line from Trieste to Vienna (comp. p. 248); the station (Nord) on this line is outside the town to the N.E. — Beyond Gorizia the line describes a curve and reaches the foot of the Carso, which is skirted all the way to Monfalcohe; military cemeteries are seen here and there. — 27£ m. Gradisca- Sdraussina. Gradisca, on the opposite bank of the Isonzo, is an old Venetian fortress ceded to Austria in 1511 and the object of the ' War of Gradisca ' in 1600. — At (30 m.) Rediphglia is one of the greatest war cemeteries in the world (24,500 graves).—34f m. (56 km.) Monfalcone, see p. 243. The branch line from Odine to (18£ m., 30 km.) San Giorgio di Nogaro (p. 242) runs via (1.1 m.) Palmanova, an old Venetian stronghold built on a hexagonal plan (1571), and fortified by Napoleon. It has a Duomo by Scamozzi, and three fine gateways, all of which were damaged in 1915-18. A branch line runs irom Palmanova to (7 m.) Cervignano (p. 242). Beyond tJdine the line turns N., via (93£ m.) Tricesimo and (96J m.) Tarcento, and passes through a hilly region bearing traces of the moraines of the old glacier that flowed down the valley of the Tagliamento. — 102£ m. (165 km.) Gemona-Ospedaletto is the station for Gemona (Hot. Stella d'Oro; Friuli), a little town (6300 inhab.) with an old castello and some ancient houses, charmingly situated on a height below Monte Glimina. The 13th cent. Duomo has an imposing tower and an interesting treasury. The Palazzo Comunale dates from the Renaissance. In the church of the Madonna delle Grazie are a Madonna by Cima and a St. Anna of the school of Diirer. A branch line runs from Gemona to (31 m., 50 km.) Casarsa (p. 238), vi& (19f m.) Spilimbergo, which has a 13th cent. Duomo notable for its Gothic choir- stalls by Marco Cozzi (1477) and its paintings by Pordenone. 105f m. Venzone (Hot. Leone), on the Tagliamento, is a little town of entirely mediaeval appearance, with well- preserved walls, many ancient houses, and a graceful Palazzo Municipale. The * Duomo is fine; some of its tombs contain mummified bodies. — We leave the banks of the Tagliamento, and traverse a region that is much exposed to floods. - 109 m.to Vienna TARVlSIO 27 Jtte. 241 Stazione per la Cdrnia lies 1£ m. N.E. of the meeting of the Fella with the Tagliamento. A branch line runs hence to (12^ m.) Villa Santina (Hot. Brovedani), vi& (7 m.) Tolmezzo (Hot. Roma; Alle Alpi), a starting-point for numerous excursions and ascents in the Carnic Alps (a continuation of the Dolomites). . We are now in the midst of mountains; to the left is seen the pyramid of Monte Amariana (6254 ft.). The valley of the Fella narrows. — 114 m. Moggio Udinese; 116 m. Resiutta; at the foot of the Val Resia.—We mount steadily past (121 m.) Chiusaforte, which is seen below the railway, at the entry of the Val Raccolana. — Tunnels, bridges, and viaducts succeed each other without intermission as we go on via (125 m.) Dogna (1520 ft.). The well-engineered Canale del Ferro is seen from the train. — 128 m. Pontefella-Pontebba, on the old Austro-Italian frontier, was the former international station and custom house. We leave the Italian-speaking valleys behind us, and enter a German or Slavonic region, devastated in the War. — 134J m. Malborghetto (2390 ft.), with a fort partly destroyed. We follow the valley of the Fella almost due E., leaving on the right the Val Seissera, frequented as a summer resort (Hot. Seissera), and the Jof Fuart or Wischberg (8746 ft.). — The summit-level of the line is reached near (139J m.) Camporosso (2638 ft.). 142 J m. (230 km.) Tarvisio or Tarvis (Hot. Centrale, R. 6 1., D. 10-12 1.), the frontier station, is a little summer resort (2400 ft.) and a junction for Trieste via Piedicolle and for Laibach. The Austrian frontier is 2 J m. farther N. at Por- ticinfcor Thorl. '■— The fast international trains go on thence t® (34§ m.) Villach or Villaco and (398£ m., 641 km.) Vienna. 28. FROM VENICE TO TRIESTE Railway, 97| m. (157 km.) in SJ-5} lire. (741.5, 49 1. 85, 29 1. 40 c.); to Portogruaro, 48 m. (69 km.) in li-2£ hrs. (33 1. 25, 22 1. 50,13, 1. 50 c.); to Cervignano (for Grado), 69 m. (Ill km.) in 2£-3 hrs. (52 1. 60, 35 1. 65, 211.15 c.). View of the sea (beyond Monfalcone) on the right. Steamer Services. The steamer voyage from Venice to Trieste (departures 4-5 times weekly) takes 4J-5 hrs. For the hours of sailings, fares, etc., see local announcements. Venice, see Rte. 26. Thence to (5J m.) Mestre, see p. 191. The coast railway, which we follow, branches to the right, ^ 15i m. San Michele del Quarto is the station for (4J m. S.E.) the village of Altino, the Roman Altinum, destroyed by Attila and the Lombards. We cross the Sile, and, farther on, the Piave, famous for the Italian resistance after the great retreat from Gaporetto in the autumn of 1917. The Austrian 8242 lite. 28 AQUIL&IA Prom Venice attempts to cross the river in 1917 as well as in June 1918 were frustrated. Some British divisions, as well as artillery- units, fought on the Piave. Most of the villages on the banks were destroyed. — Beyond (26f m.) San Dona di Piave and (31 m.) Ceggia we cross the Livenza and quit the battlefield. 43 m. (69 km.) Portogruaro (Hot. Bompan; Corazza; Itdlia), on the Lemene, is an ancient town (4502 inhab.), much injured in the War. The Duomo has a good Romanesque campanile, the Palazzo Comunale is Gothic, and in the Via Vittorio Emanuele are a number of 15-16th cent, houses with characteristic porticoes. The Museo in the Via Ga- ribaldi contains objects from the Roman station of Concordia Sagittaria (3 m. S.), a Greek statue, and other antiquities. The branch line from Portogruaro to (13f m.) Casarsa (p. 238) passes (10 m.) San Vito al Tagliamento (Hot. Stella; Scala), the birthplace of the painter Pomponio Amalteo (1505-88), with a Duomo noticeable for its tall campanile. — The line to (33 m.) Treviso (p. 235) runs via (10£ m.) Motta di Livenza and (17 m.) Oderzo (Hot. Centrale), the Roman Opitergium, with a fine 10th cent, curch. We cross the Tagliamento, a gravelly seasonal stream that offered ' no abiding-place ' to the Italian armies after the rout of Caporetto. — 51J m. Latisana. — 62J m. San Giorgio di Nogaro, a junction for Iodine (p. 238), has a little harbour on the neighbouring lagoon. We cross the old Austro- Italian frontier. — 69 m. (111km.) Cervignano (Hot. Angelo d'Oro; Friuli), important chiefly as a railway junction, has a commercial port on the Ausa. Motor omnibuses ply hence to Gorizia (p. 240). From Cervignano to Aquilidia and Grado, 8 m. (13 km.), railway in 35 min. to Pontile per Grado; thence to Grado by motor-boat in connection with the trains.—The chief intermediate station is (4£ m., 7 km.) AQUILEIA {Hot. Posta; Aquila Nera), among the marshes of the Isonzo, a very ancient town, where Augustus often resided. It was devastated by Alaric in 410 and razed by Attila in 452. Its prosperity revived under its bishops, who were styl- ed patriarchs, and it became the capital of the largest ecclesiastical principality of Northern Italy. In 1420 the civil power passed to Venice, and in 1751^ the patriarchate came to an end. A few steps from the station rises the "Basilica or Duomo, originally built in the 4th cent, and the seat of a historic Council in 381. It was replaced in turn by two other basilicas, then rebuilt in the Rom- anesque style by the patriarch Popone (1021-31), and remodelled in the Gothic style after 1348. In the fagade is a portico of the 11th cent., joining it to the remains of the ' church of the pagans' and the baptistery. The interior gives an impression of deep solemnity. The mosaic * Pavement dates from the original 4th cent, basilica. At the end of the S. aisle is the Gothic chapel of St. Ambrosius, built by the Torriani in 1298. The S. transept preserves some Byzantine capitals. The Renaissance pulpit and the altar to the right of it, with a good Pietk, are the work of Bernardo da Bissone; the high altar was carved by Seb. and Ant. da (5steno (1498). In the apse are 11th cent, frescoes, a bishop's throne of the same period, and a polyptych by Pellegrino da San Daniele (1503). The N. aisle contains a curious 11th cent. Entombment of Romanesque design. We may descend hence into a vault where excavations are still in progress (good mosaic). The Crypt proper (entrance near the high altar; apply to the sacristan) has a nave, in which is the receptacle for theto Trieste GRADO 28 Rte. 243 treasury, and aisles decorated with 12th cent, frescoes. — The detached * Cam- panile, built by Popone with the debris of the amphitheatre, has been rebuilt in its upper part. — A cypress avenue leads past the cemetery to the *Museo, which contains some of the abundant finds made in Aquil6ia and the neigh- bourhood, notably a bust in Nabresina stone, 4th cent, heads of SS. Peter and Paul, a fragment of a statue of Venus, a gold-embroidered shroud, and some very fine old glass, the pride of Aquileian craftsmanship. Beyond Aquileia we go on through marshes to (7£ m.) Belvedere and (8 m., 13 km.) Pontile per Grado, whence motor-boats ply in a few minutes to GRADO (Grand-Hdtel Fonzari, Lido, pens. 30 1., both facing the sea"; Pension Fortina, tstria, pens. 251.; Esplanade, pens. 251.; Warner, pens. 201.), a fre- quented seaside resort (5113 inhab.) on an islet between the lagoons and the sea. Part of the town is of ancient origin, having been founded by refugees from Aquil&a in the time of Attila; this Nova AquiUia was several times pillaged in its turn. The labyrinth of ' calli' and ' campielli ' is picturesque. The church of Santa Maria delle Grazie is a small Byzantine basilica of the Ravenna type. The *Duomo, a larger building of similar pattern, preserves some Roman and Byzantine capitals in the nave, and a fine mosaic pavement of the 6th century. The pulpit, made of numerous fragments, deserves notice. On the high altar are a Venetian pala of beaten silver (1372) and an altar-piece of 15 subjects (15th cent.). In the apse is an early 15th cent, fresco. The treasury, though many times plundered, is still interesting. — Steamers ply to Trieste across the bay; see local announcements. From Cervignano to Palmanova and tJ dine, see p. 240. As we proceed the low outline of the Carso begins to be clearly distinguished, and, crossing the Isonzo, we enter the region of the front of 1915-17. — Beyond (77 m.) Ronchi we pass close to the foothills of the plateau. The Carso, or Karst, a curiously eroded limestone plateau, was the scene of the most violent struggles in the Austro-Italian campaign. Vast trenches and veritable caverns were easily constructed by widening the existing crevasses in its surface; and although large-scale operations were made difficult by the nature of the ground, immense concentrations of artillery were brought up by both sides for the defence of this key position. It was the Duke of Aosta's stand here with the 3rd Italian Army that averted complete disaster after Caporetto (Oct. 1917).—'The Bora (N.E. wind) sweeps the plateau with great fury at some seasons. — Caverns of the Carso, see p. 247. 79| m. (128 km.) Monfaicone {Hot. Cervo; Nazionale; Lombardia), an industrial town (9659 inhab.) with naval workshops, was partially destroyed in the fighting of 1917-18. On a height to the left are ruins of the Rocca, a 7th cent, stronghold. Railway to Gorizia and Iodine, see p. 240. — The railway skirts the S. spurs of the Carso and ascends a little. On the right is seen the Timavo, which emerges from a subterranean course of nearly 30 m. (comp. p. 247) to empty itself into the Adriatic. — 83f m. Duino-Sistiana Hot. Park; Berg; Strand) lies at the foot of a castle laid in ruins by the War. — 86f m. Bivio Duino is the junction for Nabresina (p. 248). We enjoy a splendid view of the bay of Trieste, the city, and the coast of fstria as far as the Punta Salvore. — 93 m. Miramar, with its famous castle, see p. 247.244 Rte. 23 TRIESTE History 97£m. (157 km.) TRIESTE (229,410 inhab.), one of the chief seaports of Europe and the main commercial harbour of the Adriatic, is a handsome modern city interesting for its admirable situation on the gulf of Trieste and for the animation of its streets and quays. It was a rallying-ground of Italian patriotism under Austrian rule, and was added to Italy in 1918. Italian is the general and official language. 15 Piazza Borsa, R. 12£1.; Vanoli PI. h; E 4), Piazza Unitk, R. 8, D. 10J 1.; Adria, Capo di Piazza, Hallway Stations. Stazions Cen- trale (PI. B 4; Rfmts.), Piazza della Liberta, for international trains and the lines to Venice, Ljubljana, Fiume, and tJdine; Stazione Sant'Andrea (PI. F 1; Rfmts.), Via Ottaviano Au- gusto, for the lines to Gorizia and tfdine, Pola, and Parenzo. Steamer Quays. Molo No. 3 (PL B, C 3), for the steamers to Constantinople, the Levant, and the Far East; Molo No. 4 (PL C 3, 4), for Alexandria; Molo Vendzia (Pl. E 2), for the mail boats to Dalmatia, fstria, and Fiume; Molo Audace (PL D 3), for Grignano, Miramar, Dalmatia, Albania, and Venice; Molo Pescheria (PL E 2, 3), for Pola, Pirano, Porto- rose, Umago, and Grado; Riva Piazza Unita, for Muggia, Capodistria, Monfal- cone, and Sistiana. Transatlantic liners sail to and from the Punto Franco. Hotels. *Savoia Palace (Pl. a; E 3; formerly Excelsior), Riva Nazario Sauro, 360 beds, R. 20, B. 5, L. 18, D. 22, pens. 50 1.; de la Ville (Pl. c; D 4), Riva Tre Novembre, 160 beds, R. 12, B. 5£, L. D. 22, pens. 50 1.; Milano (Pl. f; D 4, 5), Via San Spi- ridione, 90 beds, R. 10, D. 201.; M£tropole (Pl. e; D 4, 5), Via San Nicolo, R. 7i, D. 10, pens. 20 1.; Mon- cenIsio, 1 Via Gallina, R. 8 1.; Union, R. 101.; Continental (PL b; D 5), Via San Spiridione, R. 9, D. 101.; Centrale, 4 Via Roma, R. 111.; Venezia, 1 Via Economo, R. 6£ 1. Restaurants at the principal ho- tels. Also *Antica Bonavia, 6 Via della Procureria; Citta di Parenzo, 21 Corso Vitt, Emanuele; Panada, 20 Via Rossini; Bonvecchiatit 7 Via Ghega; Pilsen Vecchio, 6 Via Trenta Ottobre. Post Offiee (Pl. C 4, 5), Piazza Vitt6rio Veneto. Conveyances. Horse Cabs (taxi- meter), the first 624 metres or 12 min., 2 1.; each extra 104 metres or 2 min., 65 c. — Taxicabs, the first 665 metres or 16 min. 2 1.; each extra 85 metres or 2 min., 20 c. Electric Tramways traverse the principal streets, and ply also to Opicina (starting from the Piazza Oberdan; every £ hr.). — Mo- tor Omnibuses to Pisino (once daily) and to PosUimia (twice daily). Amusements. Teatro Verdi (Pl. D 4), Piazza Verdi, operas, ballets, and comedies; Politeama Rossetti, Via dell'Acquedotto, operas and comedies; La Fenice (Pl. D 6), Via Cesare Battisti; Eden, music-hall and cinema. History. Trieste (Tergeste), subjugated by the Romans about 177 b.c., became a prosperous seaport under the Empire. Among its early rulers were the patriarchs of Aquildia (p. 242). In 1202 the commune was compelled to pay a tribute of ships and to swear allegiance to the Venetian power, but it secured its freedom after repeated efforts, and placed itself prudently under the protection of Leopold III of Austria (1382), who in his turn respected its autonomy. The rivalry with Venice, however, continued, and in 1463 the town was saved only by the intervention of Pius II. Eventually Charles VI gave it the privileges of a free port (1719), and its prosperity was fostered by Maria Theresa. The French occupation during the Napoleonic period awoke long dormant sentiments of patriotism, and Italian leanings manifested themselves under the Austrian rule of the 19th century. The Italian armies entered Trieste on Nov. 3rd, 1918. — The modern importance of the harbour as a starting-point for the Far East dates from the opening of the Suez Canal in 1869. In front of the central station (Pl. B 4; 1873) opens the Piazza della Liberia, and to the W. is the Punto Franco (Pl.TRIESTE. Atberghi (Hotels): — de la Ville 4P,c — Excelsior Palace H6tel 3E,a — Gran HCtel Conti- nentale 5D,b —- Mgtropole 4-5D,e — Milano 4-5 D,f — Y a noli 4E,h Arsenale d'Artiglieria 1-2F Assicurazioni General! 40 Bacino San Giorgio 3-4D Bacino San Oiusto 3D Bacino San Marco 2E Bagno Militare IE Banca d'ltalia 4-50 Borsa (Tergesteo) 4D Oanal Grande 4-5D Caserma Oberdan 5-60 Castello 5E Oath<*drale (San Giu- gto) 4-5EF Chambre de Commerce 4D Chiadino 8D Chiese {Churches): — Anglicaine 4EF — Beata Vergine del Soccorso 3E — Evangglique 4-50- — GrSco-Illiriqiie 5D — GrSco-Orientale 4D — San Giusto (Catte- drale) 4-5EJF ^ I^Bta Maria Mag- giore 4E — Sant'Antonio da Pa- dova 5D — San Vincenzo de Paoli 8F Corsl: {Avenues): — Cavour 40 — Garibaldi 6E — Vittorio Emanuele III 4I> 5DE Fanale 1A Fanale 2A Fanale 20 Fanale 2E Faro IE Galleria di Montuzza 5E Galleria di San Vito 5F Giardino Pubblico 70 Istituto dei Poveri 7E Lapidario Capitolino 4-5E Lloyd Triestino 3-4DE Moll (Moles): — I 2A — II 2-SB — Ill 3B0 — IY 3-40 — Audace 3-4D — Pescheria 2-3E — Sanitk (d.) 3DE — Santa Teresa IE — Sartor io 2EF — Venezia 2E Municipio 4E Musei Oivici 3E Museo Revoltella 3E 5F Ospedali {Hospitals): — Civico 6-7DE — Militare 7B Osservatorlo Marittimo Piazze (Squares): — d'Armi 5-60 — Garibaldi 6EF — Goldoni 5-6 DE — LibertA (d.) 4-5BC — Oberdan 50 — Ospedale (d.) 6DE — Ponterosso (d.) 4-5D — Sansovino 5F — Uniti (dell') 4DE — Vico 5F Padri Oappuccini 5-6E Palazzo Carciotti 4D Politecnico Rossetti 7D Porto Nuovo 2AB 30 Porto Vecchio 1-2-30 Poste Telegrafi e Te- lefoni 4-50 Prefettura 3-4D Punto Franco 3AB Questiira 5D Riva Grumula 2EF Riva Mandracchio (d.) 3DE Riva Sauro 2-3E Riva 3 Novembre 4D Salita al Promontorio 2F Salita d. Trenovia 5AB Sanatorio 8E Scorcola 6 A Stazionl {Railway-Stat.) — Centrale 4B — Sant'Andrea IF Strada del cacciatore 8D Strada Nuova di Op- cina 8AB Tegtri (Theatres): — Eden 6-7 D — Fenice 6D Teatri (Theatres): —• Verdi 4D Temple Israelitique 60 Tergesteo (Borsa) 4D Viali {Alleys): — Ill Armata 3F — XX Settembre 6-7D 80. Vicolo del Castagneto 7-8B 8A Vie (Streets): — Acque (d.) 6D — Alfieri 7E — Alighieri 5D — Annunziata (d.) 3E —- Armeni (d.) 3F — Augusto O. 1-2F — Azeglio (d*) 6-7E — Baehi (d.) 6-7D — Battisti 601) — Beccherie (d.) 4DE — Boccaccio 4AB — Boschetto (d.) 6D — Bosco (del) 5-6F — Bramante 5F — Buonarroti 7-81) — Canipo Marzio (di) 1-2F — Caprin 6F — Oarducei 50 5-6D — Carpison 6-70 — Oastaldi 6F — Cattedrale 4E — Cavana (d.) 3-4E — Chiadino (di) 8E — Chiozza 6-7D — Cologna 7-80 — Ooimmerciale 5AB — Conti 7EF — Coroneo (d.) 60 — Corti 2-3F — Crogada (di) 4E — Cunicoli (d.) 8C — Donadoni 8EF — Fonota (d.) 4E — Eremo (d.) 8F — Fabio Severo 5-6-7C — Farneto (d.) 7-8D — Ferriera (d.) 7F — Filzi 5CD — Fontana (d.) 60 — Foscolo 6-7E —- Galatti 4-50 — Gelsi (d.) 6D — Geppa 4-50 — Ghega 4-50 — Ginnastica (d.) 6-7D — Giulia 7-8C — Guardia (d.) 6F {Continuation).lonfalcone 3 TRIESTE Senla di 1'•17000 unvte Osjf^dale Mililare Piazza .d'Armi s<;riua jT.ObtiuHr Female. 4 PcmU'rqSSO 4»t jX -:ri iLonlo Bacmo S.CAusVo Chin (lino K. r.^: " ■ x h 'Minncn®o 0, ivf \j Female ' - %S X O 'L/cuiO" Cartel] Sana tono TstitnLoi POToi'i Jf O&'co MantUmo *5® ^ Vi'fr Pe ■r0" i'f , S.Vfrvcenzor, . t).«itLUCll/ALv •r deRiofi V- Fanqle UFF.CARTOGR.DEL T.C.I. Capo CartografbP.COR BELLINI Lata di,6gnx quadrato rnlfflc Opcina 7Vie (Streets): — Istituto (d.) 6-7E — Lazzaretto Vecchio (d.) 3E 2P — Leo (d.) 7-8E — Luciani 7F — Machiavelli 4-5D — Madonna del Mare 3-4E — Madonnina (d.) 6EF — Manna 5B — Mazzini 4-5D — Media 7-3F — Milano 4-5C — Miramar 4AB — Molini a vento (d.) 6-7F — Molino Grande 7G »— Monte (d.) 5E — Navali (d.) 5F — Neker (d.) 3F — Palladio 7D — Pauliana 5B Vie (Streets): — Petronio 7-8F — Pieta (d ) 6-7E — Pindemonte 8C 7D — Porta 7-8E — Redi 8E — Rena (d.) 4E — Riborgo 4E — Rivo (del) 6F — Roma 5CD 4D — Romagna 6BC — Rossetti 7CDE 8EF Rossini 4-5D —• San Francesco d'As- sisi 6-7C 6D — San Giaeomo in Monte 5-6F — San Giorgio 3E — San Giovanni 5D — Sanitft (4.) 3E — San Maurizio 6E — Sal* Michele 4EF — San Nicol6 4-5D Vie (Streets): — Santa Cecilia 5B0 — Sant'Anastasio 5BC — Santi Martiri 2-3F — San Vito 4F — Scorcola 6B — Sette Fontane 7F — Solitaria 6E — Starapa (d.) 3E 4F — Tesa (d.) 7F — Tigor 3-4F — Tintore (d.) 6D — Toro (d.) CD — Torrebianca 40 5D — XXX Ottobre 5CD — Trento 4CD — Udine 4AB — Valdirivo 4-5C 51) — Vasari 6E — Venezian 3- IE — Veronese 5-6FMuseums TRIESTE 28 Rte. 245 A 3, C 4), constructed in 1867-83, with warehouses and quays extending almost to Barcola (p. 247), The Corso Cavour leads tow irds the foot of the Canal Grande (PI. D 4, 5), in the vis. i of which, to the left, the church of Sant* Antonio (p. 247) is ; ien. We follow the Riva Tre Novembre, skirting the old harbour (Porto Vecchio), as far as the Piazza dell'TJnita (PI. D 4), the centre of movement in the lower town. Here rise the Prefettura Triestina, the Palazzo Lloyd Triestino, and the attractive Palazzo Comunale (Municipio). Pursuing the walk along the quayside we come to the Pescheria, or fish-market, a busy scene just after the landing of the catches, an I the Piazza Venezia (1.), in which is the Museo Revoltella (PI. E 3), an interesting collection of modern art installed in the palazzo of the same name (adm. free daily, 10-1; entrance in the Via della Sanity 27). The best paintings, including canvases by Angelica Kauffmann, Anders Zorn, Dal- l'Oca Bianca, and Balestrieri (*Beethoven, R. XII, 2nd floor), are on the upper floors. — The Via Cavana leads hence in a few minutes to the Piazza degli Studi, at No. 5 in which are the Muse! Civici (PI. E 3), comprising the Library (adm. free on weekdays, 10-1 and 5-8), the Natural History Museum (Sun., Wed. and Sat. 10-1), and the Museum of History and Art (week- days 10-1, adm. 11., children, 50c.; Sun. andholidays 10-1,free). On the first floor of the historical museum are Greek ceramics of the golden age; terracottas from Tar an to; an cenochoe (wine-vase) in gilt bronze and a silver rhyton (drinking-horn) also from Taranto (5th cent.); hydria (water-vessel) by Tychios of Corinth; terracottas from Cyprus; mosaic pavement from a Roman vipa at Bdrcola (p. 247); antiquities from Aquileia, including some admirable glass. On the 2nd floor: Lor. Veneziano (school of), Polyptych; room with armour, including a marquetry powder-flask; Tiepolo, Triumph of Amphitrite; Goya, Spinners; antiquities from Cividale; a 15th cent, portulan; a curious collection of Istrian earrings; Byzantine paintings; prints, etc. The cabinet of coins is no longer on view. The Via Cavana brings us back to the Piazza dell'Unita, and, thence, passing under the colonnades of the Municipio, we enter the Piazza Piccola and follow the Via Mula Vecchia, continued by the Via Santa Maria Maggiore. On the right is the little church of San Silvestro (built in the 4th cent., remodelled in the Romanesque style and again at the end of the 18th cent.), and on the left the church of Santa Maria Maggiore (PI. E 4), rebuilt in the baroque style by A. Pozzo (1627). We go on along the Via della Cattedrale, whence after a few steps the Via del Trionfo diverges on the right, leading to the Arco di Riccardo, a vaulted Roman archway (3rd- 4th cent,). The arch, with the neighbouring Piazzetta di Riccardo, is named after Richard Coeur-de-Lion, who is doubtfully said to have been confined here $iter his return246 Ete. 28 TRIESTE from the Holy Land. Farther on, in the Via della Catte- drale, at No. 17, is the Museo Lapidario (PI. E 4), containing antiquities from Tergeste and Aquileia, a reconstructed temple, and the tomb of Winckelmann, the famous archae- ologist, murdered at Trieste in 1768 by an Italian whose cupidity he had excited by displaying some valuable gold coins. The exhibits are arranged in a garden (for adm., apply at No. 15). The venerable Duomo (PI. E 4), or Cattedrale San Giusto, was built on the ruins of a temple of Jupiter Capitolinus, Juno, and Minerva. It consists of a 5th cent, basilica dedicated to the Virgin, and a smaller parallel church built about 550 to receive the relics of SS. Justus and Servulus. The two churches were joined in 1305 by the enlargement of two of their aisles to form the present nave. Exterior. The irregular fagade has a large and handsome Gothic rose- window. The massive Campanile (1337) incorporates part of the Roman temple, including a fragment of the stylobate and some Corinthian coliimns. The middle part of the main portal consists of the sepulchral stele of the Barbia family. Above it are a commemorative tablet with the arms of Pius II, who was bishop of Trieste, and his bust with those of two other bishops. Over the side door are Roman bas-reliefs and a small tabernacle with a statue of St. Justus. The Interior, with double aisles, has been a good deal debased by mediaeval alterations. The Nave (see above) is interesting for its wooden roof. The capitals are partly Romanesque and partly Byzantine. At the end of the aisles on each side of the nave are ancient * Mosaics, the finest of which, on the N., represents the Madonna with SS. Michael and Gabriel (? 12th ~ cent.) and the Apostles (6th cent.). On the S. is Christ between SS. Servulus and Justus (5th cent.), together with some damaged 14th cent., frescoes on the blind arcading. In the 3rd S. chapel is a painting of the Madonna with SS. Servulus and Justus, by Bened. Cavpaccio (1540). In the S. aisle is the grave of Don Carlos of Spain, who died at Trieste in 1855. The mediaeval Castle, overlooking the cathedral, is now occupied by barracks and magazines. — From the piazza in front of the church we enjoy a remarkable *View of Trieste and the bay; the Euganean hills and even the Alps may sometimes be descried. We descend to the Piazza dell'UMtci (p. 245) and bear N.E. past the Tergesteo (1842), a merchants' club, with the handsome Teatro Verdi behind it, and the Borsa. The animated Corso Vittorio Emanuele III, to the right, leads to the Piazza Carlo Goldoni (PI. D 5-E 6), a tramway centre. To the right is the entrance to the GalleHa della Montuzza, a tunnel (tramway) which communicatens *W, ^iAIira/riarr 2 VJ[ c 1 iV )secco iNabrosinaM(GrottaGiqantB) 'Aidussina^Gorizia1 lovello M.Murato Cast.av ** Mramare Mercian i Grot/a,I Cavertux- CarteaduzzcL Cp.diSesanaj J Conra dLOrlag >rihisak>/-; M.Gurca 37l)N Kislica 519 4 CrvttA Cistrma, (h)dLTrebixiaiw \ / Frarikovep / ' M7 />(Cro Grotte i \Alberg6 tannc Barcola}. CcivoTd. Pietrcv Grotto, \kfoVpdett/i M^Belvedere J&CoTiconello 'i76 Moncalvo Puscanci (hottr MattioU S.vopaduL, Grottau Grotte, i CorgnaLe}} 'PadrUiai TRIESTE t! Grotte Porto ^ Vccchio M.Concusso Staz.CampomarziOi Grotto,' 1*377 uzza PoUgarwrtulil. -owj^rcvt^0 .S N ?•* =sr- N BoscodlPini Grodana ;TMala Grociai 477 wJrotto ^•'iJezero 1 Galtuiara S.Giu sn r e a Alto Coma *X Cardie) in Selva ^M.Castigtione Caserma \ .S.PasrtateSf^^^ r'o l# iAii>ovtiir<^ fVcLArUglieritv '^/o^untalcorw ffljUirr?- "\fT atPctroUo (Konec M.Vieli P'f-Ronco Stab.Tecnico Scala di 1:80000 ZaMe> Forte OJmi unco laj___ UFF.CARTOCR. DEL T.C.I.- C«po C«rtogr«fo: P.CORBELLINI .ParenzoSAN CANZIANO 28 Rte. 247 with the quarter of the town on the other side of the hill. The fifth turning on the right off the Via Mazzini, which leads back towards the harbour, brings us to the Serbian church of Santo Spiridione (1860-68), with a splendid interior. The church stands on the banks of the Canal Grande, always crowded with small sailing-craft, and often gay with local costumes. At its head rises the church of Sant* Antonio (PI. D 5), in a cold neo-classical style (1827-47), with an interior reminiscent of a Roman bath. Thence by either bank of the canal we may regain the quays and the station. To the S.W. of the Piazza della Unita, beyond the Stazione Sant'Andrea (PI. F 1), is the new and important Porto di Sant'Andrea, with an arsenal and dockyards. — In the opposite direction lies the Giardino Pubblico. Excursions. The *Castle of Miramar {Hot. Bellevue, R. 10, D. 12, pens. 25 1.), beautifully situated on a promontory above the Adriatic 5 m. N.W. of Trieste, may be reached by steamer (fhr.; p. 244), by railway (p. 243), or by tramway to Bdrcola, whence it is f hr. on foot by the shore road. The castle, in whi'.e Istrian stone, was built in 1854-56 for the Archduke Maximilian, who became emperor of Mexico and was shot near Queretaro in 1867. In the interior are souvenirs of the archduke. Caverns of the Carso. The limestone plateau of the Carso (p. 248) contains a number of caverns within easy reach of Trieste. Some of them, notably those of San Canziano and Postumia, are unrivalled in Europe for their wealth of stalactites and stalagmites. Guides are necessary for visiting the caverns (moderate tariff), and lamps or torches are carried (electric lighting at Postumia). Visitors shojild be suitably clad (mackintoshes and stout boots indispensable). The most interesting of the excursions are described below (for maps of the caverns, see pp. 248, 250). From Trieste to the Vedetta d'Opicina and the Grotta Giqante, an excursion of 1 day. We take the cog-wheel tramway from the Piazza Oberdan (PI.; C 5), and ascend via Scdrcola (585 ft.) to Pdggio Reale (1125 ft.; Grand-Hotel Obelisco), where we alight for the Vedetta (1312 ft.; *View), a view-point to the N.W. Continuing by road or tramway we reach Villa. Opicina or Opcina (Hot. Qfrelisco, pens. 301.; railway, see p. 248), the terminus, and thence we walk N. W. to (2 m.) Brisiachi, where tickets for the cavern and a guide are obtained at the inn. — The Grotta Gigante (adm. 31.) i hr. farther on, is the largest single caver in the Carso (260 yds. long, 450 ft. high); stalactites and stalagmites abound in its recesses. —The Grotta di Trebiciano, 2 m. E. of Opicina, although very remarkable, cannot be recommended to the ordinary tourist, but permits may be obtained by persons interested in subterranean hydrography. From Trieste to the Caverns of San Canziano and Postumia (Adelsberg), an excursion of 1-2 days (motor-coaches in summer; see local announcements). We take the Ljubljana railway (p. 248) to (28£ m. in l£-2 hrs.) Divaccia, or Divazza (Rfmts.; Ristorante Obersnel; Hot. Centrale), which is within f hrs. walk (20 min. by carriage) of Matavun (small restaurant), a hamlet at the entrance to the grottoes of San Canziano. In a neighbouring wood rises (10 min.) the Vedetta Iolanda (1492 ft.; formerly Vedetta Stefania), a magnificent point of view. The * Grottoes of San Canziano (adm. 41.) far and away the most remarkable erosion caverns in Europe, have been hollowed out by the Recca or upper Timavo, which passes through a series of mysterious grottoes and then vanishes in the bowels of the earth to reappear far away near Monfalcone (comp. p. 243). The visit is somewhat tiring though quite safe (1^-3 hrs.). — At the refreshment room in Divaccia station tickets are taken for the * Grotta Sotto-Corona (for- merly Crown Prince Rudolph's Grotto), about 1 m. distant (visit of 1£ hr.; adm. 3 1.) remarkable for the purity of its stalactites. Nearer to the station are other grottoes and swallow-holes, more or less accessible, — We go on by railway248 Rte. SS POSTTjMIA (see below) as far as (51$ m. from Trieste, in 2$-3 hrs.) Postfimia, Postdina, or Adelsberg (1817 ft.; Hot. Adelsberger-Hof; Krone; National), the station for the *Grottoes of Posttimia (adrn. daily at 2; May-Oct. 10 1.; Nov.-April, 30 1.) the most magnificent and extensive in Europe, if not in the world. To the left of the entrance the Piuca enters the cavern, but disappears from view to reappear 5 m. away as the river Unz (near Planina). The usual visit (c. 2$ m.) takes l$-2 hrs., but for most of the way visitors are conveyed in little wag- gons running on rails, and the grotto is lighted by electricity. Among the many marvellous chambers are shown the 4 Ballroom,' the ' Sepulchre,' the ' Calvary,' etc. The Grotta Nuova (recently made accessible), remarkable for the beauty and whiteness of its formations, is connected by an artificial passage with the Grotta Nera, and that again with the Grotta della Piuca. From Trieste to GorIzia and Kjlagenfurt (Vienna), 127 m. (205 km.), railway in 71 hrs.; express to Vienna daily in 15 hrs. — Trieste (Sant'Andrea) see p. 244. We ascend in a wide curve, enjoying a fine view of the sea. — At (10 m.) Opicina (p. 247) we cross the line to Ljubljana. — 119 m. San Daniele del Carso. — Beyond (23$ m.) Rifemberga (Reifenberg) we follow the valley of the Bracizza, then that of the Vipacco, which we cross several times. — 28 m. Prevdcina is the junction for (9$ m.) Aidtissina, beyond which (13 m. by road) are the famous mercury mines of tdria. — 35 m. Gortzia (Nord), see p. 240. We ascend the Isonzo valley, a scene of severe fighting in 1915-16. On the right is the Bainsizza plateau, a hotly-contested stronghold of the Austrians. — 43 m. Plava was the scene of the heroic passage of the river by Italian troops in June 1915.—46$ m. Canale was totally destroyed.—55J m. Santa Lucia- Tolmino stands near the junction of the Baza and the fdria with the Isonzo. Our line bears to the right and mounts the deserted valley of the Baza. — 68$ m. (110 km.) Piedicolle or Podberdo is the last Italian station. We cross the frontier by the Wochein tunnel (nearly 4 m.) and reach the valley of the Save. — 73$ m. Bistrica-Bohinjska (Wocheiner-Feistritz) is the Yugo-Slav frontier station. — Beyond (95$ m.) Tesenice (Assling) we penetrate another tunnel and enter Austria. — 127m. (205 1cm.) Klagenfuft (Hot. Kaiser; Moser). From Trieste to Postt!jmia and Ljubljana, 86$ m. (139 km.), railway in 5$-6$ hrs.; through trains to Vienna twice daily in 14$ hrs.; to Budapest daily in 17 hrs.; to Belgrade twice daily in 21 hrs.; to Constantinople (Orient Express) daily in 34 hrs. — Trieste (Centrale), see p. 244. We follow the line to Venice as far as the junction for Nabresina. —10$ m. Nabresina.—17J Opicina is the station for the Grotta del Gig ante (p. 247). We cross the Gorizia line (see above). — 22$ m. Sesana.—28$ m. Divaccia, for the Grotta di San Canziano (p. 247), is the junction of a line to Erpdllie-Cosina (p. 257). — 43 m. (691cm.) San Pietro del Carso is the junction for Fiume (see p. 258). — 51$ m. (83 km.) Posttimia or Postdina or Adelsberg (Rfmts.) is the station for the famous Caverns (see above) and is the last halt in Italy. — 58$ m. Rakek is the station for the periodic Lake of Cirknica. — 68 m. Longdtico is the frontier station for the Yugo-Slav kingdom. — 86$ m. (139 km.) Ljubljana or Laibach (H6t. Union; E- lephant) is the capital of Carniola and an important railway junction. From Trieste to Capodistria, see Rte. 29 B; to Fiume, see Rte. 29 F; to Mitggia, see Rte. 29 A; to Parenzo by railway, see Rte. 29 D; to Parenzo and PoJa by steamer, see Rte. 29 C; to Pola by railway, see Rte. 29 E. 29. ISTRIA (VENEZIA GIUL1A) Istria, united to Italy in 1919, is a triangular promontory in the Adriatic, to the S. of Trieste. It slopes gently from the plateau of the Carso to the sea, and its coast-line is indented on the N. by deep bays and on the W. by fjords which represent siabiherged valleys. The inhabitants of the Neolithic and Bronze Ages have 'left their trace in the numerous castellieri, or fortresses, whose ruins are found along the rocky shore. The people of the country districts are partly Slavonic (in some instances Roumanian), but the coast towns, thanksPROPR DEL T.C.I.-RI PRO D.VIET. Lubiana A**F>('tahia jk Divaccia Gr. deqli Schelehi. i UK) Brezec St nut" -o7?\\ Camtero PI AN T A Of-detritiorL - '> •• Gr.Sc Vedetla.Pr?-\ irr.Lrimnei ICujhMBodom Dr-diCaron Gr.di Cerbero i lu|K.U.Sv,Mtink\ Vedetta Mcauncoti^^&JIcDrtistk daSo&pin Scala dil: 30000 GROTTE Dl S.CANZIANO Scala di 1:130001 Cupou CkibAlpino Gt\ del (hubueo Case agoMjjUer \J}nd Jhoqqw. Ciipu la Ruialdim , - ------*H u#/W 7 ^4$^ ,/a^ W?*2 • • -y ,cjo-A roixze '"Augusta ttth tta 1. Pai-adiso **go6t>c S'alattiti SE ZIOJNE eeoZa Gramz LagoMuuer SE ZIONE Cupola Cupola Cupola Jrullsi la < rt.-v.'nr i hibAtpmo Cr. __Cupola uaqo (L. gsg~; .arX,:srrsr _g g 5 * s & ^ c 8 g UFF.CARTOGR.DELT.C-l.-CapoCaptografo -P.CORBELLINI "AMPA-A.VALLARD1-MILAN0CAPODfSTRIA 29b Rte. 249 to the lorlg commercial supremacy of Venice, are almost wholly Italian. The principal towns and excursion centres are Parenzo, Pola, and Capodistria; Abbazia and Porto Rose are seaside resorts. A. From Trieste to Mtiggia. Steamer (one class only) at regular intervals in f hr. — Railway, 6f m. in | hr. (comp. p. 256), less recommended. Trieste, see p. 244. The steamer starts from the Molo Sanity (PI. D 3), and steers diagonally across the Vallone di Muggia. The name of 'vallone' or ' valle ' is common to the smaller bays of this coast. Mtiggia (Hot. Monti) is a considerable town (2953 inhab.) of Venetian aspect which grew up around the ancient Myla (now Muggia Vecchia) on the hill of San Michele. In the Piazza della Liberty are the Duomo, with a good Gothic fa$ade (1467), and the Palazzo Comunale, once a palace pf the bishops of Aquileia, with a Lion of St. Mark dating from 1444. Muggia Vecchia, reached on foot in 40 min., preserves some ruined walls and a 9th cent, basilica, in the interior of which are Byzantine transennae (stone lattices), ambones, and remains of very ancient frescoes. There is a good view of the bay and of Trieste. Railway from Muggia to Trieste and Parenzo, see p. 256. B. From Trieste to Capodistria. Railway, 14J m. (23 km.) from Sant'Andrea station, in hr. (comp. p. 256). — Steamer in 1 hr., recommended. Trieste, see p. 244. The steamer crosses the Vallone di Muggia and skirts the Istrian coast, in view of the hills of the Carso (E. and N.E.) and the peaks of the Julian Alps (N.). The Punta Sottile, with its lighthouse and isolation hospital, and the Punta Gross a are rounded. Capodistria (Hot. Sartori) is an attractive little town (8192 inhab.) of Venetian aspect, situated on a semicircular islet connected with the shore by a causeway. Known to the Greeks as Egida, to the Romans as Capris or Caproea Istriaa, it was enlarged by refugees from Trieste in the time of the Lombard invasions, and was then called Justinopolis in honour of Justin It, emperor of the East. It came under Venetian rule after 1278, was made the capital of Istria, and gave five doges to the Republic. From the quay, on the left of which is a column comme- morating the battle of L&panto, we bear to the right and follow the Via Santorio Santorio, to the Piazzale Tacco, in which are the late-Renaissance Palazzo Tacco and the small Museo Civico. The Via Battisti leads to the picturesque Piazza del Duomo, in which are the Gothic Loggia on Rom- 8-a250 Rte. 29c ISOLA From Trieste anesque columns (c. 1400), and the *Duomo, with a graceful Gothic and Lombardesque W. front. On the S. side are two Lombardesque portals; the majestic campanile is Roman- esque, and the interior Tuscan in style. At the end of the N. aisle is a large painting by Bened. Carpaccio, and on the left of the choir a Madonna with two saints by the same artist; on the other side of the choir a *Madonna, angels, and saints by Vitt. Carpaccio (1516). Behind the high altar is the fine sarcophagus of San Nazario. The treasury is interesting. The former Baptistery, N. of the church, dates from the 13th century. In the same square is the Palazzo del PodestA, a quaint crenellated building in an irregular style. Below the external flight of steps is an archway, giving access to the Calegaria, a narrow, busy street that ends in the Piazza Da Ponte, with a 17th cent, fountain. Through the 17th cent. Porta della Muda, beyond, we reach the causeway leading to the mainland and the station. — Opposite the Duomo is the Palazzo Comunale, once the Foresteria, with paintings by Vitt. and Bened. Carpaccio in its council chamber. In the Piazza Vittorio Emanuele III, behind the Duomo, are two • Venetian Well- heads, the graceful late-Gothic Fondaco, and the small Transitional church of San Francesco. The Via Eugenia, with its Gothic houses, and the Via Sant'Anna lead to the church of Sant' Anna, containing a fine *Polyptych by G. B. Cima, two paintings by BenecJ. Carpaccio, and a Descent from the Cross by Girol. da Santa Croce. Railway from Capodistria to Trieste and Parenzo, see p. 256. — Motor omnibus to Cittanova, see p. 251. C. From Trieste to Parenzo and Pola by Steamer. Saloon Steamers, starting at the Pescheria, ply regularly in 8 hrs. (for times of sailing, see local announcements). There are two classes (refreshments on board). In calm weather the voyage is much preferable to the railway journey (Rtes. 29 D, E). Trieste, see p. 244. The steamer crosses the Vallone di Miiggia, passes Capodistria (p. 249), and doubles the Punta Gallo. Behind this headland stands isola (Hot. Aquila d'Oro, at the station), our first port of call (5932 inhab.), no longer an island as its name implies, but preserving a number of old buildings. The 16th cent. Palazzo Comunale bears a lion of St. Mark; the Pal. Lovizatto is in the Venetian Gothic style (1470); the Pal. Besenghi is a good baroque building (1775). The Duomo has a belfry with an ancient base, and contains a Madonna with saints by Palma Vecchio. —>• Railway to Trieste and Parenzo, see p. 256.PROPR.DEL T.C.I. RIPROD.VIET. SEZIONE M. Calvarioj •GrJ-Franeesco Giuseppe \ ed Eliaabetta Gi\ I inn. Ferdinando n&Kntr.dellu Orotta, JttiJjivellodel Piuca all 'r:\tr.tlrlht dm/la GROTTE Dl POSTOINA(ADELSBERG) Scaladi 1=12000 1 f V Ttetri PIANTA Asparuffd\ Tenda da can Tctloia droppf Brillunu Grot) Grotta lLajberale Grp(^H,diOtok \\1\ l >v Eivmita. (Spada \\) /> di Danwde 11/ Salice piaiigaite/P^r GolomuLronacuMk Grotta^ranc.Ghis. \A edw/Elisabetta ^ Coccodrxl{o^ xt'unciutl(t dormenle ' '°!/ffut ^ Cglonna toxica bamima, Colonne lraitf\y^J\!^y/\ ) jPicc.M.Calvario Jxtrmone Qnuidf wprvssi Sepolax> iC(\trprrsxo \U// . Cortina, x^-. "Hi-n GroUa /yJOraano fcCarbonaia / ,zdh!pfff!!nh- Colonna coi gerogttflcL Bandinnj Aland, Cappella Qanp^diPU Sala (Ia Ball "agio di SJPtetro Soviet 07 V. Sarxo/iigoJ ¥1 v .Qtscatajh/ronto battrsimale j^tOZzsresta di leonc r~o<- laMaceilaio SoJai!50000_«._ ^ 'r»4 ■■■■Abelsbei UFF.CARTOGR. I "L T.C.I. Copo Cartogrofo P.CORBELLINIto Pola PIRANO 29c Rte. 251 We pass the Punta Ronco and presently round the Punta Madonna. A charming view of Pirano unfolds, with the white walls of the town amid the olive groves covering the fortified slopes. Pirano (Hot. Citta di Trieste) is an old town (5587 inhab.) of purely Venetian character, on a projecting point of land The produce of the salt-pans here was at one time a monopoly of the Austrian government. In the quaint old Piazza Tartini is a monument to Giuseppe Tartini (1692-1770), the violinist, who was born here. The Palazzo Comunale, on the N.W. side, preserves an ancient lion of St. Mark; in the council chamber is a Madonna and saints by Tintoretto, and in the mayor's room another by Bened. Carpaccio. On the E. side is the charming * Venetian Gothic House known as ' Lasa pur dir ' (' Let them say '), from the motto on its coat-of-arms. The church of San Francesco has a 16th cent, cloister; in the interior are paintings by Tintoretto, Sassoferrato, and Vitt. Carpaccio. The smaller church of San Michele has a handsome sculptured cornice by Brustolon. The 14th cent, town walls, higher up, offer a picturesque view of the bay. The campanile of the Duomo is imita- ted from that of St. Mark's at Venice; the interior is over- elaborated. In the quarter called the Punta, at the end of the headland, are Gothic houses and fortifications. — Tram- way to Porto Rose, see p. 256. Some of the boats touch at Porto Rose, but others proceed directly towards Punta Salvore, where passengers are landed by boat. In these waters was fought the naval battle of 1177, in which the Venetians destroyed the fleet of Barbarossa and made his son Otho prisoner. We round the Punta Bas- sdnia (lighthouse) and skirt the W. coast of fstria, which, like Punta Salvore, is composed of limestone. On an islet is the ruined Castello di Scipar. Farther on the cam- panile of Buie (p. 256) is seen inland. We touch at Umago, where the shore is planted with olives, and pass close to the Punta Daila, with its convent and rows of cypresses. — Cittanova (1444 inhab.; Hot< Citta di Trieste) lies on a little promontory guarding the roadstead of Porto Quieto and the Val di Torre, a sort of fjord penetrating deeply into the interior of fstria. This was the Roman Emonia. The Church has a Transitional fa9ade and some Byzantine remains; the campanile is Romanesque.—A motor omnibus (15 1.) plies hence via Buie to (30 m.) Capodistria (p. 249). We cross the mouth of the Valle di Torre, which is con- tinued inland by the Valle di Quieto; then the Punta del252 Rte. £9c PARENZO From Trieste Dente is rounded, and we pass the Porto Cervera before reaching the quay of Parenzo. PAREMZO (Hot. Palace-Riviera, R. 10, D. 12, pens. 301.; Venezia; Sauro; San Remo), a very ancient town (3471 inhab.), founded before Rome, and known to the Romans as Colonia Julia Parentium, was the first of the Istrian towns to unite itself with Venice (1267). It is remarkable for its Roman remains, for its admirable Byzantine basilica, and for its numerous and characteristic houses in the Venetian Gothic and Renaissance styles. In the Piazza Vittorio Emanuele III, a few minutes from the quay, are two Venetian-Gothic houses, and in the neigh- bouring Via Carli are ruins of the Palazzo Pretorio and the church of San Cassiano. The original Roman plan may be noted as we proceed along the Via Crosera ((cardo maximus) to the Strada Grande (decumanus maximus), where typical old houses, mostly Gothic, stand at the four corners. We bear to the left for the Piazza Marafor, in which is the Museo Lapidario, installed amid the ruins of a Corinthian temple of Mars. Of the original building there remain the stylobate, parts of the pediment and columns, the bases of several statues, and some tombs and inscriptions. We retrace our steps to the Strada Grande and follow the Via della Basilica, leading to the famous church. The **BasiIica Eufrasiana, one of the oldest churches in existence and the only Byzantine basilica complete in all its parts, dates from the time of Justinian (540-551) and occupies the site of the house of the martyred St. Maur, the first bishop. The present church, successor to a 4th cent. (Constantinian) basilica, enlarged in the 5th cent., was founded by Bp. Euphrasius, whose monogram repeatedly occurs in the building. The square * Atrium, with four galleries of two columns each enriched by Byzantine capitals, deserves notice. The two columns next the baptistery are modern. The cusped fa9ade is decorated with mosaics (restored in 1897). The cornices of the three doorways are of the 6th century. Interior. The general effect recalls that of the basilicas of Ravenna. The Nave and Aisles are divided by 18 pillars of Greek marble, with capitals partly Roman and partly By- zantine, and imposts bearing the monogram of Euphrasius. In the soffits of the N. arcade are examples of 6th cent, stucco work. The pulpit is largely made up of antique fragments. In the 1st chapel of the S. aisle are 15th cent, stalls, and in the 2nd a polyptych by Ant. Vivarini (1440).to Pola PARENZO 29c Rte. 253 — Choir. The fine silver-gilt reredos dates from 1452. Above the altar is a rich baldacchino supported by Byzantine columns with remarkable *Capitals; the canopy (1277) is decorated with mosaics. Beneath the floor (apply to the sacristan) may be seen the mosaic pavement of the pre- Euphrasian basilica. — The coved walls of the triple Apse, which is the best preserved of any yet known to ecclesiology, are covered with remarkable early *Mosaics of the 6th century. On the vaulting of the principal apse are the Madonna, angels, and saints, St. Maur, Bp. Euphrasius with a model of the church, the archdeacon Claudius and his son. Below is an inscription, and between the windows are an *An- nunciation, St. Zachary, an angel, St. John the Baptist, and a *Visitation. Lower is a most interesting decoration consisting of an antique moulded cornice, a frieze from a Roman temple, and rare inlaid marbles from the same source. The bishops' throne and the semicircular bench for the canons should be noticed. In the N. apse are remains of another good 6th cent, mosaic, Christ crowning SS. Cosmas and Damian; and in the S. apse, Christ crowning SS. Ursus and Severus, of the same period. Other portions of the pre-Euphrasian mosaic pavement may be seen through a trap-door in the N. aisle, and below the chapel of St. Maur, close by ,is seen the very fine *Mosaic Pavement of the saint's house. —The triapsidal chapel of St. Andrew has a mosaic pavement of the 6th cent., and ig, the sacristy (apply to the sacristan) is a decorated Byzantine wooden cross, the work of a monk of the convent of Lanro (Mount Athos). To the W. of the atrium, in the octagonal 6th cent. Baptistery, is a Museum with fragments of mosaics and capitals. In a recess to the left are the tomb of SS. Maur and Eleutherius (1247) and the abbot's chair. A portal of 1464 near the base of the campanile gives access to the atrium (1694) of the Bishop's Palace, which preserves the outer walls and two columns of the original 6th cent, build- ing. — To the W. of the campanile rises the 14th cent. Transitional church of San Francesco. In the Via Vergottini, to the S. of the basilica, is the Canonica or priest's house, of 1251, with Romanesque windows. We regain the Strada Grande, in which are a good Gothic house of 1473 (Nos. 314-316) and (at the end) a pentagonal Venetian tower (1447) facing another round tower. At the end of the Via Zeno Renier (r.) is a 15th cent, round tower. Pleasant walks may be taken among the pine-woods of the neighbouring hills. — It is an interesting excursion by boat to the Isola di San Nicold, with an old lighthouse (15th cent.) and a limestone quarry in which the huge mono- lithic slab crowningr the tomb of Theodoric at Ravenna (p. 307) is said to have been hewn. On leaving Parenzo we skirt the Isola di San Nicol6, one of the numerous rocks and islets that form an archipelago extending to the Punta Merlera. We round the Punta Grossa and Punta Fontane, and pass Orsera, a Roman and mediaeval2M Rte. 29c ROVIGNO stronghold. After the I sola Conversada has been left behind, we descry the belfry of Rovigno in the distance. The fjord- like channel of Leme, continued inland by the Yalle Draga, opens on the left. We reach the Yal di Bora and round a point dominated by the white cathedral of Rovigno. Rovigno (Hot. Adriatico; Riviera) is a flourishing little town (9453 inhab.), the chief market in Istria for wine, oil, and corn. It has two ports, the Val di Bora, to the N., and the port of Santa Caterina, where the steamers call. The Clock Tower at the end of the landing-quay, with a lion of St. Mark, and the neighbouring Arco della Peschiera are of about the same date (1680). In the 18th cent. Duomo, at the end of the S. aisle, is a late-Roman sarcophagus in which (as legend declares) the body of St. Euphemia floated to these shores in the 9th century. The handsome campanile is a copy of that of St. Mark's. A short railway unites Rovigno with (12J m.) Canfanaro (p. 257), on the line from Trieste to Pola. We double the Punta Montauro and pass close to the I sola di S ant' Andrea, the chief islet of a little archipelago, with a grove of pines. Farther on we skirt several islets and a succession of headlands and enter the Canale di Fasana, between the Isole Brioni and the mainland. The steamer touches at Fasana and calls at Brioni (Hot. Brioni, with 320 beds, R. 7,"pens. 28 1.; Bagni di Saluga), the centre of the Isole Brioni and a summer and winter resort with a 9-hole golf course. The group of islets consists of the Isola Maggiore, the Isola Minore, and about ten isolated reefs. *Brioni Maggiore, the finest, has a subtropical climate and abounds in game. Ostriches are bred here and there is a small zoological garden. The islet was once a barren reef and drinking water is supplied by a conduit from the mainland. In the Valle Catena are ruins of Roman villas and a temple of Venus; in the Valle Madonna, ruins of the basilica of San Pietro. — Daily steamer to Pola, see p. 255. We recross the Canale and round the Punta Cristo, entering the *Harbour of Pola. The island of Sant'Andrea and the ships and warehouses at first mask the view of the town, but it presently appears, with its tall buildings lining the shore and its white Roman amphitheatre. POLA (36,047 inhab.), lying at the head of its bay, was formerly the great military port of Austria-Hungary, and is now the most powerful Italian fortress on the upper Adriatic. It possesses some splendid relics of antiquity, which attest its former importance as a Roman colony. Hotels. Centrale, 43 Via Ca- logna, Regina Elena, both modest, stropola; Miramar, 1 Riva Vittorio Restaurants. Bonavia, Via Pro- Emanuele; Milano (formerly Impe- montore; Cozzio, 17 Via Garibaldi; rial), 74 Via Kandler, R. from 7 1.; Bo- Citta di Ven&ia, Piazza del Mercato.POLA 29c Rte. 255 Cat6s, Miramar, Riva Vitt. Ema- nuele; Secession, Via Barbarigo. Post Office. Piazza Dante. Steamers. Steamer daily to (1 hr.) Brioni. — The Lloyd-Triestino and Istria-Trieste companies each maintain a daily service of steamers between Pola and Trieste, touching at the various Istrian harbours en route (comp. also p. 250). — Other steamers ply to Zara (6 times weekly), Fiume (5 times), Venice (B times), Ancona (once weekly) and Ravenna (once weekly). History. Pola became a Roman city about 129 B.C., at first under the name of Pollentia Herculanea. It is said to have been destroyed by Caesar on account of its fidelity to Pompey, and to have been rebuilt by Augustus at the request of his daughter Julia and named after her Pietas Julia. It became a flourishing port, but suffered much at the hands of pirates. Venice occupied the place in 1148 and held it until the Napoleonic period. In 1379 it was partly destroyed by the Genoese fleet. This ' Sebastopol of the Adriatic ' was the chief Austrian and German submarine base in the Mediterranean throughout the War. The Austrian Dreadnoughts lay bottled up here until the final surrender. From the quay we proceed directly to the * Arena or Roman amphitheatre, notable for its grace of form and for the excellent preservation of its outer enceinte. It has been assigned to the age of Augustus, and was probably enlarged under Vespasian. The elliptical building (435 ft. by 344 ft.) with room for 23,000 spectators, is built against the side of a hill, presenting three stories to the sea, two to the land. It differs from most amphitheatres in having four towers, which are believed to have contained wooden staircases. The stone seats within were removed in the middle ages for building purposes. In the axis of the amphitheatre is an excavated area occupying the site of the Carceres of the wild beasts. A small museum of inscriptions has been formed within the Arena. The Via dell'Arena leads to the Piazza San Giovanni, whence we turn to the left along the Viale Carrara in order to reach the double gateway of the Porta Gemina, with its Corinthian pilasters and decorated cornice. The neigh- bouring Porta Erculea is plainer and dates from the last years of the Republic. At the end of the Via Carducci, on the right, is the Museo Municipale, open free daily from 10-3 (holidays 10-12), containing objects from the pre-Romani and Roman necropolis of Nesatium, the town which was the ancient capital of fstria (c. 8 m. N.E. of Pola), and other interesting antiquities. Beyond the Museo rises the graceful *Porta Aurea, or Arco dei Sergi, a single arch erected about 27 b.c. by Salvia Postuma to the three brothers Sergius. The fineness of its decoration has been much admired, and it appears in drawings by Fra Giocondo, Michael Angelo, and Piranesi. By following the Via Giulia and Via Zaro (r.), to the W., we reach the remains of a Roman Theatre destroyed c. 1630; four of its columns were carried to Santa Maria della Salute in Venice (comp. p. 217).256 Rte. 29d PORTO ROSE V en ezi a From the Porta Aurea the busy Via Sergia and the Via San Francesco (r.) mount to the Romanesque and Gothic church of San Francesco and to the 13th cent. Castello, rebuilt in 1632. In the Piazza Foro, at the end of the Via Sergia, are a graceful Lombard house and the Palazzo Co-■ munale, originally Romanesque and Gothic, as the sides of the building testify, but rebuilt in the Renaissance style in 1651. On the left of the Palazzo rises the * Temple of Au- gustus and Roma, a small but very elegant Corinthian edifice (2-14 A.D.). In the middle ages it was used as a church, and afterwards as a barn; it now contains an interesting museum of inscriptions. The rear of the building has pre- served its delicate frieze with vine-branch decoration. A few steps away is an edifice of similar form, but less fine in execution, which was probably the Curia. The Via Kandler leads from the Piazza to the Duomo, which originated in a Roman temple, transformed into a church in the 4th cent., and then replaced by a Byzantine basilica. It has, however, lost all its character through restorations in the 15th and 18th centuries. A few relics of the earlier building may be traced in the interior. The fourth chapel in the N. aisle contains some wooden statues by Iacopo da Pola (15th cent.). The massive belfry is of the 18th century. From Pola to Trieste by railway, see Rte. 29 E. D. From Trieste to Parenzo by Railway. Railway, 76i m. (123 km.) in 7 hrs. (58 1. 20, 39 1. 30, 23 1. 25 c.). The course of the line is hilly and tortuous, but picturesque. Except between Santo Stefano and Montona the best views are on the right. Leaving Trieste (Sant'Andrea, see p. 244) we skirt the Monte San Pantaleone and the interesting shore of the Vallone di Muggia. — 7£ m. Muggia, see p. 249. — 9J m. Scdffie, with two prehistoric 4 castellieri ' in the neighbourhood. We descend towards Capodistria (view) and cross the Risano, which at one place flows underground for 9 miles. — 12£ m. Decani. — 141 m. Capodistria, see p» 249. We skirt the shore. — 18£m. I sola, see p. 250. The train mounts in sweeping curves, with a fine retrospect of Isola and the bay, and then descends in view of the Vallone di Strugnano and the belfry of Pirano. — 21f m. Stru- gnano: we thread a tunnel of £ m., and from the farther end look down upon the charming Vallone di Pirano. 23£ m. (38 km.) Porto Bose (Bagni station; *Palace Hotel, 400 beds, pens, from 30 1.; Villa San Lorenzo, Riviera, Pirano, pens. 20-25 1.; Adria, Centrale, Casa Verde, Bristol; several pensions) is a little spa and climatic resort pleasantly situated (118 ft.) in an amphitheatre of hills. Sailing and rowing boats may be hired for excursions. Some of the steamers from Trieste to Pola call here, and a tramway plies to Pirano (p. 251) from the Santa Lucia station, f m. beyond the Bagni. — We skirt large salt-pans. — 28£ m. Sicciole. —• 30 £ m, Salvore {330 ft.). The village is 4 m. N.W. of the station. — 371 m. (60 km.) Bfiie called 'the scout of fstria' from its lofty position, is also on the motor-omnibus route from_Cittanova to Capodistria (p. 251). — ThereGiulia ALBONA 29 Rte. 257 are tunnels on either side of (41m.} frrisigmnq (901 ft.), the highest point of the line. The long descent in curves is the most interesting part of the journey, with its views of the green Valle del Quieto (known to the Greeks as Ister) and later of Montona. — 46 m. Piemonte. ' 49 m. (79 km.) P6rtole (station 492 ft ; town, 1280 ft.) has a parish church with a Romanesque and Gothic interior, containing a painting of the Trinity by Bened. Carpaccio. — 53£ m. Bagni San Sttfano-Levade (hotel). We traverse the great forest of Montona or San Marco, whence Venice brought the wood for her ships. —-56£ i$. (91km.) Montona (station 378 ft., town 915 ft.) is an ancient town (1111 inhab.) with a severe Romanesque belfry and a graceful Renaissance church of 1614. On all sides the *View is admirable. Beyond a tunnel We enter the Valle del Chervar. — 64 m. Visinada. The sea appears, at the mouth of the Quieto. — 69£ m. Visignano. The tower of the basilica of Parenzo presently appears. — 76| m. (123 km,) Parenzo, see p. 252. E. From Trieste to Pola by Railway. Railway, 80f m. (130 km.) in 4-5 hrs. (61 1. 40, 411. 55, 24 1. 25 c.); an interesting route through the heart of Istria. Trieste (Sant'Andrea), see p. 244. We ascend the romantic valley of the Rosandra, witli a fine retrospect of the Vallone di Muggia. —12£ m. ErpdUie- Cdsina (1610 ft.) is the junction for a short branch to Div&ccia (p. 248). We cross the uplands of the Cicceria. —17£ m. Piedimonte Istriano, or Podgdrie, lies at the foot of the Monte Taiano (3323 ft.), one of the peaks of the Carso. The line presently reaches its highest level (c. 1710 ft.), and begins to descend steep limestone slopes, with magnificent views of the green Valle del Quieto. — 27J m. Pinguente (3 m. from the station), the Roman Pinguentum, and at one time a seat of the Venetian military governor of Istria, is an ancient hill-top town with a Pretorian palace, a small lapidary museum, two gates of its crumbling town-walls, and other relics of the Venetian domination. The view in all directions is fine. — 30£ m. Rozzo. We cross one of the typical eroded plateaux of the Carso. — Beyond (39 m.) Colmo the line threads a tunnel and enters the Valle della F6iba. 49 m. (79 km.) Pisino (973 ft.; Hot. Citta di Roma), below the railway, was once the Castrum Pisinum and passed to Venice in 1420. The Duomo has a good tower; the Castle was rebuilt in 1539. A natural curiosity is the abyss or swallow-hole in which the F<5iba disappears beneath the soil of the Carso. Motor omnibuses (twice daily; 13 i. 30 c.) ply from Pisino to (25 m. S.E.) Al- bona (1050 ft.; Hot. 'Alia Cittd, di Trieste; Monte Maggiore), another Roman station, which became 'la fedelissima di Ven6zia' after many struggles for independence. On the main gateway is a good lion of St. Mark. The tower of the Duomo is Venetian; in the 17th cent. Loggia are Roman aud Venetian inscriptions. The Torre Garibaldi offers a good view. In the Museo Luciani- Scampicchi are fossils and prehistoric finds from the ' castellieri' of Vermo and Canzi, to the N.E. Beyond Pisino the railway traverses a rolling, wooded countryside, and threads several short tunnels. — 56 m. San Pietro in Selve (1115 ft.) retains an ancient abbey with an interesting 13th cent, cloister. Beyond a succession of long cuttings the deep valley of the Draga appears on the right, with, the sea beyond it. — 59 m. Gimino. — 6l£ m. Canfanaro (885 ft.) has a church with a good 13th cent, pulpit resting on Romanesque columns. It is a walk of f hr. from Canfanaro to the picturesque ruins of Due Castelli, a fortified town sacked by the Genoese in 1381, and destroyed by pirates in the 17th century. — A branch Une connects Canfanaro with (12£ m.) Rovtgno (p. 254). 72£ m. Dignano (Hot. Teatro, a modest inn) is a little town of 5202 inhab., interesting for the Istrian costumes still to be seen in its streets. The view from the detached campanile of the Duomo includes the Isole Brioni (p. 254). =— The forts of Pola presently come into view. — 80| m. (130 km.) Pola, see p. 254.258 Rte. 29 ABBAZIA Venezia F. From Trieste to Fiume. Railway, 80 m. (129 km.) in Bfhrs. (61 1.5, 41 1.25, 241. 30 c.), vi& (43 m.) San Pietro del Carso, where carriages are sometimes changed. A visit to the caverns of San Canziano and Posttimia may be combined with this ex- cursion (comp. pp. 247, 248). Trieste (Centrale), see p. 244. Thence to (43 m.) San Pietro del Carso, see p. 248. Beyond San Pietro the Fiume line bends to the S., and the green valley of the Timavo presently appears below. — 48J m. Montefreddo. — 52f m. Ternovo-Bisterza. We cross the Timavo and enter the Valle di Castelnuovo. — 59J m. Sapiane. Most of the inhabitants wear the peasant costume of the Cicceria, so called from the Cicci, Rumanian settlers who have preserved their Lat- in dialect and distinctive dress in this Slavonic region. — We descend the almost barren limestone slopes of the Carso. — 67 m. Giordani. — 72 m. Abbazia-Mattuglie, station for (2 m. by tramway) — Abbazia, the most fashionable seaside resort of what was formerly the ' Austrian Riviera/ Abbazia, which enjoys a spring-like climate all the year round, derives its name from a Benedictine abbey, of which few traces remain. Hotels. *Quarnero, R. 15, D. 20, pens. 401.; ♦Palace, R. 10, D. 20, pens. 401.; Bellevue ; Excelsior, R. 8, D. 20, pens. 401.; Grand- Hotel, R. 12, D. 16, pens. 351.; Savoy, pens. 301.; Strand, 351.; Speranza, 261.; etc. Amusements. Casino, with read- ing rooms, theatre, concert hall and ball-rooms. — Visitors' Tax, 1-1£ 1. daily. Steamers ply hourly to Fiume, in £ hr.; to Cher so, Lussin, and Pola, at least once daily; to Venice, 6 times weekly, in 10£hrs.; to Ancona, two or three times weekly. Behind the town rise the sheltering slopes of Monte Mag- giore (4580 ft.; *View). The tramway from the station goes on to Laurana, or Lovrana (Hot, Excelsior, R. 10, D. 18, pens. 301.; Grand-H6tel Laurana; Pens. Miramare, Mir a VOnda, Splendid, etc., from 20 1.), another attractive summer resort, somewhat quieter than Abbazia. Beyond Abbazia the railway goes on towards Fiume, with admirable views of the coast, the Canale di Farasina and di Mezzo, and the Isola di Veglia. 80 m. (129 km.) FIUME (c. 45,000 inhab.), until 1918 the only seaport of Hungary and now Italian, is beautifully sit- uated on the shore of the Adriatic, at the mouth of the Fiumara. The actual port is not capacious, but the entire bay forms a harbour shut in by the pretty islands of Veglia and Cherso, which give it the appearance of a land-locked bay. Fiume consists of the old Italian town, on the hill, and the new town, lining the shore and the harbQur. Italia^ is the prevailing language.Giulia FIUME 29 Rte. 259 Hotels. Excelsior, Viale Dicia- sette Novembre; CittA di Fiume, in the same street; Imperial, 1 Via Volta; de la Ville, 6 Via Volta; Europa, Piazza Dante, R. 10, D. 18, pens. 45 1.; Bona via, Via De Amicis; Royal, Via Garibaldi; Adria, Via Mazzini; Quarnero, Via Garibaldi. Post Office, Corso Vittorio Eman- uele III. Conveyances. Cabs, 41. 80 c. per drive from the harbour or station to the town; taxicabs c. 41. per kilometre. — Electric Tramway through the principal streets, and to Passeggio. Steamers ply regularly to Ab- bazia (comp. p. 258); to Pola and Venice, twice weekly; to Pola and Ancona, twice weekly; to Trieste, twice weekly; to Vdglia and Arbe, 8 times weekly; to Lussinpiccolo and the Isole del Quarnaro, 3 times weekly. Amusements. Teatro Comunale (opera and comedy); La Fenice (comedy or varieties). History. The town of Fiume, and not Tersatto, occupies the site of the Roman Tarsatica, capital of the district of Liburnia, which is said to have been razed in the 9th cent, by Charlemagne. The present name is corrupted from Terra Fluminis SanctiViti, a form which appeared first in the 13th century. The town was ruled successively by the bishops of Pola, the lords of Duino, the Walsee family, and (from 1471 onward) the Hapsburgs. The Venetians destroyed it in 1509 and bombarded it in 1599 and 1612. Its prosperity dates from 1700, with the creation of the free port, whose rights were respected even after the annexation by Hungary (1779). During the war of 1914-18 the Italian leanings of the population became increasingly marked, and union with Italy was pro claimed Oct. 30th, 1918. The Fiume question was, however, reopened during the peace negotiations, and in Sept. 1919 an unofficial raiding party of Italians under Gabriele d'Annunzio, the airman poet, seized the port and town with the aim of forcing the diplomatists' hands. They eventually withdrew, and the treaty of Rapallo came into force, making Fiume an independent 4 buffer- state ' between Italy and Yugo-Slavia. In 1924, however, a new agreement between Italy and Yugo-Slavia assigned Fiume definitively to the former, the Porto Baross and the environs to the latter. On the occasion of the annexa- tion D'Annunzio was created Principe di Montenevoso. The station opens upon the Viale XVII Novembre, which leads on the right to the harbour and the old town, and on the left past the Accademia di Marina to the Public Garden. Almost opposite the station is a large government- tobacco factory. We turn to the right to reach the Piazza Battisti, close to which are the quays and warehouses of the Porto Franco. On the left, farther on, is the Marine Governor*s Palace, containing a maritime museum and an aquarium In the Via G. de Ciotta, leading uphill behind it, is the Museo Civico, with coins and prehistoric finds. The Riva Emanuele Filiberto leads E. along the quay, to the Piazza Dante, the chief square of the town, and thence we follow the Corso Vittorio Emanuele III, in which is the massive Torre di Citta, an old town-gate with a cupola of 1801. ^Vt the end of the Corso is the Piazza Scarpa, overlooking the interest- ing old harbour. A turning on the left leads to the Duomo, a church probably Romanesque in origin, but almost entirely rebuilt. It retains a tower of 1377. — Returning to the Torre di Cittk, we pass through it and enter the Old Town, with its narrow and tortuous streets showing here and there260 Rte. 30 ABA NO From Venice some relics of Venetian architecture. In a few steps we gain the Piazza delle Erbe, to the left of which is the church of San Girolamo, with an inscription to Sentona, a Liburnian deity, pn the outer wall of its apse. To the N. of the Piazza delle Erbe is the former Palazzo di Citta,a 16th cent, building, and close to it stands a Roman Arch, said to have been raised in honour of the emperor Claudius II, a native of Dal- matia, but possibly a gate of the Roman citadel. The church of Sctnti Fabiano e Sebastiano, to the left, retains some 13th cent/portions. The church of San Vito (1638-1742), reached via the Calle Ca d'Oro, on the right of the Pal. di Citta, is built in imitation of Santa Maria della Salute in Venice; in the interior is a Mater Dolorosa by Aug. Benvenuti (d. 1899). Outside the old town, to the N. are the Villa Giuseppe, with a fine park, and the sumptuous Palazzo del Governatore. The suburb of Sussak, on the opposite' bank of the Fiumara, is inhabited almost entirely by Croatians. Thence we may mount in a few minutes to the hill of Tersatto (comp. p. 259), on which is the 15th cent, sanctuary of the Madonna del Mare. A Byzantine painting of the Virgin is venerated here, and tradition declares that the Santa Casa, or holy house of Nazareth, was carried hither by angels on May 10th, 1291, and rested here until Dec. 10th, 1294, when it was transported to Loreto. The interior, contains a good grille of wrought iron (1705) and numerous ex-votos. Higher up stands the Castello di Tersatto (393 ft.), the former stronghold of the Francopani or Frangipani family, containing a few Napoleonic relics and commanding a splendid *View. Beyond Sussak the walk may be continued along the coast to the S.E. by the Strada Dorotea (good views). About \ hr. after leaving Fiume the bay of Martinschizza comes suddenly into view, and farther on we enjoy a wonderful panorama <>f the gulf of Buccari, with its vine-clad banks. A winding road descends to (8 m.) Biiccari (1600 inhab.; Hot. Jadran), a little resort with a 12th cent, castle. About 1^ hr. farther on, by the road skirting the bay, is (12 £ m.) Porto. Re (Hot. Liburnia), a climatic resort with two castles. Still farther are (2Q m.)_ Cirquenizza or Cirkvenica (Hot. Miramar; Clotilde), with a good beach, and (28 m.) Novi, capital of the Vinodol (i.e. valley of wines). A pleasant excursion may be made by steamer (3 times weekly, 6-9 hrs.) to Lussinpiceolo {Hot. Italia, R, €, D. 9, pens. 20 1.) a little town in the isle of Lussin. Near Lussinpiccolo is Cig^le {Pens. Hajos. R. 5, D. 12, pens. 221.; Helios, pens. 28 1.; Malepartus, pens. 301.; Parco, peris. 25 1.), a winter and sea-bathing resort. From Fiume to Pola and Trieste by steamer, see pp. 255, 244. 30. FROM VENICE TO BOLOGNA Railway, 99^ m. (160 km.) in 3-3ir hrs; (75 1.3d), S01. 85, 291. 85 c.); to Ferrara, 70 m. (113 km.) in 2£-2f hrs. (53 1. 55, 36 1. 25. 21 h 45 c.). Best views on the right. From Venice to (23 m.) Padua, see p. 191. The train skirts Padua, crosses the Bacchiglione, and approaches the Euganean hills. — 29J m. Abano-Bagni (Hot. Orologio, R. 12, D. 16, pens. 40 1.; Todeschini, with a Kurhaus, R. 10, D. 15, pens. 30 1.; Trieste, R, 8, D. 15, pens 30 1.; Cortesi Meggiorato,to Bologna ROVIGO 80 Rtg\ 261 R. 8, D. 14, pens. 221.; Casino Nuovti; Due Torn; Monte Ortone; mostly May-Sept, only), a spa known since the time of the Romans (Fons Aponus), is frequented for its thermal springs (77—185°'Fahr:) and its medicinal mud baths, by sufferers from rheumatism, arthritis, skin diseases, etc. In the neighbouring Villa Giusti the armistice between Italy and Austria was signed on Nov. 3rd, 1918. Prdglia, 3 m. W., at the foot of Monte Lonzina, has a Benedictine abbey of 1083, noteworthy for its Renaissance chureji (by Tullio Lombard o), good cloisters, and refectory with paintings by G. B. Zelotti and B. Montagna. 31m. .Montegrotto (Q^an^ Hptel, Montegrotto, both May? Sept.) is another little watering-place .with thermal, springs, rrWe tunnel through tfye Monte Gey a before re^cjiing 'j(33J m.) Battaglia (Qrand Hptel delle Terme; Santa El,ena; Italia), yet another thermal spa. We pass the castle of Catiaio, (1.; 1573) designed from Marco Polo's description of the Summer Pa- lace at Pekin.—• 37J m. Monseliee (Hot. Stella d'Italia) \ies at, the foot o.f a hill, with quarries, of trachyte. f(mons silicis), on which are ruins of a stronghold of Frederick II. From Monselice to Mantua, 52£ m. (84 km.), railway in 2f hrs. (33 1. 40, 23 1. 80, 14 1. 70 c). — 5 m. (8 km.) Este (8874 inhab.; Hot. Cenirale; Caval- lino; Leon d'Oro), the kntient Ateste, and! the cradle of5 the!®ste family in the 11th cent., was taken by Padua in 1276 but passed to Venice in 140^.j .Parts of the old town walls are standing. The Castello dates from the 11th cent., and the Duomo from 1722. In the 16th cent. Palazzo Mocenigois installed the Museo Nazionale Atestinq, containing a great variety of excavated^ objects, among them the interesting Situla Benvenuti, fragments of the Lex Rubria (49 b.c.), a bronze head of Medusa, etc. The: church of Santa Maria delle Consolazi-oni possesses a Madonna by G. B. Cima (1504). Byron's villa, which he lent t Madonna with two saints; 79. Mabuse, Venus; 206. Giov,262 Rte. SO FERRARA History Bellini, Madonna; 147, 151. Dosso Dossi, Four Saints). On the second floor is a collection of antiquities. The interior of the Rotonda (1594), at the farther end of the town, is richly decorated. Beyond the Adigetto are two leaning towers, relics of the old castle. The railway from Rovigo to (35| m., 57 km.) Chidggia (p. 284) passes (15£ m.) Adria (19,792 inhab.), the ancient town that gave its name to the Adriatic, now 13 miles away. — Another line connects Rovigo with (29 m.) Legnago (p. 261) and (61 m.) Verona (p. 152). We cross the Canale Bianco, and afterwards the Po, which forms the boundary between Venetia and Emilia. — 67J m. Pontelagoscuro has several large factories, and is one of the ports on the lower reaches of the Po. 70 m. (113 km.) FERRARA (55,022 inhab.), in a fertile but low-lying plain, was once the residence of a court cele- brated throughout Europe, and still retains many traces of its former grandeur. The oldest and most characteristic part of the city lies to the S., with narrow winding streets, often bordered by arcaded mansions decorated with terra- cottas. The modern town, with broad and straight streets derives an air of solemnity from its many empty ' palazzi.' The population has greatly increased of late years. Hotels. Europa-Palace (PI. a; C 5), 25 Corso della Giovecca; Grand- H6tel Ferrara (PI. C-D 4), on the W. side of the Castello Estense; Moderno (PI. b; D 4), Via Corte- vecchia; Pellegrino (PI. c; D 4), Piazza Torquato Tasso. Post Office (PI. C 5), 60 Corso della Giovecca. Conveyances. Cabs from the station to the town, 5-81. — Electric Tramways, see the plan. — Steam Tramways ply to Codigoro (p. 266), to Cento and Mddena, Suzzara, and Copparo (2-3 times daily). — Omni- buses to Migliarino, Santa Maria Capofiume, and Molinella (once or twice daily). Amusements. Teatro Comunale (PI. C 5), seldom open; Verdi (PI. E 5), for operas and comedies. History. Ferrara is mentioned by Tacitus as Forum Alieni, but the present city is supposed to have been founded in the 5th cent., when the invasion of the Huns and the destruction of Aquil&a drove the Veneti into the marshes for safety (comp. p. 151). Its walls were built about 575 by the exarchs of Ravenna, and it was raised to the rank of a city in 661, when the bishopric of Vigovenza was transferred to it. The chief interest of the place, however, arises from its connection with the House of Este, whose members were supreme magistrates and afterwards hereditary princes (1208), acknowledging generally the suzerainty of the pope. The city remained under their sway until 1598, and the court attracted a great number of poets, humanists, scholars, artists, and diplomats, while trade and commerce throve. Niccolo II (1361-88) gave hospitality to Petrarch; Alberto (1388-93) founded the famous university; Niccold III (1393- 1441) was the patron of the scholar Guarini da Verona and of Pisanello; Lio- nello (1441-1450) inaugurated the age of splendour that Borso (1450-71) continued; Ercole I (1471-1505) enlarged the city; Alfonso I (1505-34), husband of Lucrezia Borgia, was the patron of Ariosto and Titian; Ercole II (1534-59) drove into exile his wife Renee, the high-minded daughter of Louis XII of France and the protectress of John Calvin, who lived for a while in Ferrara under the assumed name of Charles Heppeville; Alfonso II (1559-97) was the patron of Tasso and Guarini and undertook great material improvements inCathedral PE&RARA 30 lite. 263 the city. In 1598 the city was annexed to the States of the Church on the pretext that Cesare d'Este, heir apparent to the duchy in a collateral line, was illegitimate. — Ferrara had a productive School of Painting, though none of its artists rose to the very first rank, and the leaders were influenced in turn by the schools of Padua, Bologna, and Venice. The most eminent were Cosimo Tura, ' the Mantegna of Ferrara,' Francesco del Cossa, Ercole de' Roberti, Lorenzo Costa, Giovanni Luteri, surnamed Dosso Dossi, and his brother Bat- tista, and Benvenuto Tisi, surnamed II Garofalo, pupil of Raphael. — Ferrara was the birthplace of a great sculptor, Alfonso Lombardi (1497-1537), and of a great architect, Biagio Rossetti (15-16th cent.), as well as of the reformer Girolamo Savonarola (1452-98; p. 319), the poet G. B. Guarini (1538-1612), the musician Girolamo Frescobaldi (1587-?1654), and Fulvio Testi (1593-1646). We bear to the left outside the station, and follow the broad Viale Cavour, straight to the *Castello Estense (PI. C, D 4), formerly the ducal palace, an imposing pile surrounded by its ample moat and bridges. It was originally built by Bartolino Ploti of Novara in 1385, but the top story was added in 1554 and the towers completed in 1570. The castle is open daily from 9.30-12 and 2-5 (gratuity). At one time most of the apartments were decorated by the early masters of the Ferrarese school, but the only important survivals are on the ceilings of the antechamber and in the Saloon of Aurora (painted by Dosso Dossi and his pupils). In the Dungeons beneath the N.E. tower Parisina, wife of Niccold III, and her lover Ugo, his natural son, were confined and put to death (1425). To the N,W. of the castle, at the beginning of the Via Armari, is the church of Santa Maria della Rosa, containing a *Pietk with terracotta figures, by Guido Mazzoni (1488), noteworthy for its realism.—To the W. of the castle is the graceful 15th cent, oratory of San Giuliano, and to the S.E. a monument to Savonarola (see above). The Palazzo Comunale (PI. D 4), immediately S. of the castle, another mansion (1243) of the Este family, has been considerably remodelled. The fa9ade towards the cathedral is called the Volto del Cavallo, from the equestrian statue of Niccold III which used to surmount the arch on the right. The column on the left is the base of a statue of Borso; both were destroyed in 1796. The original stair- case in the courtyard, which is entered through the Volto, is the work of Benvenuti (1481). The *Cathedral (PI. D 5) is a Romanesque building of 1135 preserving its exterior almost unaltered. The fine W. Front is divided by buttresses capped with turrets into three equal portions, each subdivided into a triplet, with two exquisite arcades one above another, a small wheel- window, and a third arcade beneath the eaves of the low- pitched gable. The imposing Porch is decorated with rude reliefs. The huge unfinished campanile was built of Verona marble in the time of Ercole II. —The well-lighted Interior, in the form of a Greek cross, was remodelled in 1712-18. In the 3rd chapel of the N. aisle is a Madonna and saints, by Garofalo (1524); in the 6th chapel a Coronation of the Virgin,264 Rte. 30 FERRAJRA Pal. Schifanoia a late work by Francia. In the N. transept are terracotta busts of Christ and the Apostles by Alf. Lomhardi. In the S.; transept are similar busts, a Martyrdom of St. Laurence (over the altar), by Guercino (1629), and, facing the S. aisle, the * Altar of the Calvary, composed in 1673 from 15th cent, bronze groups of statuary (including the Virgin and St. John, by Nic. Baroncelli; SS. George and Maurelius, by Giov. Baron- celli and Dom. Paris). In the apse are a vault-painting of the *Last Judgment, by Bastianino (restored), and fragments of a destroyed organ-loft, with St. George and an Annunciation, by Cosimo Tura (1469). In the sacristy is the Madonna of the Pomegranate, by lac. della Querela (1408), with several paintings attributed to Dosso Dossi, Garofalo, and others. To the S. of the cathedral is the Piazza Trento e Trieste with the Torre dell'Arengo (1603) and the poorly- restored Palazzo della Ragione (1326). The church of San Fran- cesco (PI. D 6), E. of the cathedral, was rebuilt by Rossetti (1494-1515). Farther on in the same direction are the Casa Romei (PI. D 6), of the early 15th cent., with two picturesque courtyards and rooms with frescoes of the school of Dossi; the early 18th cent, church of San Girolamo (PL D 6, 7); the severe Palazzo Saracco; and, in the Via Madama, the church of Santa Maria in Vado (PI. D 7), another work of Rossetti (1496), with a handsome interior. — Still farther S.E., at No. 23 Via Scandiana, is the interesting Palazzo di Schifanoia or Scandiana, begun in 1391 and completed by Benvenuti and Rossetti (1467-69). It was decorated for Duke Borso d'Este with frescoes of the months by Cosimo Tura and Fr. Cossa, (1460), some of which still remain in the Sala dei Mesi. In this building is installed also the Museo Civico (open 10-4, in winter 11-3; adm. 1 L; on Sun. 12-4, free), con- taining illuminated psalters, coins, medallions^ bronzes, etc. In the Borgo San Giorgio (PI. F8),. beyond the Canale di Burana, is the church of Saw Giorgio, partly erf the 15th. cent., with a campan% by Rossetti (1.485) and, in the choir, the magnificent *Tomb of Lorenzo Roverella, physician to! Julius II and afterwards bishop of Ferrara, by Ambrogio da Milano and Ant. Rossellino (1475).—Thence we may return by the Via Venti Settembre, No, 124 in which is the *Palazzo di Ludovico il Moro (PL E 7-8), an unfinished masterpiece by Rossetti, with an admirable courtyard and three ground floor chambers decorated by Garofalo of by Ercole Grandi.—We follow the tram- lines as far as the Via Giuoco del Pallone, which leads to.the right, passing (No. 29) the house of Ariosto's father, tp the Via delle Scienze,, wherestands the Uni- versity (PI. D 6), with its severe'facade by G.B. Aleotti. In the courtyard are Roman and mediaeval marbles, and in thei library the tomb of Ariosto and valuable autographs. 4—The Church of San Paolo (P1.mD;4-5), c. § m. W., is interesting (rebiwlt by. A- Schiattj, 1570). A. gliinpsje of the ol(J 15th cent.^tpwn, with its old houses and characteristic little churches, may be obtained in the course of a short Walk among the lanes of this neighbourhood, especially in the Via Camello, Via Borgo VadOi and Via Mazzini. iPinacoteca FERRARA 30 Rte. 265 From the castle the Corso Vittorio Emanuele, in which the handsome fronts of palazzi alternate with verdant gardens, leads to the intersection of the Corso Porta Po and Corso Porta Mare. Here stands the Palazzo dei Diamanti (PL B 4), begun by Rossetti in 1493 for Sigismondo d'Este, and re- modelled in 1555. It is named from the 12,600 diamond- shaped bosses on its fasade. The courtyard contains a lapidary collection, and on the first floor is the * Pinacoteca, notable for its collection of the Ferrarese school of the 16th century. Most of the paintings have been brought from suppressed religious houses or desecrated churches, and many are restored. Adm. daily 9-12 and 3-5, in winter- 10-4 (11.), on holidays 10-12 (free). Room II. Paintings by Cosimo Tura, Costa, Roberti; 38. *St. Jerome, attributed to Costa or Grandi. — Room I. Fragments of frescoes, including the * Apotheosis of St. Augustine, SS. Christopher and Sebastian, etc., of the school of Piero delta Francesca (1451). — Room II. 38. St. Jerome, attributed to Fr. Cossa.—Room III (left). Works by Domenico Panetti and the Dossi.— Rooms IV, V. 71. *Madonna del Pilastro, and other paintings by Garofalo. — Room VI. Triumph of the Church over the Synagogue, a very large fresco by Garofalo.-—Room IX. 136. Madonna and.St. Bruno, by Guercino; 137. Martyrdom of St. Maurelius, by Guercino. — Room XI. *Polyptych, by Dosso Dossi. —Room XIII. *184. Tribute Money, by Rocco Marconi; 180. Death of the Virgin, by Carpaccio (1508); 190. Sketch* by Perugino; paintings by Romagnole and foreign artists. — In the following rooms are paintings by modern Ferrarese artists, etc. At the same cross-roads rises the Palazzo Sacrati (1493-96), with an elaborate portal, probably the work of Ant. Lombardo. On the Corso Porta Po, to the W., rises the Capuchin church of San Maurelio (PI. B 3), with a St. Francis by Guercino (3rd N. chap.) and wooden statues and bas-reliefs. No. 67 in the neighbouring Via Ariosto (r.) is the Casa di Ariosto, the house built for himself by the poet, who died here in 1533. Farther W. is the church of San Benedetto (PI. C 3), with admirable cloisters. — The Corso Porta Mare leads E. from the Palazzo dei Diamanti. The Certosa (PI. A 4), to the N., dating from 1452-61, is now occupied by the cemetery. The church of San Cristoforo, in the Certosa, is possibly the work of Rossetti (1498-1533); it contains good carved choir- stalls and a striking head of John the Baptist. In the Piazza Ariostea (PI. B 5), opening off the Corso, is a statue of Ariosto (1833), on a column which in turn supported statues of Duke Ercole I, Pope Alexander VII (for whom the foliage reliefs were added), and Liberty. There are two Renaissance palaces on the Piazza. We follow the Via Palestro in order to reach the broad Corso della Giovecca, in which (No. 41; r.) is the old Ospedale Sant'Anna (PI. C 5), where Tasso was confined as a madman (1579-86) by Duke Alfonso of " the266 Rte. 30 POMPOSA antique brood of Este." Next door is the Palazzo Rovevella, a handsome example of the terracotta decorated style (1508). In the other direction, on the right, is No. 174 the graceful Palazzina di Marfisa (1559), of one story only. From Ferrara to Ravenna and RImini, 77 m. (124 km.), railway in 3-4 hrs. (481. 75, 341. 50, 21 1. 15 c,.). We cross a broad expanse of marshes in course of being drained, and pass (15 m.) Portomaggiore and (26 m.) Lavezzola, both of which may be reached also from Bologna by light railway — 46 m. Ravenna, and thence to (77 m.) Rimini, see p. 301. From Ferrara to Codigoro, 33 m. (53 km.), steam tramway in 4 hrs. (3 1. 85, 2 1. 15 c.). The line runs E. through the sea-marshes. — From (20£ m.) Ostellato there is a branch-line to Porto Garibaldi, a harbour on the Adriatic, via Comdcchio (8700 inhab.), in the midst of the Valli, or Lagoons of Comacchio, noted for their eels. — 33 m. (53 km.) Codigoro is the largest land-reclaiming installation in the world. The famous Benedictine abbey of Pomposa, founded in the 6th cent., and once situated on an island, is about 6 m. E. The fine ♦Church dates from 1026, the campanile from 1063. Guido d'Arezzo (p. 406) was a monk here. Another branch railway connects Ferrara with (20 m.) Cento (p. 276) apd (28£ m.) Persiceto (p. 292)—From Ferrara to Mddena, see p, 276; to Parma, see p. 273. Beyond Ferrara the line to Bologna crosses fertile plains. — 78 m. Poggio Renatico.—We cross the Reno and go on via (81 m.) Galliera and (83 m.) San Pietro in Casale.—- 96 m. Corticella. As we near Bologna the church of the Madonna di San Luca becomes conspicuous on the right. — 99J m. (160 km.) Bologna, see Rte. 32.Alberghi (Hotels): — Euiopa 50,a — M oder no 4D,b — Peliegrino e Ga- iano 4D,c — Stella d'Oro 4-5D,d Antico Po di Volano 5-6-7F Arcivescovado 5D Bagni Pubblici 3-4C Banca d'ltalia 40 B org hi (.Suburbs): — San Giorgio 8F — San Luca 5-6F Canale di Burana 1-2-3F Canapiflcio ID Oarceri 4E Case {Bouses): — Romei 6D — Rossetti 8E Caserme (Barracks): — Cavour 3-4D — Mortara (di) 6-7B — Quartierone 4B —- San Guglielmo 50 — San Yito (di) 7D Oassa di Risparmio 50 Castello 4CD Cattedrale 5D ; Chiese (Churches): — Corpus Domini til) i — Gesfl 4-50 — San Benedetto 2-30 — San Domenico 3-4D — San Francesco 6D — San Giovanni 5-6B —• San Girolamo 6-7D — San Gregorio 6D — San Maurilio 3B —-- San Paolo 4-5D — Santa Maria in Vado 7D — Santa Maria Nuova 3D — Sant'Antonio 7E — Santi Pietro e Paolo 7-81) — Santo Spirito 6BC — Santo Stefano 4D Ci m iter] (Cemeteries): — Certosa (d.) 4 A — Israeiitico 5-6 A Corsi: (Avenues); — Giovecca (d.) 5-6-7C — Porta Mare 5-6A4-5B — Porta Po 3-4B 2-3C — Porta Reno 5DE — Porta Romana 8E FERRARA. Corsi: (Avenues): — Yittorio Eman. 3A 4BC Darsena 3-4F Distretto Militare 30 Istituto Tecnico V. Monti 4-50 Magazzino Militare 2E Manicomio Provin- ciale 6E Molini Soc. Alta Italia 1-2F Montagnone 8E Monte di Pieta 40 Offlcina del Gas 5E Ospedali (Hospitals): — Lazzaretto 6A ■— Nuovo 70 — Sant'Anna 50 Palazzi (Palaces): — Oomunale 4-5D —■ Crispi 4-50 — Diamanti (d.) 4B — Giustizia (di) 5D — Ludovico il Moro (di) 7-8E Piazze (Squares): — Ariostea 5B —■ Borso 4 A — - Mereato 5D - Porta Reno 5E Savonarola 4D — Yittorio Eman. 40 Porte (Gates): — Mare 6-7 A — Po 1-2C — Reno 5E — Romana 8E Poste e Telegrafi 50 Rampari Piangipane 3-4E Rione Giardirio 2D Scuola Teeniea T. Bonati 6D Seminario 5CD Stazioni (Railway-Stat.) — FF. SS. ID — Trajnvie Padane ID Strade (Roads): — Argine di Porotto 1-2-3-4F — Circonvallaziorte (di) 1-2A 1BC — Oomunale di Cir- convallazione 6-7A 7-8B SOD 5-6-7-8F — Interna 2ABC Teatri (Theatres): — Oomunale 50 Teatri ( Thea tres) : — Verdi 5E Universita 5-61) Viale Cavour 2 -3-40 Vicolo delle Erbe 5A Vie (Streets): — Aria Nuova 2-3B — Ariosto 3BC — Armari 40 — Bagaro 2BC — Bellaria 60 — Boccacanale 4DE — Borgo di Sotto 6D — Borgo Leoni 4BC — Borgo Vado 7DE Borso 4AB — Cairoli 5D — Cammello 6DE — Capo delle Volte 3-4D — Capo Ripagrande 4DE — Cavallo 6-7E — Cisterna del Folio 7D — Cittadella 20 — Colombara 3-4C — Concia 3-4D — Confrari 5D Coperta 7-8D 6-7E — Oortevecchia 4-5D — Croce Bianca 3CD — del Genio 3BC — Forniiscnana 8DE — Folate di Ivlorta- ra 5 -6-7B — - Fresoobaldi 5 BC — Garibaldi 3-4D — Ghiaia 5-6E • Ghisilieri 7DE Granehio 61) 5-6E — Guarini 4AB — Lollio 40 — Luna (d.) 4 CD — Madama 7CD — Mascheraio 5B — Mazzini 5D — Mellone 7DE — Mentana 50 — Montebello 5BC — Mortara 6 ABC — Palestro 5 BO — Pavone 3B — Pioppa 60 — Porta d'Amore 7E — Porta San Pietro 6E —• Ragno 5E — Ripagrande 5- -6-7E — Romei 51) (Continuation). (Continuation).PROPR.DELT.C.I. R1PROD.VIE1 Cimiforo , Israeli fico f Crmit/drllH Scaladi 1 = 17 0 00 Mrt.ri Tramvie. urbane, e.rtnuirtirme Ospedale huy.Y.nxc.Uv .(krvunni TJ Ma^rdU a £eir«ri« 1SPT Suovo jpedale Rione JArvivescoviulo CpUedrale ^ SsPietlo ? orio Muliu PoggioRusco, Bologna, Portjmiaqgiore__2 Ravenna I^coRBrumT UFF.CART06R. DEL T.C.1. STAMPAANT.VALLARDI MILANOVie (Streets): — San Romano 5DE — Saraceno 6D — Savonarola 6D — Scienze 51) •— Scortidhina 5-6B Vie (Streets): Vtile (Villas) : — Spadari 40D — Vignatagliata — Spronello 5E — Vittoria :— Terra Nuova 6D — Zemola — Venti Settembre 6-7EV. EMILIA, ROMAGNA, AND THE MARCHES route page 31. Milan to Piacenza, Parma, and Bologna - Lodi, 268. Salsomaggiore, 270. Reggio, 273. M6dena, 274. Cento, 276. 268 32. Bologna - 276 33. Bologna to Ancona ----- fmola, 292. Faenza, 293. Forli, 294. Cesena, 295. Rimini, 295. San Marino, 297. Pesaro, 297. Fano, 297. Zara, 299. 292 34. Rimini to Ravenna - Cesenatico, 301. 301 35. Bologna to Florence ----- Bagni della Porretta. 309. Pistdia, 309. Prato, 312. 308 The ancient Roman district of Emilia, the triangle between the Po, the Apennines, and the Adriatic, was disintegrated in the middle ages into a series of more or less important states. The seaward portion (now Romagna, see below), with Bologna, passed into the hands of the Pope, and the duchies of M6dena and Parma endured as separate units until the final liberation of Italy. Then the old name of Emilia, taken from the Via ^Emilia, the great valley road finished in 187 b.c. under the consul M. yEmilius Lepidus, was revived, and the people united themselves by plebiscite to the new kingdom of Victor Emmanuel. The modern district of Emilia (2,681,200 inhab.) comprises the provinces of Bologna, Ferrara, Forli, M Nv.!,onV. (1('i (';|S Pii b blico C Casern a I IVi/mec eo y Pilpttn I'iiirui* MuSCO Plr halm U e Bibl. V.lottaj Prenst . P7;1^ c 9„uest iri.'jVK Jg fePiS jToxConv.di fl, ■S.Paolo u\ fain.ilel ^ Correg^hjT ^ ■?JI Jaf Hi 0 S.B«i lejlc LI <> iiroW10* li. fanivorsitA^W S.Aiit. i. Aba te Cr gorgo S.Scpolero Mi'urgica e Medica J" STMFoIi ?Te (Jl liferaP/j &Ic CoTl.Manl-iiiyia ^ Ornna«io Liceo $/. 0 R.Low/.o^ S. Slr.PrCap}^ CapruBUfc" •? Vi Pa/wi&r- Uldacrico PARMA Scala di 1' 13 000 B^rrjera Farm i itoi" Tratruric urbane '' pJctiKinrtoazie 1 Berceto UFF.CAR10GR.0EL T.C.I.-CapoCarrografo P CORBELUNIPrefettura e Questu- ra 3-4B Questura e Prefettu- ra 3-4B Scalo Merci P. V. 5A Scuola Militare (Pa- lazzo del Giar- dino) 2-3A Stazioni(Rmlway-Slat.): — FF. SS. 4A —■ Tramvie 4-5A — Tramvie Elettr. 2-3E Strade (Roads): — Rixio 2-3C 2D — Cairoli 4C —* Carmine (d.) 3CD — Carallotti 4B — Cavour 4BO — Circonvallazione (Niiova) 5-6D 5E — Collegio Maria Lui- gia (al) 50D — Corte d'Appello 30 — D'Azeglio 1-2B 2C — Duomo (al) 4B — Farini 4C 3-4D — Farnese 3BC — Garibaldi 4ABC — Imbriani 2C — Inzani 20 — Mazzini 30 — Nuova 6 - <> 1 > — Petrarca 50 Strade (Roads): — Pisacane 4B — Ponte Caprazueca 3D — Saffi 5BC — San Nicold 4B — Seminario (d.) 40 — University 30 — Yentidue Luglio 40D — Yittorio Emati. 4-50 Stradelli: — San Oristoforo 5D — San Francesco 5B — Sai. Girolamo 60 Teatri (Theatres): — Eden 30 — Regio 3-4BC — Reinach 3-4B Torrente Parma 3ABODE Tribunale 5ft University 30 Vescovado \ 4B Viali (Alleys)-: > — Basetti '3DE — Bologna 5A — Campanini 6D — Caprera 2E — Carlo Alberto 5-61) — dei Mille 1CD — Fratti 4-5A 5B — Mentana 4-5A 5B 6BC Piacenza 1-2A IB Viali (Alleys): — Tanara — Toschi — Umberto I — Veneto — Verona —- Vittoria — Zanardelli Vie (Streets): — Aflte — Borghesi — Carduc-ci — Corridoni — Dante — Emilia — Guasti Santa lia — Lombardia -— Marche -— Oberdan — Palermo —7 Reggio —-Roma — Salute* (d.) —> Sauro — Toscana Trento — Trieste Umbria — Venti Marzo — Volturno 60 3AB 3-4-5E 6BC 5-6 A 10D SAB 3-4AB 3-4A 30 20 40 IB 6D Ceci* 2-80 6B 6B 30 4-5A 3 A. v MB 2D 40 6B 4A 6B > 6B 40 IDto Bologna RJEGG10 31 Rte. 273 with fine works of art. We cross a bridge (| m.) over the Po. — 15 m. Ca- salmaggiore (4207 inhab.) is noteworthy for its embankments on the Po. —• At (25 m.) Piddena we intersect the line from Cremona to Mantua (p. 148). — 31£ m. Asola preserves its old walls. — 57i m. (92 km.) Brescia, see p. 136. From Parma to Ferrara, 781 m. (126 km.), light railway on the right bank of the Po. — 19J m. Guastalla (3612 inhab.) was once the seat of a duchy belonging to a branch of the Gonzaga family (statue of Ferrante I, d. 1557, by Leone Leoni). Light railway to Reggio, see below. —At (27i m.) Suzzara we intersect the line from Mddena to Mantua (p. 275). — 37£ m. San Bene- detto Po is noteworthy for the ruins of the Benedictine abbey of PoLirone, a house protected by the Countess Matilda of Canossa (1046-1115), who was buried here. — 49 m. P6ggio Rusco, a station also on the line from Bologna to Verona (p. 292). — Between (57f m.) Sermide and (67f m.) Bondeno we pass through a region of extensive drainage works. — 78i m. (126 km.) Fer- rara, see p. 262. The tramway from Parma to (14£ m.) Langhirano passes through (llf m.) Torrechiara, with the well preserved 15th cent. *Castle built by Pier Maria Rossi, noteworthy for its ' Golden Room.' On quitting Parma we have a retrospect of the campanile of the cathedral, the graceful bell-tower of San Giovanni, and the dome of the Steccata. On the S. the Apennines are seen in the distance. 95J m. (154 km.) Reggio Emilia {Hot. Posta, K. 8 1.; Scudo di Frdncia, R. 7 1.; Post Office, Via Emilia a San Pietro), the Regium Lepidi of the Romans, is a large and flourishing town (40,118 inhab.) situated on the old Via iEmilia (p. 267). Reggio was the birthplace of Lodovico Ariosto (1474-1533)> and here in 1797 the tricolour of the Revolution was proclaimed the national flag of Italy. The Duomo, S. of the Via Emilia, is a remodelled Romanesque church. The facade and its statues are by Prospero Spani (il Clemente) and his school; at the E. end of the aisles are (r.) the tomb of Ugo Rangone, bishop of Reggio (1556) and (1.) a fine ciborium, both by Clemente. In front of the Duomo is the Palazzo Municipale (1414) and behind it the church of San Prospero, containing in its choir a Last Judgment, by Procaccini. To the W., in the Corso Garibaldi, is the graceful church of Madonna della Ghiara (1597-1619), with a Crucifixion, by Guercino, On the other side of the Via Emilia is the Piazza Cavour, with the Musei Civici, which contain the natural history collections of Laz. Spallanzani (p. 274) and a few paintings. From Reggio to Guastalla, 18 m. (29 km.), light railway in l|hr.— From (5 m.) Bagnolo there is a branch line to (5A- m.) Corrdggio, the birthplace of Antonio Allegri (c. 1494-1534), surnamed Correggio, who is buried in the church of San Francesco, and to (12 m.) Carpi (p. 275). —11J m. Novellara preserves part of a castle of the Gonzaga, with frescoes by Lelio Orsi. —18 m. (29 km.) Guastalla, see above. From Reggio to Ciano, 16 m. (26 km.), light railway in 1J hr. — 8fm. Barco is the junction for a short branch line to MonUcchio, with its castle. •— A short distance before (16£ m.) Ciano is the halt of Vico, whence a carriage road leads to (50 min.) the foot of the hill on which stands the Castle of Rossena, and to (f hr. farther) the ruined Castle of Canossa, famed for the submission 9274 Rte. 31 M 6DEN A Prom Milan of Henry IV of Germany to Pope Gregory VII in 1077. The site is of purely historical interest. —16 m. Ciano d'Enza. On the line from R6ggio to (14J m.) Sassuolo is (8 m.) Scandiano, birthplace of Matteo Maria Boiardo (1430-94), the poet, and of Lazzaro Spallanzani (1729), the naturalist (p. 273). 103 m. Rubier a preserves some remains of its old fort- ifications (r.). Ill m. (179 km.) MODENA, in a plain between the Secchia and Panaro, is a large town (51,320 inhab.) of considerable interest to lovers of art. Hotels. San Marco, 4 Via Cesare Battisti R. 9, D. 20 1.; San Carlo, 8 Via dell'University, R. 61.; Re- gina, Via San Giovanni del Cantone; Centrale, 9 Via Cesare Battisti; ItAlia, R. 7, D. 12, pens. 22 1. Post Office, 15 Via Emilia. Conveyances. Cabs, 3 1. per drive in the town; at night 51. Taxicabs in the Piazza Gius. Mazzini, 61.; at night 10 1. — Tram- History. Mddena is an ancient Etruscan town which passed to the Gauls and became a Roman colony under the name of Mutina. At the time of the building of its cathedral (11th cent.) it was part of the possessions of the Countess Matilda of Tuscany, but a century later it was a free community and already a rival to Bologna. The Este family gained control of its fortunes as early as 1288, and the duchy was created for Borso d'Este in 1452. It endured until 1796, and was reconstituted in 1814-59 thanks to an alliance of the Estes with the house of Austria. — Mddena was the birthplace of the sculptors Guido Mazzoni (c. 1450-1518) and Antonio Begarelli (1498-1565) both known as * II Modanino.' Mary of M6dena (1658-1718), queen of James II of England, was the daughter of Alfonso IV d'Este. We bear to the left on leaving the station, and follow the Corso Yittorio Emanuele (tramway) as far as the Palazzo Reale (1651-79), now a military school. The Via Farini and Via Emilia lead to the modernised Palazzo Comunale and the Romanesque *Duomo (1099-1184), the larger portal of which is the work of Wiligelmo, and the others of Cam- pionese masters (comp. p. 94). In the interior is a terra- cotta Adoration of the Shepherds, by Begarelli (1527); the same subject is treated by Mazzoni in the crypt. The graceful Torre Ghirlandina, or campanile, 315 ft., high and slightly inclined, dates from 1319. To the S.E. is the University (1774), and to the S.W. (via the Corso Trento e Trieste) is the church of San Francesco, with a Descent from the Cross by Begarelli. The Rua del Muro, opposite, and the Via Emilia (1.) lead to the church of Sant'Agostino, containing the tomb of L. A. Muratori (1672-1750), the historian, and another ♦Descent from the Cross by Begarelli. It was on seeing this group that Michael Angelo is said to have exclaimed " If this clay could become marble, woe to the antique! " ways traverse the principal streets (lines 1 and 2 from the station to the centre of the town). — Light Rail- ways and steam tramways ply to Sassuolo, Ferrara, Mirandola or Fi- nale vi& Cavezzo, Vignola, and Ma- ranello. — Motor Omnibuses for Corrdggio, Castelfranco, Carpi, and Campagnola (starting from the Piazza Mazzini).to Bologna MIRANDOLA 31 Rte. 275 Beside Sant'Agostino rises the Palazzo dei Musei, contain- ing important collections of works of art (adm. to the Library, 9-5 or 7, free; to the Museum, 10-4, 11.; to the Picture Gallery, 10-4, 21.). The library is interesting for its illuminated MSS., the Museo Civico chiefly for its terracottas by Begarelli. ♦Picture Gallery. Room II. School of Ferrara, including paintings by the Dossi and Garofalo. — Room III. School of Mddena: 476. Fr. Bianchi- Ferrari (believed to have been the first master of Correggio), Annunciation; 17. Correggio, Madonna; works by Marco Meloni and Lelio Orsi; frescoes by Nic. dell'Abate; terracottas by Mazzoni. — Room IV. 470. Cima, Pietk; 467. Bonifacio,Adoration of the Magi; *433. Veronese, St. Menna; 422. lac. Bassano, SS. Peter and Paul; Rosalba Carrier a, Portrait. — Room V (17th cent.). Works by the Carracci (407, 333); 414. Guido Rent, Crucifixion; 466. Guercino, Martyr- dom of St. Peter; Bernini, Bust of the Virgin. — Room VI. 472. Velasquez, Francesco I d'Este (1639). — Room VII, Pastorals by Roos of Frankfort. — Room X. Majolica from Gubbio, Urbino, etc. — Room XI. Sculpture by Begarelli; coins, musical instruments, ivories, enamels, antique bronzes, etc. To the S.E. of the town is a pleasant public garden, near which rises the church of *San Pietro (1476), with a well ornamented brick front, containing a notable Pieta and a group of the Virgin and saints by Ant. Begarelli, the latter completed by his nephew Lodovico for the master's tomb. In this church was buried also Alessandro Tassoni (1565-1635), author of the mock-heroic poem ' La Secchia Rapita,' con- cerning a bucket carried off in 1325 during a raid of the Modenese on Bologna, and still preserved in the Ghirlandina (p. 274). From M<5dena to Mantua and Verona, 63J m. (102 km.) in c. 3 hrs. (481. 45, 321.70, 191. 50c.). — The straw-plaiting town of (9£ m., 15 km.) Carpi (11,272 inhab.; Hot. ltdUa) was a seigniory of the Pio family (1327-1525), famous as patrons of literature and the arts. Their Castle, in the hand- some Piazza, is now the town hall. The Duomo, built by Baldassare Peruzzi (1514), contains terracottas and sculptures by Begarelli and Spani. The churches of Santa Maria di Castello (Romanesque remains), San Nicold (1493-1529; wrongly attr. to Peruzzi), the Crocifisso (Madonna by Begarelli), and San Francesco (tomb of Marco Pio attr. to lac. della Quercia) are likewise of interest. From Carpi to Correggio and R^ggio, see p. 273. —13£ m. (22 km.) Gonzaga was the ancestral home of the Gonzaga family, who ruled Mantua for 380 years. — 26 m. Suzzara, see p. 273. — We cross the Po at (29f m.) Borgoforte, and go on to (38 m.) Mantua (p. 148). — 52J m. Villafranca di Verona, preserving the castle of the Scaligers (1202), gives name to the armistice of July 11th, 1859, concluded between Napoleon III and Francis Joseph. The hills stretching hence to the Lake of Garda (comp. also p. 141) were the theatre of the campaigns of Prince Eugene of Savoy (1701-06), the wars of the Revolution (1796-1814), and the three earliest wars of Italian independence (1848-49, 1859, 1866). — 63£ m. (102 km.) Verona, see p. 152. Brqm M6dena to MirAndola, 19i m. (31 km.), light railway. The line runs N.E. vi& Cavezzo. — 19J m. (31 km.) Mir&ndola {Hot. Aquila Nera), a town of 4424 inhab., was the principality of the Pico family, the most famous member of which was Giovanni Pico (1463-94), noted for his encyclopaedic learning. The town is famous also for a siege undertaken in 1511 by Julius II. There are some ruins of a castle, and in the church of San Francesco various members of the Pico family are buried. -— A tramway runs to (3 m.) the Mir&ndola station on the Bologna-Verona railway (p. 292).278 Rie. M BOLOGNA Hotels From M6dena to Ferrara, 40£m. (65 km.), light railway in c. 2 hrs.— 5J m. Nondntola has an abbey of 752 rebuilt in the Romanesque style of the 13th century, with the tombs of the popes St. Sylvester arid Adrian III. — 13 m. Crev%lcofe (p. 292). — 20J m. (33 kni.) Cento (Hot. Commercio; 4942 inhab.) is the birthplace of Giov. Fr. Barbieri, surnamed II Guercino (1591- 1686), twelve of whose paintings are in the local gallery, and of the priest Ugo Bassi (1801-49), a martyr to the cause of freedom. The castle belonged to the Este family. — 40£ m. (65 km.) Ferrara, see p. 262. A little short of (118 m.) Castelfranco d'Emilia we pass the remains of the Forte Urbano, built by Urban VIII (1628) and marking the papal frontier of his time. We cross the Reno a little S. of the island where Octavius, Antony, and Lepidus met (c. 50 B.C.) to form the Second Triumvirate. On the summit of a hill to the right is seen the sanctuary of the Madonna di San Luca (p. 291). We approach the towers of Bologna. — 134J m. (216 km.) Bologna, see Rte. 32. 32. BOLOGNA BOLOGNA (162,111 inhab.), the ancient capital of Romagna and one of the oldest cities of Italy, the seat of an archbishop and of a famous university, is situated at the S. verge of the Emilian plain, at the foot of the lower slopes of the Apennines. The town is built almost exclusively of brick, and many of its streets retain their mediaeval arcades, which, together with the famous leaning towers, the long series of Romanesque and Gothic churches, and the remains of the old city wall, delight the architect and the archaeologist. The Bolognese school of painters is worthily represented in its picture gallery, and the Museo is important for the study of Umbrian and Etruscan civilization. ' Bologna ' sausages (p. ci) have enriched the English language with the word ' polony.' Not less than two days should be devoted to this interesting city. d; 12), 7 Via Ugo Bassi, an old house where Byron put up in 1819, R. 7, D. 18, pens. 351.; Roma (PI. i; 13), 11 Via d'Azeglio, R. 7, D. 8, pens. 251.; Tre Re & M£tropole (PI. e; 13), 25 Via Rizzoli; Corona d'Oro (PI. p; 13), 12 Via Oberdan, R. 91.; San Marco (PI. g; 8), R. 8, D. 10, pens. 27 Sav6ia, 60 and 26 Via Indipendenza; Tre Vecchi (PI. q.; 8). —Bologna (PI. n; 3), meubte, R. 10 1. Restaurants (besides those at the hotels): Grande Italia, Via Rizzoli; Cafjb San Pietro, Diana, in the Via Indipendenza; Bolognese, 13 Via Ugo Bassi; Brunetti, 5 Via Ven6zia. Railway Stations. Centrale (PI. 3; Rfmts.), near the Porta Galliera, for the lines to Milan, Florence, Venice, Ancona, Verona, etc.; San Vitale (PI. 10), between the Porta Zamboni and Porta San Vitale, for the lines to Portomaggiore and Massalombarda. Hotels. *Grand-H6t. Baglioni (PI. a; 13), 6-8 Via Indipendenza, R. 12, D. 20, pens. 45 1.; Brun (PI. b; 12), in the old Pal. Ghisilieri, 32 Via Ugo Bassi, R. 12, D. 22, pens. 451.; Stella d'ItAlia (PI. f; 13), Via Riz- zoli, R. 10, D. 20, pens. 50 1.; Sav6ia (PI. 3; 8), 26-28, Via Indipendenza, R. 8, D. 15, pens. 401. - Pellegrino (PI.History BOLOGNA 32 Rte. 277 — Caf£s: Modernissimo, Piazza Re Enzo; San Pietro, Pasticceria Maiani, Bar Centrale, Diana, all in the Via Indipendenza; PodestA, Piazza Vit- torio Emanuele; Viscardi, Ronzani, Via Rizzoli. Post Office (PI. 13), Piazza Min- ghetti. Conveyances. Cabs, with taxi- meter, 41. per drive of 10 min. in the town; motor taxicabs 51. for the first 500 metres, 50 c. for each 250 metres following.. — Electric Tramways ply from the station to the Piazza Vittorio Emanuele, and thence to the Certosa and San Michele in Bosco; also hourly from the Piazza Malpighi to Casatecchio. — Steam Tramways to Casalecchio and Vignola, to Corticella and Pieve di Cento; to Castel San Pietro and fmola; to Min£rbio and Malalbergo. — Motor Omnibuses to Florence, Sasso, Monte San Pietro, Vergato, etc. Theatres. Comunale (PI. 8), 30 Via Zamboni, operas in the carnival season; del Corso (PI. 14, 19), 31 Via San Stefano; Duse (PL 19), 42 Via Cartoleria, for operas, operettas, and comedies; Arena del Sole (open-air theatre; in summer only); Verdi; Contavalli; Eden, Apollo, music-halls. History. The Ligurians and Umbrians were succeeded in this region* towards the end of the 6th cent. b.c., by the Etruscans, who named their chief town Felsina, The valley of the Po was overrun by the Gauls in 390 b.c., but was liberated in 207 b.c.. by the Romans, under whom Bononia Romana became a flourishing city. Towards the close of the Western Empire the town was sacked by the barbarians and became subject to the Lombards and Franks of Ravenna. It obtained its freedom and a charter from the emperor Henry V in 1116. One of the foremost cities of the Lombard League (1167), it reached the summit of its glory after the peace of Constance (1183), and sided with the Guelphs, the papal party, against the Ghibellines, the emperor's party. In the ensuing contests a Modenese force carried off from a well in Bologna the bucket celebrated in Tassoni's 4 La Secchia Rapita ' (comp. p. 275), but the insult was avenged by the Bolognese in the fierce battle of Fossalta (1249). Enzo (1225-72), King of Sardinia, a natural son of the emperor Frederick II, taken prisoner in the fight, was confined at Bologna for the remaining twenty-two years of his life (comp. p. 279). In 1325 the Bolognese were defeated in their turn at Zap- polino, but the papal legate sent to their assistance met no warm welcome, and c. 1334 Taddeo Pepoli, a popular champion, founded a lordship, held in turn by the Visconti, the Pepoli, and finally the Bentivoglio, under the last of whom (Giovanni II Bentivoglio; 1463-1502) Bologna reached a high pitch of fame and prosperity. In 1506 Pope Julius II reconquered the city, and for three centuries Bologna was incorporated with the Papal States, save for a brief interval (1796-1814) when it was part of Napoleon's Cisalpine Republic, In 1814 Bologna was occupied by a British force under General Nugent, in support of the Austrians against Napoleon. Unsuccessful insurrections broke out in 1831 and 1848, and from 1849 until the formation of the Kingdom of Italy in 1860 the town was held by an Austrian garrison. Bologna, the seat of a bishop since 270 and of an archbishop since 1583, has contributed more prelates to the sacred college than any other city except Rome, and six of its natives have been popes: Honorius II, Lucius II, Gre- gory XIII, Innocent IX, Gregory XV, and Benedict XIV. Among painters born in Bologna may be mentioned Francesco Primaticcio (1504-70), the three Carracci (16th cent.), Domenichino (1581-1641), Guido Reni (1577-1642), and Francesco Albani (1578-1660), the 4 Anacreon of painting.' Other famous Bolognese were Card. Mezzofanti (1774-1849; p. 290) and Luigi Galvani (1737- 98; p. 286). Architecture. Brickwork facades and embellishments have always prevailed in Bolognese architecture, and the builders of the 14th cent, fashioned marvellous designs in this material. Pagno di Lapo, who settled at Bologna in 1453, introduced the architectural forms of the Tuscan Renaissance, the finest examples of which adorn the Palazzo Bevilacqua, Palazzo Bentivoglio, and Palazzo del Podestk. During the 16th cent, architecture followed the general tendency of Roman classical form; this was the period of Baldassare Peruzzi,278 Rte. 32 BOLOGNA Art Galeazzo Alessi, Vignola, and the Bolognese architects Antonio and Francesco Morandi, who were succeeded by Pellegrino and Domenico Tibaldi and Bartolomeo Triachini. The great buildings of the early 17th cent, were designed by Giovanni Magenta. Towards the end of the century the baroque style prevailed, and in the 18th cent. Carlo Dotti and Alfonso Torreggiani were the foremost artists. Sculpture. The wonderful art displayed by Nicola Pisano in the tomb of St. Dominic (13th cent.; p. 287) was never successfully imitated, although the university of Bologna, with its numerous monuments to professors and scholars, offered an immense field to sculpture. The virile art of Iacopo della Quercia had its influence at Bologna. During the rule of Giovanni II Bentivoglio (p. 277), the list of distinguished sculptors included F. Ferrucci, Sperandio, Nicolo del- l'Arca, V. Onofrio, and A. Marchesi da Formigine. Michael Angelo resided for some time in Bologna, and afterwards made for it a statue of Julius II, which was destroyed in 1511. Ercole Seccadenari, Amico Aspertini, Properzia de' Rossi, and Alessandro Menganti were noted Bolognese sculptors of the 16th cent., in the course of which also Alfonso Lombardi, Tribolo, the Zacchi of Vol- terra, Montorsoli, and Giambologna came from other districts to settle at Bo- logna. During the domination of the baroque style the city possessed one sculptor of merit, A. Algardi. Painting. Bolognese painting of the earliest period (14th cent.) is somewhat stiff in form and poor in colouring. The first painter to emancipate himself from the Byzantine style was Vitale degli Equi, surnamed Delle Madonne, and the works of his successors, Simone dei Crocifissi and Lippo di Dalmasio, show increasing suppleness and finesse. Bolognese painting then fell for a time into decadence, save for the art of Marco Zoppo (late 15th cent.), a pupil of Squar- cione at Padua. Galasso Riva introduced the forms of the Ferrara school, and soon afterwards F. del Cossa, Ercole Roberti, and Lorenzo Costa were attracted to Bologna by the court of the Bentivoglio. Lorenzo Costa allied himself in 1490 to Francesco Raibolini of Bologna, surnamed Francia, the true founder of the Bolognese school, who had begun life as a goldsmith. The two artists in- fluenced each other profoundly, but before the century was ended Francia had surpassed Costa and had fallen under the spell of Perugino. The school of Francia numbered more than 200 pupils, among them his son Giacomo and Timoteo Viti da Urbino. On the other hand Gian Maria Chiodarolo and Guido and Amico Aspertini, all natives of Bologna, belonged to the school of Costa. A revival occurred at the close of the 16th cent, under the Carracci (Lodovico and his cousins Agostino and Annibale), founders of the so-called Eclectic School of painting, which was animated particularly by a reaction against formalism. The great merit of the Carracci lies in their inspiration of the art of Francesco Albani, Guido Reni, Domenico Zampieri (surnamed Domenichino), and Giovanni Francesco Barbieri (surnamed Guercino). A. Tiarini likewise was influenced by the school of the Carracci, and C. Cignani, Elisabetta Sirani, and many others by that of Albani and Guido Reni. Among the numerous artists of the 18th cent, may be mentioned Giuseppe Crespi, Ercole Graziani, and the three Gan- dolfi, while the art of the theatre and of scenic decoration was enriched by the Bibbienas and Vittorio Bigari. On leaving the station we incline to the left, traverse the Piazza Yenti Settembre, passing the rebuilt Porta Galliera, and reach the beginning the Via dell'Indipendenza, whence a flight of steps ascends to the public gardens of the Mon- tagnola (PI. 3; view of the towers). The monument (1904) close by commemorates the expulsion of the Austrians in 1848. At the other end of the long Via dell'Indipendenza rises (1.) the Cathedral (PL 13; San Pietro), which dates from the 10th cent., but has been several times rebuilt. The elaborate W. front was designed by Alfonso TorreggianiSan Petronio BOLOGNA 32 Rte. 279 (1743-47). The fine Lombard campanile dates from the 12th century. The interior is mainly the work of Floriano Ambrosini, from designs by Magenta (1605). The two lions in red Verona marble flanking the inner side of the W. door- way supported the columns of a former Romanesque porch. In the second chapel of the S. aisle is preserved the skull of St. Anna, presented in 1435 by Henry VI of England to Niccolo Albergati, better known as the Cardinal of Santa Croce. The choir is by Domenico Tibaldi, and the fresco in the lunette above it is the last work of Lodovico Carracci. The Via dell'Indipendenza debouches in a right-angled space of imposing proportions, consisting of two squares, the Piazza del Nettuno and Piazza Vittorio Emanuele (PI. 13). In the former is the Fontana del Nettuno, or Fontana del Gigante, designed in 1564 by Laureti, and adorned with an imposing statue of Neptune and other bronze figures by Giambologna (1563-65). The Palazzo di Re Enzo, on the E. side, dating from the beginning of the 13th cent, (restored in 1905), was the prison of King Enzo (comp. p. 277), soldier, poet, and musician, from 1249 to 1272. The monument by Monteverde to Victor Emmanuel II stands in the midst of the Piazza Vittorio Emanuele, on the S. side of which rises the immense fa$ade of * San Petronio, the largest church in< Bologna and one of the finest examples of 14th cent. Italian Gothic. It was founded in 1390, while Bologna was yet a free city, the architect being Antonio di Vincenzo, ambassador of the Bolognese to the Venetian Republic in 1396. The vaulting of the nave dates, however, only from the beginning of the 17th century. It is said, somewhat doubtfully, that the original plan was a Latin cross. Exterior. The church is orientated almost N. and S. In the unfinished facade are three canopied doorways, with reliefs illustrating Biblical history from the Creation to the time of the Apostles. The middle portal is remarkable for its *Sculptures by lac. della Querela (1425-38), including under the arch figures of the Madonna and Child with St. Petronius (the St. Ambrose, by Bom. da Varignana, was added in 1510). The right and left hand doorways were designed by Ercole Seccadenari (1524) and sculptured by various artists, including Tribolo, the friend of Benvenuto Cellini. The first two windows on either side of the building were designed by Ant. di Vincenzo, and the sculptures are the work of the Dalle Masegne; the remaining windows are of more recent date. Interior. The great nave (134 ft. high) and the aisles are lighted by round windows. The large bare surfaces, the harmony of the powerful columns, and the broad span of the arches produce an effect of profound composure. The numerous works of art are grouped for the most part in the chapels of the aisles. 1st Chapel (S. aisle): Madonna della Pace, by Johannes280 Rte. 32 BOLOGNA San Petronio Ferrabech (1394), enclosed in an altarpiece by Giac. Francia. —- 2nd Chapel: on the altar, polyptych by Tommaso Garelli (1417); on the walls, frescoes by Luca da Perugia, Francesco Lola, and others. — 3rd Chapel: Polyptych by an unknown Venetian master (15th cent.). — 4th Chapel: Altarpiece, Christ (14th cent.), repainted by Giac. Francia; 15th cent, frescoes; stained glass window by Jacob of XJlm (1466). — 6th Chapel: Balustrade by A. Rusconi (1485); altarpiece, St. Jerome, at tributed to Lor. Costa. —- 8th Chapel: *Carved Stalls by Fr. Raffaele da Brescia (1521). — 9th Chapel: Statue of St. An- thony of Padua, attributed to lac. Sansovino; Miracles of St. Anthony, in grisaille, by Girol. Pennacchi the Younger. 10th Chapel: * Balustrade (15th cent.), possibly the work of Dell'Area. — 11th Chapel; Assumption, bas-relief by Tri- bolo (1537), and two angels attributed to Properzia de' Rossi. —? 9th Chapel (N. aisle): Grille of 1482; stained glass windows of the 15th cent.; St. Michael, by Denis Calvaert. — 8th Chapel: S;t. Roch, by Parmigianino. — 7th Chapel: Ba- lustrade (early 16th cent.); *Madonna with saints, by Lor. Costa (1492), who designed also the stained glass; tomb of Felice and Elisa Bonaparte Baciocchi. — In front of a monument to Bp. Cesare Naccio, by Vine. Onofrio (1596), is traced the meridian line of Gian Dom. Cassini (1653), 73 yds. long, substituted for an earlier one by Danti (1575), and re-traced by Eustacchio Zanotti (1776); it extends as far as the principal doorway. — 5th Chapel: Altarpiece, ♦Martyrdom of St. Sebastian, by Lor. Costa; on the side walls, Annunciation and Apostles, by Lor. Costa or Fr. del Cossa; pavement of enamelled tiles (Faenza majolica; 1487). — 4th Chapel: *Frescoes attributed to Iacopo di Paolo Bo- lognese (c. 1410). On the pilasters to the right and left of this chapel are an ancient wooden statue of St. Petronius (much restored) and a huge 15th cent, fresco of St. Christopher. — 2nd Chapel, rebuilt in the rich baroque style by Torreggiani (1726). — 1st Chapel: stained glass by G. Bertini; on the portal, Adam and Eve, by Alf. Lombardi. The choir is noteworthy for its carved stalls by Agost. de' Marchi (1468-77; much restored). Beneath the organ to the right is a Pieta in terracotta by Vine. Onofrio (1596). — At. the end of the N. aisle is a small Museum of anti- quities belonging to the church (adm. 11.; catalogue 11.), including 16th cent plans for the continuation of the building; and a wooden model of the basi lica, attributed to And. da Formigine, but possibly of more recent date. On the E. side of the Piazza Vittorio Emanuele is th? 15th cent. Portico dei Banchi, almost entirely remodelled in 1564, beneath which are shops. Opposite San Petronio rises the * Palazzo (|8l Poilesta, (PL 13), begun a^out 1200 andPal Comunale BOLOGNA 32 Rte. 281 rebuilt in 1485-94; the portico was remodelled in the 16th century. The tower, pierced by an archway (1263-68), is said to have been built for the purpose of keeping a watch on Enzio (p. 279), who was imprisoned in the palace. On the pilasters of the arches at its base are statues of the patron saints of the city (SS. Petronius, Florian, Eligius, and Francis), by A. Lombardi. The great hall on the first floor is decorated with modern paintings. On the W. of the Piazza is the Palazzo Comunale (PI. 12, 13), an imposing edifice begun in 1245 and altered by Fieravante Fieravanti in 1425-29. All the non-arcaded part and the court are of the latter date. The entrance gateway is by Galeazzo Ales si (1570), and the bronze statue above it of Pope Gregory XIII (Ugo Buoncompagni of Bologna, the reformer of the calendar), erected by his fellow-citizens, is by Alessandro Menganti (1580). High up to the left, under a canopy, is a * Madonna in terracotta by Niccolo dell'Area (1478). The tower was built in 1444. Interior. The grand spiral Staircase is attributed to Bramante (1509)* The Chamber of Hercules takes its name from the colossal terracotta statue by A. Lombardi; the Madonna del Terremoto ('of the earthquake ') is attributed to Francia (1505). The Sola del Consiglio Provinciate is decorated with frescoes by L. Serra. — On the second floor is the Sola Farnese, containing frescoes by Cignani and other artists and a copper statue of Alessandro VII by Dorastante d'Osio (1660). The doorway leading to the offices of the prefecture deserves notice. Adjoining the Portico dei Banchi is the Palazzo dei Notai or old College of Notaries, begun in 1381 by Lor. di Bagno- marino, and restored by Fieravanti at the same period as the Palazzo Comunale. We take the Via d'Azeglio, on the right of which (Nos. 31-33) is the *Palazzo Bevilacqua (PI. 12, 13), a good example of purely Tuscan architecture, with a rusticated fa9ade (1477-82). The lunette of the main gateway is probably the work of Fr. Ferrucci. The elegant courtyard is surrounded by a double colonnade with a decoration resembling that of the portico of San Giacomo (p. 289). The Council of Trent (p. 177) held two sessions in this building in 1547, having removed to Bologna to escape an epidemic. At No. 54 is the church of San Procolo (PI. 17, 18), with a Romanesque fagade and, on the portal, a Madonna with two saints by Lippo di Dalmasio. We turn to the right along the Via Tagliapietre in order to reach the church of Corpus Domini (PI. 17), or ' della Santa', founded by St. Catherine de' Vigri in 1456, and remodelled some few years later. The fine terracotta work of the facade is by an un- known hand. The baroque interior is mainly the work of Marcantonio Franceschini and his pupils (1688). In the 9-a282 Rte. 32 BOLOGNA San Francesco first chapel of the S. aisle is a St. Francis, with a fine landscape, by Denis Calvaert. Over the high altar is Christ feeding the Apostles, by Franceschini, whose masterpiece, the *Death of St. Joseph, is in the first chapel of the N. aisle. In a niche are the mummified and much-venerated relics of St. Catherine. The Via Urbana leads hence to the Coilegio di Spagna (PI. 12, 17), founded by Card. Albornoz (p. 268) in 1365-67 for Spanish students — the last survivor of a large, number of colleges (resembling those of Oxford and Cambridge) that existed at Bologna in the middle ages. Among its famous students were Ignatius Loyola and Cervantes. The gateway is the work of Andrea da Formtgine (1525). The handsome courtyard has a double gallery; the chapel recalls the absidal chapels of San Domenico (p. 287) The Via Coilegio di Spagna, on the N. side, is continued by the Via Val d'Aposa, in which (No. 6) is the fa5ade of the small church of the *Spirito Santo, a gem of terracotta decoration (1481-97). The Via Gar- giolari leads into the Via Tre Novembre, along which we turn to the left. The Palazzo Montpensier (Nos. 22-24) was begun by Terribilia (1603) and completed by Torreggiani. To the right (No. 5) is the Palazzo Marescalchi (1613-15), built in the style of Tibaldi, and to the left the church ^of San Salvatore, the work of Giov. Magenta (1605-23), with an imposing interior and a few good paintings. We follow the Via Porta Nuova as far as the Piazza Malpighi (PI. 12), where the fine pile of San Francesco rises to the S. against a background of wooded slopes. In the midst of the square is the Colonna dell' Immacolata, with a copper statue designed by Guido Reni. Near the church are the sarcophagi of Accur- sius (d. 1260), the last of the eminent glossators (p. 289), of Odofredo (d. 1265), and of Rolandino de' Romanzi (d. 1284). The church of *San Francesco (PI. 12), perhaps the most picturesque in Bologna, is in the French Gothic style (1236- 63)/but has been largely rebuilt. The Romanesque fagade, looking upon the Piazza de' Marchi, is decorated with 13-14th cent, tiles. The smaller of the two towers was completed in 1261; the larger and finer, the work of Ant. di Vincenzo (1397), is surrounded by a decorative tracery of terracotta. We enter by the vestibule between the towers. In the N. aisle is the Tomb of Pope Alexander V, by Sperandio (1482), and in the S. aisle that of Fieschi (li92). The choir is noteworthy for its carved stalls (restored in 1907) and for a marble *Reredos by lacobello and Pier Paolo dalle Masegne (1388-92), with busts of saints curiously perched on the pinnacles crowning the structure. Seven of the nine chapels radiating from the apse are decorated with good modern frescoes.Leaning Towers BOLOGNA 32 Rte. 283 A few steps to the N.E. of San Francesco is the Via Ugo Bassi, in which (No. 32) is the Hdtel Brun, formerly the Palazzo Ghisilieri. Farther on we turn to the left and follow the Via Porta Castello as far the Via Galliera. In the Via Manzoni, on the right of the latter, are the three Palazzi Fava (PI. 8, 13), of which the first, at the corner, dates from the beginning of the 14th cent., the second from 1484-91, and the third, by Terribilia, from the 16th cent, (with frescoes by the Carracci, Albani, and others). At No. 3 in the same street is the church of the Madonna di Galliera, remodelled in 1479-92, with a good decorated facade by an unknown Lombard artist (1491). The Via Rizzoli (PI. 13), one of the busiest thorough- fares of the city, leads E. to the Piazza di Porta Ravegnana, whence radiate no less than five avenues, each with a gateway closing its vista. On the piazza stand the Due Torri (PL 13), or Leaning Towers, the most remarkable and characteristic monument of BoJ.ogna. The *Torre degli Asinelli, built by the Asinelli family (1109-1119), is 320 ft. high and leans 4 ft. out of the perpendicular (to the W.). The masonry at the base was added in 1488. A flight of 447 steps leads up to the top, which commands an admirable view (entrance at No. 2 Via Mazzini; 50 c.; single visitors not admitted). It does not appear that the inclination of the tower has been modified in recent times. — The *Torre Garisenda, probably reared like the other tower from motives of patrician vanity (1110), was left unfinished owing to the subsidence of the soil. It is now only 156 ft. high and leans 10 ft. out of the perpendicular (to the S.); but it was higher when Dante wrote the descriptive verses (Inferno XXXI, 136) inscribed at the base of the tower. The upper part was removed about 1358. Some writers have maintained that the leaning of the Garisenda tower is an effect of art, but the courses of brick and the holes to receive the floor-timbers are inclined at the same angle as the structure. — To the W. of the Piazza rises the Palazzo dei Drappieri (1486-96), with a balcony added in 1620. We now follow the Via Mazzini, which runs S.E. towards the gateway of the same name. At No. 4 is the church of San Bartolomeo (PI. 13), with a richly decorated portico (1515) by Formtgine, intended originally for the Palazzo Gozzadini. The rather sumptuous interior is mainly the work of G. B. Natali (1655). In the fourth chapel of the S. aisle is an * Annunciation (' dal bell'angelo ') by Albani (1632). In the fifth chapel of the N. aisle is an oval Ma- donna, by Guido Reni, which was stolen in 1855 and carried off to London, but recovered in 1859. Farther on in the same street is a series of characteristic Bolognese man- sions, of all periods from the 13th to the 19th cent., some of them lately restored. The most noteworthy are the Casa Gioannetti (No. 13), with Gothic windows and polychrome decoration; the Casa Rossini (No. 26), built for Gioacchino Rossini, the composer, from designs by F. Santini (1824-27); the Casa Isolani (No. 19), a characteristic 13th cent, dwelling-house; the Casa Sanguinetti (No. 34), with a rich 16th cent, cornice; and the Palazzo Davia-Bargellini, known as the ' Pa-284 Rte. 32 BOLOGNA Santo Stefano lazzo dei Giganti,' from two atlantes flanking the gateway, and containing a monumental staircase by Dotti (1730) and a good collection of paintings. To the right of the Via Mazzini opens the Piazza dei Servi, with its four porticoes in a style of considerable boldness (15-19th cent.), forming the continuation of the lateral ar- cades of the church of * Santa Maria dei Servi (PL 14), which dates from the latter part of the 14th century. Interior. 2nd chapel of the N. aisle: Noli me Tangere, by Albani. — Tomb of Card. Lodovico Gozzadini, by Giovanni Zacchi (1544-47). — 4th chapel: St. Andrew, by Albani (1641). — 6th chapel: * Annunciation, by Innocenzo da tmola, in a reredos by Formigine. — High altar: marble statues, mostly the work of Montorsoli (1558-61).—Gothic choir (1450), with chapels radiating from the ambulatory (tomb of Grati, by Vine. Onofrio, 1504; SS. Joachim and Anna, by Tiarini; Madonna, by Lippo di Dalmasio; Madonna and saints, terracotta by Onofrio, 1503). — 5th chapel (S. aisle): Paradise, by Denis Calvaert (1602). — One of the relics preserved here is a marble pitcher supposed to have been used at the marriage at Cana, and presented by Fra Vitale Baccilieri, ambassador to the Sultan of Egypt (1350). In the Viale Carducci, on the right beyond the Porta Mazzini, is the Casa di Carducci (PI. 20), where Giosue Carducci (p. 70) lived from 1890 to 1907. We retrace our steps for a short distance and then turn to the left along the Via Gerusalemme, leading to the * Ba- silica di Santo Stefano (PI. 14), the oldest church in Bologna and one of the oldest in Italy, comprising a curious and picturesque group of seven different buildings grouped around a pavilion dedicated to St. Stephen the Martyr. A Roman basilica was probably the earliest construction on this site. Three churches are united in the fagade overlooking the piazza, namely Santi Pietro e Paolo, San Sepolcro or Cal- vario, and the Crocifisso. We enter by the last-named, which has a 12th cent, pulpit on its fa£ade. Among the paintings in the interior of the Crocifisso (re- modelled in 1637) are a Bearing of the Cross and a Crucifixion attributed to lac. di Paolo. — A flight of steps on the left descends to the octagonal 10th cent, church (restored in 1880) of *San Sepolcro, supposed to have been the ancient Lom- bard baptistery, built on the site of a temple of Isis. The curious erection in the middle, containing two sarcophagi, is an ancient copy (12th or 13th cent.) of the tomb of the Holy Sepulchre at Jerusalem, with a modern staircase.—The church of Santi Pietro e Paolo, the ancient cathedral destroyed by the Hungarians (902), was rebuilt in 1019, and the exterior remodelled in 1880-85. It consists of a basilica with nave and aisles, the latter containing stone altars formed of the sarcophagi of SS. Vitalis and Agricola, two native martyrs. — We retrace our steps through San Sepolcro to reach the Cortile di Pilato, an open court with colonnades; in the middle is ' Pilate's Bowl,' whichMuseo Civico BOLOGNA 32 Rte. 285 is said to have been presented by the Lombard kings Luit- prand and Ilprand (8th cent.) and bears an obscure inscrip- tion. In a chapel beneath the portico to the left is St. Jerome adoring the Saviour, by Giac. Francia (1520). — The chapel of the TrinitA, opening from the court, dates from the 13th cent, and preserves some frescoes of the 14th; the painting of St. Martin resuscitating a child is by Tiarini. — We pass through the oratory of the Madonna della Consolazione to the stair descending into the Confessione, a crypt beneath the Crocifisso, which contains a terracotta Pieta of the 16th century. Returning to the court, we pass through the sacristy and enter the Romanesque (12th cent.) *Cloisters, with a double gallery. — The Museum contains Byzantine paintings, 15th cent, tablets, and reliquaries by Manno di Bandino and lac. Roseto (1380). The Via Santo Stefano leads N.W. towards the Piazza Porta Ravegnana, passing the *Mereanzia (PI. 13), or Cham- ber of Commerce, perhaps the best-preserved example of ornamented Italian-Gothic in the city. It was built in 1382-90 from the plans of Lor. da Bagnomarino, and has been several times skilfully restored, though the wing (1840) overlooking the Via Castiglione is not in harmony with the rest. We now follow the latter street and afterwards the Via Piave to reach the church of Santa Maria della Vita (PI. 13), re- modelled in 1688, containing a Martyrdom of St. Ursula by Denis Calvaert and a vigorous *Piet& in terracotta by Niccolo dell'Arca (1463). In an oratory of the hospital ad- ministration on the first floor is a Death of the Virgin, a youthful work in terracotta by A. Lombardi. In a few steps we regain the Piazza Vittorio Emanuele (p. 279). Turning to the left along the flank of San Petronio, and traversing the arcades known as the Portico delle Fioraie and Portico del Pavaglione, we come to (No. 2) the Museo Civieo (PI. 13), containing interesting antiquarian collections; adm. free on Sun. (9-12); on week days (10-3 in Nov.-March, 9-4 in Apr.- Oct.) 2 1. Ground Floor. Vestibule: Etruscan tombs from the burial-ground of the Certosa; bust of an Imperial statue. — Courtyard (the former cloister of Santa Maria della Morte): Milestone from the Via ^Emilia; blocks from Roman bridges over the Reno and Sillaro; slab inscribed with an electoral programme. Beyond a small room (1.) with remains of Roman architecture we enter the Museo del RisorgimentQ, with souvenirs of 1848 and the arms and decorations of Murat. — Corridor: Christian inscriptions in Coptic and Greek characters; mediaeval inscriptions.—Second Courtyard: Bolognese terracottas (14-15th century). First Floor. Museo d'Antichit&. — Room 1: Remains of huts, lake dwellings, etc. from the neighbourhood of Bologna. — Room II: Prehistoric objects, comparatively arranged. — Rooms III-V: Egyptian Antiquities. — Room VI:286 Rte. 32 BOLOGNA Archiginnasio Grceco-Roman Antiquities, including a *Head of Minerva, said to be reproduced from the Athene Lemnia of Phidias (beside it is a reproduction of the latter); head of a Greek; Attic sepulchral bas-relief (5th cent. b.c.); fragment of an Augustan relief, showing a figure with a ram's head; the cup of Codrus; etc. — Room VII: Roman sculptures and copies. — Room VIII: Etruscan Anti- quities, including realistic terracottas from a temple at Civita Alba, near Sasso- ferrato (2nd cent. b.c.). — Room IX: Roman Antiquities. Tomb of Penna; pyxidium in ivory, with relief; circular altar of Greek marble; statuettes in bronze; utensils, etc. — Room X: *Objects from the necropolis of Felsina (p. 292). On the E. side, Umbrian Tombs (9-6th cent. b.c.), illustrating the development of Umbrian civilization in three distinct periods. In this room are also Etruscan Tombs, characterised by their granite stelae, and containing vases, ornaments, etc. Near the third window is a unique bronze vessel or *Situla (5th cent, b.c.), covered with reliefs of a procession in which the civil, military, and pontifical dignitaries of Felsina are taking part. Along the wall by the windows are tombs represented in situ. — Room XI: Gaulish tombs, with weapons; Roman antiquities. — Room XII: More than 14,000 bronze instruments from an Umbrian foundry, excavated in 1877 close to San Francesco; the vessel in which they were found is now on the central case. Museo Medioevale e Moderno. — Room XIII-XIV: Arms and armour. — Room XV: Majolica ware, including a plate with the arms of Leo X; jar of the late 13th cent.; plates representing the coronation of Charles V, the fable of Myrrha, and the * Presentation of the Virgin (the last by M astro Giorgio, 1585); Oriental, African, and Peruvian ware; glass chalice representing the Flight into Egypt and the Adoration of the Magi; Limoges enamels, ivories, mu- sical instruments; etc. — Room XVI: Sculptures of the 15-18th cent., including a cast and bronze model of the Neptune fountain (p. 279); St. Michael and a bust of Innocent X, by Algardi; Gregory XIII (bust), by Menganti; tomb- stone of Pier Canonici; Hebrew sepulchral cippi (16th cent.). — Room XVII: Sculptures of the 12-15th cent., including numerous tombs or sarcophagi of scholars of the Studio (p. 289). Also a Madonna, a St. George, and a Nativity of St. John the Baptist, by lac. della Quercia; statue of Boniface VIII, in beaten copper, by Manno (1301). — Room XVIII: More than 100 choir-books (13- 17th cent.); Lombard crosses; medallions; Adoration of the Child Jesus, attrib- uted to Marco Zoppo; Crucifixion, by Fr. Francia. Passing through the busy Portico del Pavaglione, we arrive at the Archiginnasio (PL 13), transformed by Antonio Morandi (1562-63) to accommodate the university, which occupied the building until 1808. The vestibule, corridors, and stairways are covered with escutcheons of former rectors and professors, in relief or fresco. On the upper floor are the town Library (320,000 vols.; 6000 MSS.), the Teatro Anatomico, built by A. Levanti, with two admirable wooden anatomical figures (' gli spellati ') by Ercole Lelli (1735), and the Museo Gozzadini, containing prehistoric remains. In front of the building is a monument to Luigi Galvani (1737-98) the discoverer of animal electricity. We turn to the left along the Via Farini, and then to the right across the Piazza Cavour, which is continued by the Via Garibaldi. At the end of the latter street is the Piazza G. Giordani (dei Tri- bunali PI. 18), with the law courts (formerly the Palazzo Ruini), preserving an imposing fa9ade by Tibaldi (1582) and a ;monumental staircase.San Domenico BOLOGNA 32 Rte. 287 We retrace our steps to the picturesque Piazza Galileo, which opens from the right of the Via Garibaldi, and is noteworthy for statues of St. Dominic (1627) and the Madonna (1633) and the tombs of Rolandino Passaggeri (1300-1305) and Egidio Foscherari (d. 1289), the latter with a fragment of its original canopy. In the piazza rises also the important church of *San Domenico (Pl. 18), begun in 1221 and several times enlarged. It is interesting chiefly for the works of art in its baroque interior, remodelled by Carlo Fr. Dotti (1728). Interior. 1st Chapel (S. aisle): Madonna del Velluto, by Lippo di Dalmasio. — The 6th Chapel, dedicated to St. Do- minic, was built in 1374-1411 and enriched in 1596-1605; a sacristan shows this chapel and the choir. In the middle of it is the *Arca di San Domenico, built as a tomb for St. Dominic, founder of the order of Preaching Friars, who died at Bologna in 1.221. A number of artists contributed to the execution of this masterpiece. The reliefs representing scenes from the saint's life are the work of Nicola Pisano and his pupil Fra Guglielmo (1267-70). The lid of the sarcophagus, the festoons, and the statuary are by Niccolb da Puglia (1469-73), who took the name of Niccolo dell'Area from this tomb. The angel supporting the candelabra, to the right, and the figures of SS. Petronius and Proculus are youthful works of Michael Angelo (1494). The subjects ornamenting the base of the tomb are by Alf. Lombardi (1532). In the cupola of the chapel is the * Glory of St. Dominic, by Guido Reni; on the right of the entrance, St. Dominic resuscitating a child, by A less. Tiarini; on the left, St. Dominic burning heretical books, by Leonello Spada. ■—Chapel of the Relics (N. aisle): Reliquary by lac. Roseto (1383), and the tomb of the Beato Giacomo da Ulma (Jacob of Ulm), the celebrated painter on glass, who died at Bologna in 1491. —Chapel of the Madonna del Rosario (opposite St. Dominic's chapel): Mysteries of the Rosary, an altarpiece of 15 paintings by Calvaert, Cesi, Lod. Carracci, and Guido Reni. Reni and Elisabetta Sirani are buried in this chapel (inscription on the left wall). — Vestibule (N. side): *Tomb of Aless. Tartagni, by Simone Fiorentino (1477). Choir. The *Stalls, in marquetery, are the work of Fra Damiano da Bergamo and his pupils (1528-51). The large painting of the Magi is by Bart. Cesi. In the N. transept is the tomb of King Enzo (p. 277), and in an adjoining chapel that of Taddeo Pepoli (p. 277), attributed to Lanfrani.—The door of the Sacristy, in marquetery, is by Fra Bernardino; in the interior is a terra- cotta bust of St. Dominic, by Nic. da F/Uglia (1493). We take the Via Rolandino, in which is the elegant Casa Gradi or dei Carracci (15-16th cent.), and then proceed by288 Rte. 32 BOLOGNA S. Giov. in Monte way of the Piazza Calderini to the Piazza Minghetti, in which is the modern Cassa di Risparmio (Savings Bank), built of marble. The Casa Gualandi, at No. 15 in the neighbouring Via Farini, is a graceful edifice of the late 15th cent., full of character; and close by, at Nos. 6-10 in the Via Castiglione, is the imposing pile of the Palazzo Pepoli (1344). We turn to the right at the end of the Via Farini in order to reach the church of San Giovanni in Monte (PL 13, 14), originally founded by St. Petronius in 433, rebuilt in 1221, and enlarged in the 15th century. The full name is ' in Monte Oliveto/ this being one of the churches raised to commemorate the scenes of the Passion. The fa$ade is in the Venetian-Gothic style, with a great portal by Dom. Donati (late 15th cent.), and above it an eagle in painted terracotta by Nic. da Puglia. The gloomy Interior consists of a nave and aisles separated by columns decorated with frescoes by Giac. and Giulio Francia. Over the entrance door is a good stained glass window, St. John the Evangelist, attributed to Ercole da Ferrara. In the midst of the church rises a Romanesque cross on an inverted Roman pillar capital, with a figure of Christ attributed by some to Alf. Lom- bardi, and by others to Pietro Pavese or Nic. da Ferrara. In the 3rd chapel of the S. aisle is a painting of SS. Joseph and James, by Guercino; in the 7th chapel a * Virgin Enthroned with saints, by Lor. Costa (1497; best seen in the forenoon). — The choir-stalls, in marquetery, are by Paolo Sacca (1523), and the busts of apostles by Alf. Lombardi or Zac. Zacchi. The *Virgin with the Almighty and the Heavenly Choir is another fine work of Lor. Costa. The chapel opening from the N. transept is a splendid work of the school of Bramante (1515); it contains a poor copy of Raphael's St. Cecilia (now in the Pinacoteca, see p. 290), enclosed in the original frame. We return along the Via Santo Stefano to the Piazza Porta Ravegnana (p. 283), and then follow the Via San Vitale, in which (No. 23) is the Palazzo Cloetta (PI. 14), formerly the Palazzo Fantuzzi, with a bizarre front by Formigine (1525) and a good interior staircase by Paolo Canali. Almost opposite is the church of Santi Vitale ed Agricola, said to have been originally consecrated by SS. Petronius and Am- brose in 428, but preserving nothing of its ancient architecture except a crypt restored in 1891. On the high altar is a Martyrdom of SS. Vitalis and Agricola, by Bust; in the chapels, a Flight into Egypt, by Tiarini, a Madonna and Child, by Giacomo Francia, and several works of the school of Francia. The patron saint, with St. Agricola, was martyred in an adjoining street, and an early Christian cross raised on the spot was afterwards removed to the church. We retrace our steps once more to the Piazza Porta Ravegnana (PI. 13) and thence follow the Via Zamboni, in which are a number of handsome buildings, including No. 18, the Casa Malvasia, with good terracotta work; No. 13, the Palazzo Malvezzi Medici, by B. Triachini (1560); and No. 20 the Palazzo Salem, by Tibaldi (1577), with frescoes by the Carracci. To the right opens the Piazza Rossini,S. Giac. Maggiore BOLOGNA 32 Rte. 289 with the Liceo Musicale, where Rossini studied in 1807-10, and the Romanesque church of *San Giacomo Maggiore (PL 14), begun in 1266 and enlarged in the succeeding cen- turies. The fa5ade is decorated with majolica, and on either side of the canopied doorway are recesses for tombs. The vaulted Nave without aisles resembles a vast hall, divided only by cross arches of much boldness. In the 5th chapel (S. aisle) is a Madonna with saints, by B. Passarotti (1565); 7th, Marriage of St. Catherine, by Inn. da Imola (1536), in a frame by Formigine; 9th, St. Roch comforted by an angel, by Lod. Carracci; 10th, St. Michael, by Calvaert; 11th, Drawing and frescoes by Pel. Tibaldi. — Ambulatory, 3rd chapel: Polyptych, by Lor. Veneziano (1368), Coronation of the Virgin, by lac. di Paolo (1420), Crucifix on the side wall, signed Simone (1370). —The *Ca- pella Bentivoglio (shown on application), at the end of the N. aisle, was founded in 1445 by Annibale Bentivoglio, and enlarged by Giovanni II. Its altarpiece is a *Virgin with four saints and two angel-musicians, by Francia (1449). The frescoes from the * Apocalypse, in the larger lunette, are by Lor. Costa. On the right wall is a relief of Annibale I on horseback, by a Tuscan artist (1458), and on the pilaster a portrait of Giovanni II, signed Antonius Bal. The majolica work of the floor (1489) deserves notice. Opposite the chapel is the *Tomb of Antonio Bentivoglio, one of the last works of lac. della Querela (1435). — In the adjacent oratory of Santa Cecilia (shown on application) are interesting * Frescoes from the life of SS. Valerian and Cecilia, by Fr. Francia, Lor. Costa, and their pupils (1504-1506). The church is flanked by a handsome portico (1477-81) richly decorated in terracotta (possibly by Sperandio). The fine brick Cam- panile (1472) is best seen from the Piazza del Teatro, to which we proceed on leaving the church. The Teatro Comunale (PI. 9; 1756), on the N. side of the piazza, occupies the site of the ancient palace of the Bentivoglio, destroyed in 1507 and left in ruins for two and a half centuries (' il Guasto '). There are remains of the 13th cent, town walls close by. We go on along the Via Zamboni, on the right of which rise the buildings of the University (PI. 9), installed since 1803 in the former Palazzo Celesi, built by Pel. Tibaldi in 1549. In the splendid court- yard is a statue of Hercules, by Angelo Pio. The curious Torre dell'Osservatore dates from 1725 (view). The university ('Studio'), the oldest in Italy, was founded by Irnerius, chief of the Glossators, who began teaching here between 1070 and 1100. He290 Rte. 32 BOLOGNA Pinacoteca revived the study of the Roman system of jurisprudence, which his disciples spread over Europe, sending in 1144 to England Vacarius, founder of the law school at Oxford. Here also the ecclesiastical Canon Law took shape. In the 14th cent. Bologna acquired notoriety as the first school where dissection of the human body was practised; and in 1789 it became renowned for the discovery of galvanism (comp. p. 286). The number of its female professors is remarkable, among them being the learned Novella d'Andrea (14th cent.), Laura Bassi (1711- 88), the mathematician and scientist, and Clotilde Tambroni, professor of Greek (1794-1817). The University Library (33 Via Zamboni) contains c. 350,000 books and 5000 MSS.; here Card. Mezzofanti (1776-1849), who spoke 50 languages and was called by Byron " the universal interpreter was librarian, and his own library is added to the collection.—The Museo Geologico (No. 63) and the Museo Mineralogico (No. 100) are likewise interesting. The Via Belle Arti, on the left of the Via Zamboni, leads to (No. 54) the Accademia di Belle Arti (PI. 9), a former Jesuit college, with a handsome courtyard in which is a well-head by F. Morandi (1568). To the building is attached the * Pinacoteca (PI. 9), contain- ing many of the most important paintings of the Bolognese school. The galleries (in course of rearrangement) are open daily from 10-3 (adm. 21.; holida}^ 9-12, free). We begin by visiting Corridor I. 102. Giotto, Polyp- tych; paintings of the Pisan school.—Corridor II. Primi- tive painters of the Bolognese school and Byzantine paintings. 500. Lippo di Dalmasio, Coronation of the Virgin; 159. Ia- copo da Bologna, Polyptych. — Corridor III. 624. Domen- ichino, St. Francis; 205. Ant. and Bart. Vivarini, Ma- donna and Child with saints (1450); 61. Cima da Cone- gliano, Madonna; 692. Paolo Veronese. Olympus. — Corridor IV. 502. Marco Palmezzano, Madonna; 363. Parmigianino, Portrait; 757. Palma Giovane. Crucifixion. — Corner Room. 282. Hugo Van der Goes, Madonna. — Corridor V. Modern paintings. We traverse Corridor III once more, mount a flight of stairs (1.), and enter — CorridorVI. 778. Marco Zoppo, St. Jerome; 215. L.Costa, Madonna and saints.. — Room E. *64. Fr. Cossa, Madonna and saints; *78. Fr. Francia, Madonna, saints, an angel- musician, and the donor, painted in 1494; 9. Amico Asper- tini, Adoration of the Child; 297. Madonna and saints. — Room D. **152. Raphael, St. Cecilia in ecstasy, listening to the music of the angels, surrounded by SS. Paul, John the Evangelist, Agatha, and Mary Magdalen, painted for the lady Elena dall'Olio in 1514-17 (the instruments in the lower part of the picture are by Giov. da tJdine); 198. Va- sari, Gregory I entertaining twelve poor pilgrims (among whom, according to legend, Christ appeared); 192. Fr. Pri- maticcio, Concert; 197. Perugino, Virgin, angels, and saints,Mad. di San Luca BOLOGNA 32 Rte. 291 — Room C. 57. Bart. Cesi, St. Anna; 123. Bart. Passarotti, Presentation of Mary in the Temple; 131. Camillo Procaccini, Nativity; Alessandro Tiarini, 182. Descent from the Cross, 184. Madonna and saints, 185. St. Catherine of Siena; Pellegrino Tibaldi, 575. The Pierides changed into magpies, 576. Lucretia. — Room B: Lodovico Carracci, 43. Trans- figuration, 45. Nativity of St. John the Baptist; 36. An- nibale Carracci, Madonna and saints; Guercino, 12. St. Wil- liam of Aquitaine receiving the religious habit, 13. Madonna and St. Bruno; Domenichino, 206. Martyrdom of St. Agnes, 207. Madonna of the Rosary, 208. St. Peter Martyr (after Titian). — Room A. Paintings by Guido Reni: 137. * Sam- son drinking from the ass's jawbone; 138. Madonna and Child (1630; on silk); 140. St. Sebastian; 134. *Madonna della Pieta, with five saints; 136. Crucifixion; 135. *Mas- sacre of the Innocents; 142. Ecce Homo (pastel, on paper). 2. Albani, Baptism of Christ; 566. Carlo Cignani, Madonna and saints. To the right open three rooms,containing smaller paintings by old masters and some modern works. At the end of the Via Belle Arti is (No. 8) the fine Palazzo Bentivoglio (PI. 9), built by A. Morandi in 1551. Thence the Via Mentana leads to the church of San Martino (PI. 8), built in 1313 and restored in 1879, when the handsome fa9ade was added. It contains an Adoration of the Magi, by Girol. da Carpi (1530), with a frame by Formtgine; Saints, by Aspertini; an Assumption and Apostles, by Costa; *Virgin and saints, by Francia; all of these in the aisle chapels. Environs. On the S. outskirts of Bologna is San Michele in Bosco (PI. 22, 23), reached by tramway from the Piazza Vittorio Emanuele, passing on the way the Giardini Pubblici (PI. 24). The road winds upward to the top of the hill (440 ft.), whence we have a splendid * Panoramic View of Bologna and its towers. The Olivetan Convent of San Michele is now an orthopaedic hospital. The Church, rebuilt in 147B, has a fagade by Baldassare Peruzzi (1521). In the interior (apply at the sacristan's house to the right of the build- ing) are two admirable fonts, one of them by Bernardino da Milano; confessional boxes adorned with marquetery; and the tomb of Armaciotto de' Ramazzotti, the famous condottiere, by Bernardino da Milano and Alf. Lombardi. There are frescoes by Bagnacavallo in the sacristy, by Inn. da fmola in the choir, and by the Carracci in the cloisters. The sanctuary of the Madonna di San Luca, outside the Porta Saragozza (PI. 11, 16), W. of the city, is reached by tramway from the Piazza Vittorio Emanuele, or from Meloncello, a halt on the tramway from Bologna to Casalec- chio (p. 277). A "Tortious of 665 arches (1647-1739), including 15 chapels in its length of 2 m., connects the Porta Saragozza with the sanctuary. In the middle, where the ascent begins, is the Arco del Meloncello, by Dotti (1718-22). The sanctuary (950 ft.), built by Dotti in 1725, derives its name from one of the numerous paintings of the Virgin attributed to St. Luke, which is said to have been brought hither in 1160 by a pilgrim from Constantinople, and is preserved above the high altar. In one of the chapels is the Madonna of St. Dominic,292 Rte. 33 fMOLA From Bologna with the 15 Mysteries of the Rosary, a youthful work of Guido Rent. The *View from the cupola (tickets in the sacristy) extends as far as the Adriatic and the Euganean hills, and the High Alps may sometimes be descried in clear weather. The *Cimitero della Certosa, about 1£ m. from the Porta SantTsaia (PL 11), may be reached either by tramway from the Piazza Vittorio Emanuele, or by following another porticus that runs N. from the Arco del Meloncello (see p. 291). The Certosa, founded in 1335, suppressed in 1797, was consecrated in 1801 as the public cemetery of Bologna. The Church, dating from 1334-35, contains paintings by the Carracci and Cesi and handsome choir-stalls in marquetery (1539)- The spacious Cloisters, enclosing the cemetery, cover numerous mon- uments disposed according to the date of their erection. A Pantheon contains the monuments of illustrious personages; among the modern tombs are those of Galvani, Clotilde Tambroni, Mezzofanti, Ugo Bassi (p. 276; shot by the Austrians in 1849, close by), and Carducci. The Etruscan burial-ground from which so many of the objects in the Museo Civico were excavated (comp. p. 286) was discovered in the precincts of the Certosa in 1869. It was the necropolis of the ancient Felsina. From Bologna to Verona, 76| m. (123 km.), railway in 4hrs. (451. 70, 32 1.70, 191.95 c.). 13 m. Persiceto (Rfmts.) is the junction for Cento and Ferrara (p. 266). —-18| m. Crevalcore is also on the line from M<5dena to Ferrara (p. 276). — 27 m. San Felice sul Panaro, junction for Cavezzo (p. 275) and for (8 m.) Finale, which has a fine 15th cent, castle. — 31 m. Mirdndola is connected by tramway (3 m.) with the town of that name (p. 275). — 37 m. Pdggio Rusco (Rfmts.), also on the Parma-Ferrara railway (p. 273). — 42 m. Revere preserves an ancient palace of the Gonzaga family. — 43i m. Ostiglia. — 52 m. Nogara; railway to Mantua, see p. 261. — 59 m. Hola della Scala is the junction for Rovigo via Legnago (p. 262). — 76£ m. (123 km.) Verona, see Rte. 23. From Bologna to Ancona, see Rte. 33; to Florence, see Rte. 35; to M6dena Parma, and Milan, see Rte. 31; to Venice, see Rte. 30. 33. FROM BOLOGNA TO ANCONA Railway, 126f m. (204 km.) in c. 4£ hrs. (95 1. 65, 641. 25, 37 1. 80 c.); to Faenza, 31m. (50 km.) in 1-1^ hrs. (241.25, 161.60, 101.5 c.); to Rimini, 69 m. (Ill km.) in 2-3 hrs. (52 1. 60, 35 1. 65, 211.15 c.). Views of the Apen- nines on the right as far as Rimini, and of the sea on the left, farther on. Bologna, see Rte. 32. The railway runs S.E. through (15 m.) Castel San Pietro, a little spa with saline waters and mud baths (hotel open June-Sept.). — 2.1} m. (35 km.) imola (15,497 inhab.; Hot. Italia, R. 7, D. 8J1.; Campana), on the Santerno, occupies the site of the Roman Forum Cornelii, and was probably refounded by the Lombards. The Palazzo Riario Sforza (No. 68 Via Cavour), a graceful building by Giorgio Fiorentino (1480-82), was the palace of the indomitable Caterina Sforza, who defended fmola and Forli against Caesar Borgia in 1500. The Cathedral (San Cassiano) of 1187, almost entirely rebuilt, has a rich treasury. In the former convent of San Francesco (Via Emilia) are installed the Museum and Picture Gallery, the latter containing a Madonna with SS. Cassian and Peter Chrysologus by In- nocenzo Francucci da fmola (1494-1550), a native painter, most of whose life was spent at Bologna, The Castle datesPROPR. DEL T.C.I. RIPROO. VIET. Firenze Milano.Padova C. Guidi Rossi Setl.embre P1? Galliera Vaaoa Notatoria MalcanUme zQfl v. Mer eater--' B^stiame Miuvllo riazza Ujriberto I •( Uija^dino Mascaret w.del Gas Pmppo riaccnuo iTmriTotrmt^ - eSciiola -sAgraria P^A.Saffi R .ManifaUura (LeiTabacclri ■< nuone Falcgruw .del .Lame irtibon LiLiuicon ■ Ai:cad.di rMt Arff -tal. 7 Bcniivoglio 4:v/;, fiSTt is, Staz^gnpB Had rip- V r 'Poi-Lomaggldre^ Itt&ZaLoii7& Lrtlia Istit. | ^ retermardl P'^cLe Marrhi SiKiHiiicesct) M.'ilvr Bursa CJ11UM .Vitale Maui com i u Proviiicialc Ospcii.S.Or'sola Isolnni .Davis MiTit LKSteftao .Calerin^ : 'w V<.' •taz.Ti*ttoirt>v .Traiiiv. P^a Galileo Palest! a Ca&fTma d| 20 firia C. VaLlescura i fc AcquedoUb del SetJta.- .AnLonft). Masjni Acqujedo^ttojCaimtn. 3T»0 „yo :tSx Scji/zi V1?-Ferrari trillis'li'iii, I'-lihliiici Chal P*° Scarcaii In'tfra&so V^ALdini S.Mich* lr ,.iiia, Koseo »a ''SJL I vssKMH rst.Oi'Ujiie AiiiV.WJi^ BOLOGNA Scala di 1 : 11000 St erliti Ilagni I di Mario Tramvie, urbane ,, ejctraurba/if. La Ctocp Uff CARTOOR.DELT.C.I.- C»po Carrogrsfo : PC0R81 LLINI14 13 8 1 6-11 19-20 13-18 7 8 13 2-7 11-12 8 7 14 9-10 19 14 S 19 12 6-7 13 13 7 18 24 6-7 7 12 7-12 9-10 7-8 S 14-15 7 io 19 14 14 11-16 24-25 12 8 14 14-19 14-15 16-17 7-12 IS 1-6 7 12-17 17-la 12 8 12-17 1-2 15 13 17-18 12-13 14 17 12 8-13 16 18 12 5 14 8 15 8 21 21-22 21 25 BOLOGNA. Chiese (Churches): Falazzi (Palaces): Strade ( Roads): Vie (Streets): — Santa Maria della Ca- — Davia 14 — San Michele in Bosco — Cartolaria 18-19 ritA 6 — Fava 8-13 22-23 — Casarini 1 — Santa Maria della Pie- — Guidotti 13 — San Vitale (di) 15 •— Ca Selvatica 11-12 ta 15 — Hercolani 14-19 Teat'ri (Theatres): ~ Casse (d.) 7 — Santa Maria della Pu- — Isolani 13-14 — Apollo 8 — Castagnoli (de') y rificazione 9 Loup 13 — Comunale 9 — Castelfldardo 17 — Santa Maria della Vita 13 — Malvasia 13-14 — Contavalli 8 — Castellata 18-19 — Santa Maria Madda — Malvezzi-Campeggi 13-14 — del Corso 14-19 — Castiglione 13-18-23-24 lena 9-10 — Malvezzi-Med. 13-14 — Duse 19 — Centotrecento 9 — Santa Maria Maercriore 7-8 — Marescalchi 12 — Verdi 3 — Cestello 3 8 — Sant'Antonio 20 — Marsigli 18 Torre Asinelli t9 — miari 18-19 — Sant'Egidio 10 — Montanari 7-8 Torre Garisenda 13-14 — Collegio di Spagna 12 — Santi Filippo e Gia- — Montpensier 12 Torrente Aposa 22 — Coltelli (de') 19 como 7 — Pallavicini 7-8 University (R.) 9 — Coltellini (de') 7-12 — Santi Giuseppe e I — Pepoli 13 Vallescura (C.) 16 — Costa 11-12 gnazio 18 — Piella 8 Vasca Natatoria 2 — Dante 19-20 —, Sant'Isaia 11-12 — Podesta (d.) 13 Viali (Alleys): — D'Azeglio 17-18-13 — "Santissima Trinit& 19 — Ranuzzi 19 —• Aldini 16-17 — dei Mille 2-3-8 — Santo Stefano 14 — Rossi 19 — Berti Pichat 4-9-10 — Dogali 3 — San Vitale 14 — Salina 12 — Carducci 20-25 — Drapperie 13 Collegi (Colleges): — Sampieri 14 — XII Giugno 18 — Falegnami 8 — di Spagna 12-17 — Sanguinetti 14 — Ercolani 15 — Farini 13 — San Luigi 11 — Scarani 21 — Filopanti 10-15 —^ Fondazza (d.) 19-20 Comando Militare 8 — Tacconi 13-14 — Gozzadini 19-24-25 —•. Foscherari 13 Distretto Militate 11 — Tanari 8 — Masini 3-4 — Fossato (d.) 12 Dogana 12 — Tribunal! (d.) 18 — Panzacchi 17-18 — Frassinago 11 Eden 3 — Zacchia 20 — Pepoli 11 — Frino (di) 25 Foroboario 20-25 Palestra Ginnastica 18-19 — Pietramellara 2-3 — Fusari 13 Genio Civile 11-12 Piazze (Squares): — Silvani 1-6 — Galliera 3-8 Giardini Pubblici (Cha- — Aldrovandi 14 — Vicini 6-11 — Gardino 7 let e Insrressi) 24-25 — Calderini 13 Vicoli (Narrow Streets): — Gargiolari 12 Giardini Pubblici (Lago) 24 — Carducci 20 — Bianchetti 14 — Garibaldi 18 Giardini Pubblici Regrina — Cavour 13 — Bolognetti 14 — Gessi (de') 7-12 Margherita 24 — Galileo 18 — Borchetta 14-15 — Giudei 13 Giardino Pubblico CMon- — Galvani 13 — Chiudare 18 — Goito 8 tagnola) 3-4 — Malpighi 12 — Facchini 8 — Gombruti (de') 12 Gli Scalzi 25 — Marchi (de' ) 12 — Griffoni (dei) 12 — Grada (d.) 6 Guidi (C.) 5 — Mercanzia 13 —- Mandria 8-13 — Guasto (d.) 9 Istituti (Institutes): — Minghetti 13 — Otto Colonne 7 — Guerrazzi 14-19 — d'Anatomia e Pato- — Nettuno 13 — San Giuliano 20 — Guinizelli 20 tologia 9-10 -r- Otto Agosto 8 —- Santa Croce 6-11 — Indipendenza 3-8 — di Fisica 9 — Porta Ravegnana 13 — Tanari 7-8 — Inferno 13 — d'Igiene 10 — Rossini 14 Vie (Streets): — Inviti 1-2 — Ortopedico Rizzoli 22-23 — San Martino 8 — Abbadia (d.) 7 — Irnerio 9 — Veterinaria 15 — Santo Stefano 13-14 — Agresti 12 — Jacopo della Lana 20 La Croce 23 — Trento e Trieste 20 — Albari 8-13 —• Jaures 1-7 Liceo 7 — Tribunal! (d.) 18 — Albiroli 8-13 — Lame (delle) 1 Liceo 18 —- Umberto I 2 —■ Alessandrini 8 — Liberty (d.) 17 Liceo Rossini 14 Venti Settembre 3 — Altabella 13 — Macello (del) 2-7 Macello 2 — Yittorio Emanuele 13 — Altaseta 17 — Magarotti 14-19 Malcantone 5 Porte (Gates): — Andald (L. d.) 18 — Maggia 7 Manicomio Provinciale 11 — Castiglione 18-19 — Angeli (d.) 19 — Maggiore 20 Manifattura dei Tabac- — D'Azeglio 17 — Archiginnasio 13 — Malaguti 10 chi (R.) 7 — Galliera 3 — Arienti 18 — Malcontenti 8 Mercato Bestiame 1 — Lame 1-2 — Avesella 8 — Malpertuso 16 Mercato Erbe 7-12 — Mascarella 4 — Ballotte 18 — Malvasia 1-6 Montagnola (Giardino — Mazzini 20 — Barberia 12 — Manzoni 8 Pubblico) 3-4 — Saffl 6 — Baruzziana 16-21 — Marghera 2 Mura (Walls): — Sant'Isaia 11 —■ Bassi 12-13 — Marsala 8-9-14 — di Porta Galliera 3-4 — Santo Stefano 25 — Battisti 12 — Marsili 18 — di Porta Sant'Isaia 6 —r- San Vitale 15 — Begatto (d.) 14 — Mascarella 4-5-9 Musei (Museums): — Saragozza 16 — Belle Arti (d.) 8-9 — Mazzini 13 •14-15-20 — Civico 13 — Zamboni 10 •— Bell'Ombra 22 — Mentana 8 — Geologico 10 Poste e Telegrafi 13 —- Belmeloro 14-15 — Milazzo 2-3 — Mineralogia (di) 9-10 Prefettura 12-13 — Belvedere 7 — Miramonte 18 Oculistica 15 Rossi 5 — Berti 1 — Mirasole 17-18 Offieina del Gas 5 Scuola Agraria e Orto — Bertiera 8 — Moline (d.) 8 Orto Botanico e Scuola Botanico 9 — Bertoloni 10 — Monte (di) 8 A graria 9 Seminario 7-8 — Bibbiena 14 — Montebello 3-8 Ospedali (Hospitals) Stazioni (RaUwcw-Stat.): — Bocca di Lupo 17 — Monte Grappa 12-13 — dei Bambini 15 — FF. SS. 3 — Boldrini 2-3 —- Nosadella 12 — Maggiore — MiSt* 6-7 - - Ferrov. Budvrio-Por ™ Borgo (d.) 4-9 — Ober^gi ^ 813 10 — Borgonuovo — Braina (d.) 14 — Orefici 13 — SantfOrsola 15 — Ferrov. Pieve-Malal- 19 — Orfeo 19 Palazzl (Palaces): bergo 8 — Broccaindosso 14-15 — Or® (d.) 18 — Agucchi 19 — Tramv. Casalecchio 12 — Buttieri (de') 19 — Orso (d.) 8 — Albergati 17 — Tramv. Imola 15-20 — Cairoli 2 — Orto (d.) 18 — Arcivescovile 13 Tramv. Vignola 16 — Cane (d.) 13-18 — Orto Botanico (d.) 9 — Bentivoglio 9 Sterlino 25 — Cantarana 14 — Osservanza (d.) 21-22-17 — Bevilaequa 12-13 Strade < Roads): — Capo di Lucca 4-9-8 — Paglietta — Palestro 17 — Bianconcini 9 — Cappuccin i (d.) 23 — Capramozza 17 17 — Bolognini Amorini 13 — Ferrara (di) 3 — Caprarie 13 — Paradiso 6-11 — Boncompagni 8 — Nazionale Toscana 25 — Carbonesi 12-13 — Parigi 7 — Cloetta 14 — San Donato (di) 10 — Carlo Alberto 2 — Pascoli 19 — Comunale 12-13 — San Mamolo 17-22 — Carrara 6 — Pepoli (de') 13PffOPR DEL T.C.I. RIPROD. 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Pj'gwntc o - fe> ^ Mcdonia *a$subloy y^jHazxu/ip ?< L/f BOLOGNA Ko/zon, \Medtriha MflU Lornbdrt nrrrtjtio oPorto Corsini AVENNA T\xixm.\JTali Vaj-ese, ugurc y (icavru Kastel S.ftei \Puvwro <° Pan vitetiorino Maizabotto, ILLS SI inter a Jtifaig/tcU >Cervia 21B3 mone Oesenalico \ ^Otionificio 5^- -' OAmwt ** FugetTh, terCuiow. cry Dtivndol Rocra S.Q Bnyi Sospellc Rimini k>^Urrosvo (aruw (assn J, (irpcja Gile/iary Oaleuta IPiafrhja ordc *" "i cJK' .-O^iiiOV ^LasfraXg^^ \ Fano >rtv\u> KtXouL.ro lometri xvo . ... .Se/ugalUa Urbirio, Ferrovic Tramiie Strode Confine di Stalo Compartim en to JYovineia Bibb t en a utedfra- Long. Orient .10da Greenw.to Ancona FAENZA 33 Rte. £93 from 1332. —We cross the Santerno and proceed via (26 m.) Castel Bolognese (Rfmts.), so called from a citadel of 1380, and noted for a decisive victory of the Milanese over the Florentines in 1434. From Castel Bolognese to Ravenna, 26 m. (42 km.), railway in 1£ hr. — 8f m. Lugo (Hot. San Marco) has a 15th cent, castle and an arcaded building of 1783, known as the Pavaglione. Fusignano, 4 m. N. Was the birthplace of Arcangelo Corelli (1653-1713), the composer. — llf m. Bagnacavallo was the native town of Bartolomeo Ramenghi (1484-1542), called II Bagnacavallo. — 15£ m. Russi. — 26 m. (42 km.) Ravenna, see p. 301. Another branch connects Castel Bolognese with (6£ m.) Riolo (Grand-H6tel du Pare, June-Sept.; del Gallo), a small saline and chalybeate spa. 31m. (50 km.) FAENZA {Hot. Corona, R. 6, D. 15, pens. 32 1.; Vittoria, R. 6 1.; Post Office, Piazza Umberto I), noted for its manufacture of the glazed and coloured earth- enware known as majolica or ' faience ', is an old walled town (22,469 inhab.) on the Lamone. Tradition derives- the name of Faenza from Phaeton. As Faventia the town was celebrated for a victory of Sulla over the faction of Carbo in 82 b.c.. It was captured and sacked in 1376 by the English condottiere, Sir John Hawk- wood (p. 322), then in the service of Gregory XI. One of the largest rest camps and bases of the British force in Italy in 1917-18 was situated at Faenza. — A number of painters of the 15-16th cent., the 16th cent, sculptor Pietro Barilotti, and Evangelista Torricelli (1608-47), the inventor of the barometer, were born at Faenza. The great period of Faentine majolica was 1480-1550, when the most famous of forty potteries was that of the brothers Pirotti (the Ca Pirota). The earliest authenticated specimen is a votive plaque dated 1475, in the Cluny Museum at Paris. Baldassare Manara (first half of the 16th cent.) and Virgilio Calamelli (Virgiliotto da Faenza; second half) are likewise distinguished names. The art had a second blossoming period in the early 18th century. At the corner of the Via Campidori, as we approach the town, is the interesting Museo Internazionale delle Ceraraiehe (gratuity), containing fine pottery of all countries and ages. In the picturesque Piazza Vittorio Emanuele, with its fountain of 1619-21, are the old Clock Tower by Aleotti (1606-1607), the Palazzo del Podesta (partly of the 12th cent.), and the Municipio, once the palace of the Manfredi, who were lords of the town from 1313 to 1501. The Duomo, by Giuliano da Maiano (1474), has an unfinished W. front. The chapels of the fine interior contain some interesting works, notably an Annunciation by Sperandio (1477), the Bosi monument by Barilotti (1530-42), a Madonna and saints by Inn. datmola (1525), the tomb of St. Terence, attributed to P. Lombardo, and the *Tomb of St. Savinus, first bishop of Faenza (early 4th cent.), by Bened. da Maiano (1474-76). In the suburb of Ur- becco, oil the other side of the Lamone, is the small Roman- esque church of the Commenda, remarkable for a *Fresco by Girol. Pennacchi (1533) on the apse wall. The town museum and Pinacoteca, reached from the main Piazza along the Via294 Rte. 33 FORLl From Bologna Severoli, are open from 10-12 and 2-4 daily, and contain several works of merit (Alf. Lombardi, Terracotta; Bened. da Maiano (?), *St. John; School of Donatello, wooden statue of St. Jerome; F. Pourbus the Younger, Charles I of England; G. Pennacchi, Madonna and two bishops; majolica ware produced at Faenza). The church of Santa Maria Vecchia has a 9th cent, campanile. The railway running S.W. from Faenza to (62f m., 101 km.) Florence (p. 316), crossing the Apennines, passes through (8f m,) Brisighella, charmingly situated, and (41£ m.) Borgo San Lorenzo, junction for (20£ m.) Pontassieve (p. 405), in the Mugello, one of the most beautiful valleys of the Florentine region, the native district of the Medici, Giotto, and Fra Angelico. — The line running N.E. to (21f m., 35 km.) Ravenna (p. 301) passes through Russi (p. 293). 39J m. (64 km.) FORLl (Hot. Masini; Pace; Commercio. — Post Office, Piazza Aurelio Saffi), the Roman Forum Livii, now a flourishing town (24,700 inhab.), was in the middle ages a fief of the Malatesta and the Ordelaffi. The chief masters of its school of painting were Melozzo degli Ambrogi (1438-94) and his disciple Palmezzano, Carrari, etc. Other eminent natives are Cornelius Gallus (66-26 B.C.), Virgil's poet friend, and G. B. Morgagni (1682-1771), the anatomist. The church of the Carmine, on the way from the station to the central square, has a portal by Marino Cedrini (1465). The Romanesque church of San Mercuriale, dedicated to the first bishop of Forli, and containing paintings by Marco Palmezzano and a marble arch by Giac. Bianchi (1536), is flanked by a good Campanile of 1180. Close by is the Palazzo del Podesta (1459). The *Pinacoteca (9-12 and 2-4 or 3-5; adm. 2 1., Sun. free), in the Palazzo degli Studi, contains paintings by Melozzo (118. Druggist's sign, *120. An- nunciation, partly by Palmezzano), Palmezzano, Baldas- sare Carrari, Menzocchi, and others; *86, Guercino, Annun- ciation; Flemish tapestry, etc. The historic citadel of the Rocca di Ravaldino was defended by Caterina Sforza against Caesar Borgia (1500; comp. p. 292). The Duomo contains a good St. Sebastian by Rondinelli and a frescoed Assumption by Cignani in its cupola (1681-1706). In the church of San Biagio are admirable *Frescoes by Melozzo and Palmezzano (in the first chapel of the S. aisle). In the next chapel is the *Tomb of Barbara Manfredi, wife of Pino III Ordelaffi, who is styled ' ottima' in her epitaph. In the third chapel is a Conception by Guido Reni. Steam tramways run from Forli to (17 m.) Ravenna (p. 301) and to (8 m.) MMola. Motor omnibuses ply to (69£ m. in 7 hrs.) Florence via (7 m.) Castro- caro (Pens, delle Terme, 36 1.), a small spa, (17 m.) Rocca San Casciano, (37 m.) the Passo del Muraglione (298 ft.) and (47 m.) Dicomano, one of the best road- routes across the Apennines.;o Ancona CESENA 33 Rte. 295 We cross the Ronco, beyond which is (44f m.) Forlim- popoli. A motor omnibus runs hence to (3f m. S.) Bertinoro, an old seat of Caesar Borgia, picturesquely situated at the foot of its citadel. The Savio is crossed. — 51J m. (83 km.) Cesena (Hot. Leon d'Ovo, R. 7, D. 15, pens. 301.) is one of the earliest episcopal sees in Italy, the first bishop having been St. Philemon (a.d. 92). It boasts the important *Bi~ blioteca Malatestiana, founded in 1452 by Domenico Malatesta Novello, brother of Sigismondo, lord of Rimini, and containing 340 valuable MSS. and 48 incunabula. The 14-15th cent. Cathedral contains statues by L. Bregno (1514), and in the Pinacoteca is a Presentation, by Francia. Pius VII (174-2- 1823) was a native of Cesena. The mountain road from Cesena across the Passo dei Mandrioli (B949 ft.) is served by two motor omnibuses: to Bagno di Romagna (35| m. in 4 hrs.); thence to Bibbiena (22i m. in 2£ hrs.); thence to Pontassieve and Florence, a nd to Arezzo, see p. 407. — Another omnibus plies to (10 m.) Cesendtico (p. 301). We cross the Pisciatello and then the Fiumicino or Ru- bicon (see p. 301). — 60J m. Savignano di Romagna has a good Roman bridge. — 62f m. Sanf Arcangelo di Romagna. On the right rises the Monte Titano, with San Marino; on the left appears the Adriatic. 69 m. (111km.) RiMINI (21,306 inhab.), famous for its Roman remains and mediaeval associations, has a harbour on the canalized river Marecchia and is frequented as a seaside resort. Hotels. In the town: Palace, Via Dante, good R. 8, D. 13, pens. 301.; Aquila d'Oro, 88 Corso d'Au- gusto, well spoken of, R. 10, D. 15, pens. 351.; Commercio, with good unpretending restaurant, Via Gam- balunga. - Near the sea-front: *Grand Hotel, 350 beds, with its annexes, the Palazzine Milano and Roma; Lido; Sav6ia; Villa Rosa, etc. Several pensions. Post Office, Piazza Ferrari. Conveyances. Cabs 4-51. per drive in the town. — Tramway from the station to the shore. — Light Railway twice daily and Motor Omnibus (101.) once daily to San Marino (see p. 297). Theatres. Vittorio Emanuele; PolUeama Riminese; Arena al Lido, with skating rink, etc. — Visitors' Tax, 20-30 1. for the season, according to hotel. Railway Ticket Office, Cassa Nazionale Ferrovieri, 13 Via Gam- balunga. History. Rimini occupies the site of the Umbrian city of Ariminum, which became a Roman colony c. 268 b.c. and was patronised and embellished by Julius Caesar and Augustus. In 567 it became one of the cities of the Penta- polis (p. 267). After centuries of strife between Pope and Emperor for mastery of the town, the people of Rimini in 1237 appointed Giovanni Malatesta (d. 1247) as podesta. "His son Malatesta di Verrucchio (1212-1312), Dante's " old mastiff," was the founder of a powerful dynasty of overlords, most famous of whom was the violent Sigismondo (1417-68). The ' old mastiff's' son, Giovanni the Lame, Was the husband of the beautiful Francesca da Rimini (d. 1258), whose love for her brother-in-law Paolo inspired one of the tenderest passages in Dante's ' Inferno ' (' we read no more that day'), as well as Leigh Hunt's ' Story of Rimini' (which Byron rhymed so unjustifiably with ' niminy-pim- iny'). Pandolfo (d. 1534) sold the town to Venice, but after the battle of296 Rts. 33 RtMINI From Bologna Ravenna (1512) it fell into Papal hands, and the Malatesta family soon passed into oblivion. In March 1815 Murat issued a proclamation at Rimini declaring that he would restore the unity and independence of Italy. The Via Dante leads from the station past the church of San Girolamo (1626-38; rich interior) to the Via Patara and the *Tempio Malatestiano» since 1809 the Cathedral of Santa Colomba. This building, originally the late 13th cent. Gothic church of San Francesco, was transformed by marble decoration into a splendid Renaissance edifice by order of Sigismondo Malatesta (1447). The design of the exterior is the masterpiece of Leon Battista Alberti, the interior is chiefly due to Matteo de' Pasti, the sculptures to Agost. di Ant. di Duccio. — The facade, in which the influence of the arch of Augustus (see below) is strongly marked, was left unfinished. On the sides of the building are lofty arches, recalling Theodoric's tomb (p. 307), which mask, without al- tering, the Gothic windows. The seven large sarcophagi on the S. side contain the ashes of eminent men whom the Malatestas had gathered about their court. Interior. On the right of the entrance is the tomb of Sigismondo, whose armorial bearings (the elephant and rose) and initials interlaced with those of Isotta (see below) recur throughout the church. In the 1st chapel is a statue of St. Si- gismund supported by elephants' heads; in the niches are sta- tues of the Virtues and Armour-bearers. — A door leads hence to the Chapel of the Relics, with a fresco by Piero della Francesco, (1451), representing Sigismondo kneeling before his patron, St. Sigismund of Hungary. 1st N. chapel: Tomb of Si- gismondo's ancestors, and statues of Prophets and Sibyls. — 2nd S. chapel: On the left is the tomb of Isotta degli Atti, Sigismondo's mistress and later his third wife, whose features are perhaps portrayed in the St. Michael on the altar. — The 3rd S. chapel is decorated with the Planetary Symbols and Signs of the Zodiac, the 3rd N. chapel with the Liberal Arts. We go on to the Piazza Giulio Cesare, once the forum, with a spurious Csesarean column and a little oratory of St. Anthony, on the spot where the saint's mule was mira- culously moved to prayer. Thence the Corso d'Augusto (1.) leads to the *Arco d'AllgUSto, a single archway (27 B.C.) marking the junction of the Via iEmilia with the Via Fla- minia. In the other direction the Corso leads to the Pa- lazzo delV Arvengo, an imposing edifice of 1204L and the Ponte d'AuguSto, spanning the Marecchia. Built, like the arch, of travertine stone, this bridge was begun by Augustus in the last year of his life and completed by Tiberius (21 a.d.). The river at this point separated Pentapolis from Romagna. — To the S. of the Municipio are the ruined Castello Sigismondo (1446) and, in the Via Sigismondo, the Roman- esque church of SantfAgostino. Of the Amphitheatre, to the E., near the station, only two arches are visible.Ancona SAN MARINO 33 Rte. 297 San Marino {Hot. Titano, R. 5, pens. BO 1.), S.W. of Rimini, may be reached either direct by motor-omnibus (10 1.; 14£ m. in 1£ hr.) or by light railway to San Marino station (13 m. in 1 hr.), about 4 m. W. of the town. The little town is interesting as being the capital of the diminutive Republic of San Marino (23 sq.m.; 12,000 inhab.), which has preserved its independence for more than fourteen centuries. It is said to have been founded c. 350 by Ma- rinus, a pious stonemason from Dalmatia, to whom the mountain was presented as a hermitage. The legislative power is vested in a Council General of 60 per- sons, from whom 12 are chosen as an executive, and the chiefs of state are two ' regent captains ' who hold office for six months (investiture April 1st and Oct. 1st.). San Marino has its own mint, postage stamps, police force, etc., and an army of about 1000 men. Most of its territory consists of the peaks and slopes of the limestone Monte Titano (2382 ft.; *View). The capital possesses a handsome Palazzo Governativo (1894), a Museo, and three citadels, all of which command a superb panorama of Rimini and the Adriatic, and even, in clear weatiier, of the Dalmatian coast. — About 7 m. farther S.W. by a winding road is the fortress town of San Leo, where Cagliostro died in exile in 1794; here are two interesting 12th cent, churches. From Rimini to Ravenna, see Rte. 34. We proceed S.E. at a short distance from the coast. — 74 J m, Riccione (Hot. Milano, 200 beds, R. 10, D. 20, pens. 35-60 1.; Savioli, R. 8, pens. 20 1.; Bedeschi, pens. 30 1.; Lido, pens. 25 1.; Angelini, pens. 28 1., and others) frequented as a sea-bathing resort. - 80f m. Cattolica (Hot. Casino Munici- pale, 100 beds; Villa Adriatica, R. 15, I). 15, pens. 401.; In- ternazionale, R. 15, D. 15, pens. 40 1.; Milano, pens. 35 1.; Villa Andrea, pens. 30 1.) is another little sea - bathing resort. We cross theTavullo and enter the old province of the Marches (p. 267), from which the sea is steadily receding. On a hill on the right is seen the walled town of Gradara. Beyond a tunnel we cross the Foglia. — 90 m. (145 km.) P6saro (Hot. Zongo; Rossini), the Roman Pisaurum, the seat of a lordship of the Malatestas and the Sforzas, and the birthplace of Gioacchino Rossini (1792-1868), the composer, is a pleasant little seaside town (18,506 inhab.), frequented for sea-bathing. The Duomo contains a Coronation of the Virgin by Giov. Bellini, and the churches of San Domenico and Sant Agostino have Gothic portals. Thq Prefettura (1450^-1510) was for- merly the ducal palace. The chief treasures of the Ateneo Pesarese area collection of wonderfully lustrous majolica by Maestro Giorgio, a head of St. John by Marco Zoppo, and a bust of Napoleon by Canova. An omnibus plies from Pesaro to (23 m. in 2hrs.) Urhino (p. 445). We skirt the sea. —• 97J m. (157 km.) Fano (11,689 inhab.; Grand-H6t. dei Bagni, R. 10, pens. 30 1.; Iris, R. 8 1.; Due Mori), deriving its name from an ancient temple (fanum) of Fortune, is another coast town with a bathing beach. In the portico of the 15th cent, church of San Francesco is the tomb of Paola Bianca (d. 1398), by Fil. di Domenico. The298 Rte. 33 AN CON A History Romanesque Palazzo della Ragione, in the Piazza Venti Set- tembre, contains the theatre. In the church of Santa Maria Nuova are a Visitation by Giovanni Santi and a Virgin and saints and an Annunciation by Perugino. In the W. part of the town are the Scuola di San Michele, a curious construc- tion of the 15th cent., and a triumphal *Arco d'Apgusto, considerably modified. Farther on is San Michele, with a good portal attributed to Ambr. Barocci of Milan (1493). A branch-line connects Fano with (27£ m.) Fermignano (p. 445). We cross the Metauro, anciently the Metaurus, where the consuls Claudius Nero and Lucius Salinator vanquished Hasdrubal in 207 B.C. — 111m. Senigallia (Hot. dei Bagni; Roma, R. 6, D. 14, pens. 351.; Vittoria, pens. 201.), or Si- nigdglia, was the birthplace of Pius IX (1792-1878), the last pope to hold temporal power. Ancona presently comes into view on its promontory. — 121^ m. Falconara MarUtima (Hot. Vittoria; Moderne) is the junction for the railway to Rome via Foligno (comp. p. 439). 126J m. (204 km.) ANCONA (51,576 inhab.), splendidly situated on an amphitheatre above the Adriatic, is the only considerable seaport between Venice and Brindisi. Hotels. Roma & Pace, 3 Via Lombardi, R. 9, D. 15, pens. 25 1.; Mi- lano & Vittoria, 4 Via xxix Sett.; San Marco, 8 Via Marsala; Picchio p. Roma; Leone, Via Leopardi. Post Office, Piazza Roma. Conveyances. Taxicabs, c. 41. per km. — Tramways traverse the chief streets and run (every 40 min.) to Falconara. — Omnibuses to Iesi, Macerata, Porto Civitanova, Seni- gallia, etc. — Steamboats to Trieste, Fiume, Bari, and Dalmatian ports (see p. 299); offices, Lloyd Triestino, Via della Loggia; Societd Piigliai Piazza Santa Maria. Railway Ticket Office, Cassa Nazionale Ferrovieri, 17 Piazza Roma. History. Ancona is said to have been founded c. 400 b.c. by Syracusan exiles fleeing from the tyranny of Dionysius in Sicily. Its name, signifying ' an elbow,' refers to the curved promontory forming its harbour. It was a flourishing port under the Romans emperors, and was favoured by Trajan. It was one of the cities of the Maritime Pentapolis (comp. p. 267), and later belonged to the exarchs of Ravenna and the States of the Church. Barbarossa twice vainly besieged the place. Ancona became a free city in 1177, and al- though for a time under the sway of the Malatesta and Albornoz families, it enjoyed its privileges until 1532, when Gonzaga occupied it with papal troops under the crafty pretence of garrisoning it against the Turks. In 1799 Ancona withstood a siege of Russians, Austrians, and Turks; and in 1860, after another siege of 11 days, it was united to Italy. During the War of 1914-18 the harbour was considerably damaged by the Austrian fleet. From the station we follow the Via Nazionale to the left to the 18th cent. Porta Pia, the Piazza Garibaldi, with the 15th cent, portal of the church of San Agostino, and the Piazza Umberto I. Traversing the latter square, we follow the modern Corso Vittorio Emanuele, which ends in the Piazza Cavour. Thence the Via del Comune leads to the Piazza del Plebiscite, in which are a statue of Pope Cle-Jathedral AN CON A 33 Rte. 299 ment XII and the church of San Domenico, containing a damaged painting by Titian (1520). The adjoining Pina- coteca Podesti (daily 10-12, free) contains several paintings by Podesti, a Crucifixion by Titian, a Madonna and a St. Pa- lazia by Guercino, and an Assumption and Coronation of the Virgin by Lor. Lotto. We return to the Via del Comune, in which, farther on, rises the 14th cent, church of San Francesco, with a remarkably rich Gothic portal by Giorgio da Sebenico (1455-59). Beyond the shabby old Palazzo Comunale we turn to the left along the Via del Duomo, near the beginning of which is the Museo Civico (open 10-3), containing Greek, Roman, and mediaeval sculptures, and prehistoric objects. The * Duomo, dedicated to St. Cyriacus, bishop of Ancona and a martyr under Julian (362), is a Romanesque and Byzantine edifice with a handsome fagade and porch, both attributed to Margaritone d'Arezzo, and a twelve-sided cupola of the 12th cent., one of the earliest in Italy. The building was damaged in the War. Interior. On the N. side is the tomb of Card. Gianelli, by Giovanni da Trait (1509), an interesting specimen of the cinquecento style. The crypt contains fragments of 13th cent, reliefs and the fine sarcophagus of Flavius Gorgonius, prastor of Ancona (4th cent.). Some of the columns may have be- longed to, a temple of Venus mentioned by Juvenal as occupying this site. — In the neighbouring bishop's palace Pope Pius II died in 1464. On the old N. mole of the harbour stands the * Arco di Traiano, a triumphal arch, which has been pronounced the finest of its kind in the world, erected by Apollodorus (a.d. 115) in honour of Trajan, who had founded the port. Close by is the Arco Clementino, by Vanvitelli (18th cent.). Returning to the town, we follow the Via Saffi., in which are the chur- ches of Santa Maria della Misericordia, with a portal by a dis- ciple of Giorgio da Sebenico, and Santa Maria della Piazza (Rom- anesque, 1210). The Loggia dei Mercanti, in the street of the same name, has a rich fagade by Giorgio da Sebenico (1454-59). From Ancona to Rome vik Foligno, see Rte. 48; to Trieste, Pola, Fiume, etc. by steamer, see p. xcv; to Lecce and Brindisi, see the Blue Guide to Southern Italy, From Ancona to Zara, 87 m., steamer thrice weekly in 7-7£ hrs. (tickets at the Lloyd Triestino agencies, 2 Piazza Santa Maria in Ancona, on the Riva Quattro Novembre in Zara). — Starting from the Molo della Dogana the steamer steers across the Adriatic, and in 4-4 £ hrs. is in sight of the I sola Lunga, with its lighthouse, on the right bow, with the Isola Melada a little to the left. We pass between these, with the Monti Velebiti ahead in the blue distance, leave the pretty Isola di UgUano on our right, and, in full view of Zara, steer round the N. end of the rectangular peninsula (formerly an island) which it occupies, to disembark at the Riva Quattro Novembre. ZARA (Hotel Bristol, Riva Vitt. Eman. Ill; Grand, Calle d'Annunzio—Post Office, Piazza Laurana), the capital of Dalmatia, is an attractive city (11,990 inhab.), quite Venetian in appearance, with narrow streets and interesting Gothic &eii£4s?ance architecture, .300 Rte. ZARA \ History. The original settlement, capital of the Liburni, became a Roman colony, but was destroyed by the Huns in the 5th century. Rebuilt under the Byzantine empire, it was later ruled alternately by the Venetians and Hun- garians. Venice, however, definitively acquired it in 1409 and held it almost continuously until, on the fall of the republic, it passed to Austria in 1797. In 1808 it belonged to France and from 1810 was part of the short-lived kingdom of Illyria. The Austrians recaptured it in 1813, but Zara remained Italian in character, language, and aspirations, and in Nov. 1918 it was finally united with Italy. — The sculptor Francesco di Laurana (1456-1502) and probably the 16th cent, architect Luciano di Laurana were natives of Zara. From the landing stage, near the custom-house, a passage leads through the town wall to the Calle Angelo Diedo, by which we reach the Piazza del Duomo. The Duomo {SanVAnastasia), originally a Byzantine edifice but almost completely rebuilt in the Romanesque style in the 12-13th cent., has a fine facade (1323), with four rows of blind arcades. On the N. side is a Romanesque gallery at the height of the triforium. The campanile, begun in 1452, was not finished until 1892-93. Interior. The nave and aisles are separated by alternate piers and columns, with antique Corinthian capitals. A fine feature is the triforium, lighted from the nave by symmetrically arranged windows on each side. — A door in the right aisle admits to the hexagonal Baptistery (6-7th cent.), containing a 13th cent, font. The next door opens on a corridor leading to the Sacristy, containing parts of a polyptych by Vittore Carpaccio and other Venetian paintings, and to the Treasury. At the end of the corridor is a small courtyard, affording a view of the outside of the Baptistery and communicating with the Museo Ar- cheologico (see below). —The choir stalls in the cathedral date from 1500 and show Gothic influence. Beneath the high altar (1332) the republican Venetian colours were buried in 1797. — The crypt (partly 8th cent.) contains interesting altars and a painting (St. Ursula and other saints) by Palma Giovane. Beyond the small Greek Orthodox church of St. Elias the Calle del Cristo leads N.W. to San Francesco, a Romanesque and Gothic church of 1212 (but altered), containing good choir-stalls (1400) and some interesting paintings, including an altar-piece, of the Church Militant and the Church Triumphant, ascribed to V. Carpaccio. — In the Piazza delle Erbe, a little W. of the Duomo, stands a large Roman column. At No. 6 is the *Museo Areheologico (gratuity), with interesting Roman and pre-Roman antiquities, inscriptions in honour of the goddess Latra of the Liburni, marbles from old churches, memorials of the republican period, etc. The museum is housed in the former church of San Donato, which was probably founded in honour of the Trinity by St. Donatus, bishop of Zara at the beginning of the 9th century. The domed church, in the Byzantine (Ravenna) style, is circular in plan, with an ambulatory, and has two stories and three radiating apses, somewhat recalling the plan of San Vitale at Ravenna (p. 302). The present floor (4ft. below that of the original church), formed of large rectangular blocks, was the pavement of a Roman square (perhaps of the forum), and in the ijvalls of the church are fragments from Roman buildings. To the S. from the adjacent Piazza Laurana stretches the broad Riva Vit- torio Emanuele III, with its handsome modern mansions.—To the S. of the Piazza delle Erbe, at No. 10 Calle Santa Maria, is Santa Maria, mentioned in 906 but since altered, with a charming Lombard campanile (1105) and containing a painting (Jesus and Mary) attributed to Titian and a Deposition, by Iacopo Bassano. — The line of streets ends on the S. at the Porta Terraferma, by Sammicheli (1543), outside which, on the right are the Porto Piccolo and the bastions of the old citadel and, in front, the Parco Regina Elena. In the Piazza Vincenzo Dandolo are a Roman Corinthian Column, with a fluted shaft, and a small Roman arch. — Adjoining the church of San Simeone, which contains the silver tomb of the saint, presented by St. Elizabeth of Hun- gary, is the Casa Vovo, with a charming interior court. — In the Piazza Plebiscito or dei Signori are the Loggia (1565; now the Public Library), the Palazzo Co- munale, and the Torre delVOrologio (1572; part above the comice later). Thence the Calle Larga, the busiest street in the town, runs W., and is continued by theRA VENN A 34 Rte. 301 Calle Gabriele d'Annunzio to the Duomo. — A little to the E. is the church of San Grisogono, with its three apses, rebuilt in 980 and again, in a Romanesque style, in the 12th century. The columns in the interior have antique capitals. The Calle Ldpanto, N. of the church, leads E., via the Porta Marina (1553) which incorporates portions of a Roman arch, to the Riva Quattro Novembre, (see p. 300), near the custom-house. About f m. (1km.; motor omnibus) beyond the Porta Terraferma lies Borgo Erizzo, settled in 1826 by Albanian refugees (interesting costumes). 34. FROM RIMINI TO RAVENNA Railway, 31 m. (50 km.) in 1J hrs. (20 1. 25, 14 1. 50, 9 1. 15 c.). Rimini, see p. 295. The railway skirts the sea, passing some little seaside resorts (Viserba, Viserbella, Belldria) with numerous hotels and pensions and crosses the Uso and theFiu- micino, two streams which dispute the honour of being the fateful Rubicon, which Caesar crossed in 49 B.C. in defiance of Pompey. — 13 m. Cesen&tico (Hot. Lido, 50 R.; Eritrea, R. 10, D. 15, pens. 301., op en May-Sept.), a small bathing-resort, was the port from which Garibaldi and his wife Anita set sail for Venice in Aug. 1849, after their flight from Rome (comp. p. 308). A motor omnibus runs hence to Cesena (p. 295). — 18 m. Cervia (Hot. Allegri, R. 12, D. 10, pens. 251.), another small seaside town amid salt-marshes, is built on a rectangular plan and surrounded by 17th cent, walls. We soon enter the pine forests of Ravenna (see p. 308). — 28 m. Classe. Sant'Apollinare (p. 307) appears on the left. 31 m. (50 km.) RAVENNA, now a quiet inland town (22,931 inhab.) 7 m. from the sea, was once a flourishing port on the la- goons at the mouth of the Po. With its magnificent Byzantine churches and its imperial tombs, it reflects, more than any other town in Italy, that semi-Oriental power which followed the fall of Rome; and the solitude of the surrounding pinewood evokes the moody spirit of Byron and recalls the tragic flight of Garibaldi while Italian freedom still hung in the balance. Hotels. Royal San Marco (PI. a, C 5), 16 Via Farini, R. 10, D. 15; pens. 40 1., with good restaurant; Cap- pello (PI. d; C 4), 9 Via Rattazzi, R. 7, D. 12, pens. 301.; Commercio (PL c; C 3-4), 3 Via Mentana, R. 7 L; Centrale (PI. e; C 4); Pellrgrino. Post Office (Pi. C 4), p. Alighieri. Conveyances. Cabs, per drive in the town, 41., at night 51.; per hr. 101. Luggage, 50 c. — Steam Tram- ways to Forli 3 times daily. — Motor Omnibus to Cesena. — Steam- boats (Society Romagnola) weekly to Parenzo and Trieste (17 hrs.) and to Pola and Fiume (30 hrs.). Railway Ticket Office. Credito Romagnolo, Piazza V. Eman. (PI. C 4). History. The Roman colony of Ravenna, a little W. of the present town, was united to the sea by the Via Csesarea under Augustus, who constructed also a great harbour (Portus Classis). The glory of Ravenna, however, began c. 402, when the emperor Honorius removed his court thither from Rome and made it the capital of the Western Empire. His sister Galla Placidia was the first to undertake the construction of splendid monuments, and the barbarian302 Rte. 34 RA VENN A History kings Odoacer (476-93) and Theodoric (493-526) adorned the city with further works of art. The capture of Ravenna by Belisarius in 540 led to a period of renewed prosperity under the Eastern Empire, and Justinian and his empress Theodora embellished the capital of the new Exarchate with unbounded magni- ficence. The inevitable decadence followed, and the province came into the hands of the church in 757; sufficient vitality, however, was left for Ravenna to proclaim its independence as early as any town in Italy (1177). Another period of changing mastery ensued, and in the 13-14th cent, the city was gov- erned by the Da Polenta family, distinguished for their hospitality to Dante. The unfortunate Francesca da Rimini (p. 295) was a daughter of this house. From 1441 to 1509 the domination of Venice brought revived prosperity to Ravenna, but the renewal of Papal domination and the sack of the city in 1512, after the battle between Louis XII of France and the Holy League outside its walls, marked the beginning of its final decay. In 1849 Garibaldi found a brief refuge (p. 308) in the pine-forest near the town, though his wife Anita died from the hardships of her flight from the Austrians; and in 1860 the city was finally united with the kingdom of Italy. — Nicolo Rondinelli (1450-1510), the painter, was a native of Ravenna, and Byron lived there in 1819-21. The famous Mosaics of Ravenna have been classified under two schools of art. The local, or Roman, school, the more realistic in aim, is seen in the decoration of the Tomb of Galla Placidia, the two Baptisteries, the Archbishop's Palace, Sant'Apollinare in Classe, and part of Sant'Apollinare Nuovo. The By- zantine school, seeking striking effects of colour and ornament, was introduced by Justinian, and is found in the processional mosaics of Sant'Apollinare Nuovo, and in San Vitale. Opposite the Station (PI. C 6) is a monument to Luigi Farini (1812-66), dictator of Emilia, and chief agent of its union with Italy (1860). The Viale Farini leads hence towards the city, passing (1.) the church of San Giovanni Evangelista (PI. C 5), built by Galla Placidia in fulfilment of a vow made during a storm at sea. The courtyard preceding the church preserves some remains of the atrium. The principal doorway, of the 14th cent., incorporates Romanesque fragments; in the lunette is a bas-relief illustrating the legend of the sandal left in the hands of Galla Placidia by St. John. The base of the campanile is of the 10th cent.; the upper part of the 14th. The interior, rebuilt in 1747, retains its original columns with their capitals and impost-blocks. On the right is a 6th cent, column supporting the corner of the campanile. In the 4th N. chapel is a *Fresco by Giotto (c. 1320) of the Evangelists and Doctors, much repainted. The crypt contains a 5th cent, altar. — In the Piazza Anita Garibaldi, just beyond the church, a monument commemorates the Martyrs to Freedom. Keeping straight on we reach the Piazza Vitt. Emanuele (PI. C 4), with two Venetian columns decorated by P. Lom- bardo (1483) now bearing statues of St. Apollinaris and St. Vitalis (1644). On the left of the crenellated Municipio is a portico of eight 6th cent, columns (four bearing the monogram of Theodoric), which perhaps came from the church of Sant'Andrea, destroyed in 1457. In the Palazzo Guiccioli, in the Via Cavour (PI. C 3-B 2), Byron lived with the beautiful Countess Guiccioli, and wrote the end of ' Don Juan,' ' Marino Faliero,' and other poems. Some distance N. is the church of **San Vitale, the most precious jewel of Byzantine art in the West.San Vit ale RA VENN A 3d Rte. 303 Founded in the early 6th cent, by Julius Argentarius, the church was consecrated in 547 by Archbp. Maximian. The octagonal building is sur- rounded by a double gallery and surmounted by an octagonal cupola. The narthex, which stands obliquely to the church, was formerly preceded by an s^rium. — We enter the precincts through an arch of 1622 (ring) and cross an open space in which are Roman and Byzantine sarcophagi; on the left are a little Renaissance portico (p. 304) and some remains of a Romanesque cloister. The impressive Interior is famous for its wonderful decoration in marble and mosaic. The remarkable plan — two concentric octagons with seven exedrae or niches and an apsidal choir — may have been suggested by SS. Sergius and Bacchus at Constantinople. The eight pillars which support the dome are encased in marble (largely renewed), and are separated by the exedrse with their triple arches. Higher up is the matroneum, or women's gallery, and above all is the dome, built, for lightness, of two rows of terracotta tubes laid horizontally and fitting into one another. The vault-paintings are of the 18th cent.; the intended mosaic decoration was probably never executed. During recent restorations the modern pavement has been in great part removed to reveal the original floor. The chief glories of the church are in the *Choir and *Apse. On the triumphal arch are mosaics of Christ and the Apostles with SS. Gervasius and Protasius, the sons of the patron saint. On either side are two con- structions of antique fragments patched together in the 16- 18th cent., including four columns from the ancient ciborium (the first on the left is of rare green breccia from Egypt). In the centre is the *Throne of Neptune, a fragment of a Roman frieze. Within the arch, on either side, are two columns with lace-work capitals and impost-blocks bearing the monogram of Julius. In the lunettes are mosaics: on the right, Offerings of Abel and of Melchisedech; at the sides, Isaiah and the Life of Moses; on the left, Hospitality and Sacrifice of Abraham, at the sides, Jeremiah and Moses on the Mount. The upper gallery has magnificent capitals and mosaics of the Evangelists; and the vault-mosaics of Angels and the Paschal Lamb amid foliage, are likewise very fine. In the centre is the altar, reconstructed in 1898, with a translucent alabaster top. The apse, which is separated from the choir by three transennae, has the lower part of its walls covered with marble inlay, a modern reconstruction from traces of the original plan. In the centre of the Mosaic in the semidome of the apse Christ appears between two Angels who present St. Vitalis and Archbp. Ecclesius (with a model of the church). On the side-walls are two fine processional pieces: on the left, * Justinian with a train of officials, soldiers, and£04 Rte. Si RAVENNA Tomb of Placidia clergy, among whom are Archp. Maximian and Julius Ar- gent arms or Belisarius; on the right, * Theodora with her court. In front of the apsidal arch are Jerusalem, Bethle- hem, and two angels. The stucco decoration beneath th^-" arches should be noted. — Walking round the church from S. to N. we pass first an apsidal chamber which precedes the Sancta Sanctorum, containing two early sarcophagi; beyond the entrance to the church comes the door leading to the campanile (originally one of the staircase towers giving access to the matroneum); beneath an adjoining arch are some fine stuccoes After passing the narthex we reach the second staircase tower, still preserving some original work. The matroneum (entered from the campanile) affords an excellent close view of the mosaics. To the N. of the church of San Vitale is the famous * Mauso- leum of Galla Placidia, a small cruciform building erected by the sister of Honorius (p. 301) in the middle of the 5th cen- tury. It has sunk nearly 5 ft. into the ground. The plain exterior is decorated with blind arcades and pilasters. The interior is noted for its magnificent *Mosaics, especially in- teresting for the classic character of the figures and for their excellent state of preservation. — Over the entrance is the Good Shepherd; in the opposite lunette, St. Laurence with his gridiron; in the side lunettes, Stags quenching their thirst at the Holy Fount. The vaults and arches of the longer arm of the cross are decorated to represent rich hangings and festoons of fruit. In the shorter arm are four Apostles; the other eight are on the drum of the cupola. In the pen- den tives are the Evangelists, and, above all, the Cross in a star-strewn sky. The three empty sarcophagi are no longer considered to have held the remains of Placidia, Constantius, and Valentinian III; only one of them is of 5th cent, work- manship. The small Renaissance portico (p. 303) on the left of San Vitale admits to the conventual buildings, which are now the seat of the national * Museum of Antiquities (adm. 10-4; Sun. and holidays 9-1). The 1st Cloister contains Roman remains and inscriptions (many in honour of the fleet of Classis) and 16th cent, doorways. In three rooms on the S. side are antique terracottas and sculptures, including the *Apotheosis of Augustus, a fine low relief. - The 2nd Cloister contains (in the centre) a statue of Clement XII (1738); sculptured sarcophagi; a 6th cent, transenna; ancient capitals; a well-head from Classe; etc. In the rooms above are ivories, including a 6th cent. *Diptych from San Michele di Murano (p. 231), evangelistary covers, etc.; gold *Ornaments, perhaps from the tomb of Theodoric; precious *Fabrics from the tomb of St. Julian at Rimini; the famous *Veil of Classis, with pic- tures of Veronese bishops of the 8-9th cent.; Florentine embroidery of the school of Pollaiolo; pottery and terracotta; *Glass from San Vitale; etc.Baptistery RA VENN A 34 Rte. 305 Nearly opposite the entrance to San Vitale is the church of Santa Maria Maggiore (580, rebuilt 1671), preserving a Byzantine doorway and capitals. The church of Santa Croce (PI. B 3), built by Placidia, has only a few fragments left of its original walls. On the other side of the Via Cavour is the small church of Santi Giovanni e Paolo (PI. C 2), which has a campanile of the 10th and 15th cent, and contains a fine marble pulpit (596). Thence the Via d'Azeglio and the Via Rasponi (r.) lead to the Cathedral (PI. D 3), founded in the 5th cent, by Abp. Ursus, and sometimes known as the Basilica Ursiana. It was practically all destroyed in 1733 and immediately rebuilt. The columns of the central arch of the portico and those on either side of the central door are from the original church. The round campanile, many times restored, dates from the 10th century. In the nave is the 6th cent. *Ambo of St. Agnellus, pieced together in 1913. In the S. transept, two fine 6th cent, sarcophagi; in the N. transept, paintings by Guido Reni and his school (1620). In the ambulatory, St. Mark, a sculptured figure by Matt, da Kagusa and Giov. Ant. da Milano, and, in a corridor leading thence, six tr an sennas from the old basilica. The treasury contains the *Ivory Throne of St. Maximian, a 6th cent. Alexandrine work, carved with the story of Joseph, the life of Christ, and St. John the Baptist and the Evangelists; the silver *Cross of St. Agnellus (Pllth cent.); and a paschal calendar incised on marble (6th cent.). Adjoining the Duomo is the octagonal * Baptistery of the Orthodox (shown by the cathedral sacristan), converted from a Roman bath-house by Archbp. Neon in the 5th cen^ tury. The plain exterior is decorated with vertical bands and small arches. The original floor is now 10 ft. below the present surface. Eight corner columns support arches decorated with mosaics of prophets. In the niches and on the wall-spaces which are arranged alternately beneath the arches are mosaic inscrip- tions and marble inlaid designs from the original Roman baths. Each arch of the upper arcade encloses three smaller arches, the earliest instance of this architectural device. The stucco patterns are noteworthy. In the dome, built of hollow tubes, are mosaics of the Baptism of Jesus (the old man with the reed represents the Jordan), the Apostles, the Books of the Gospel, and four Thrones. The font is of the 12th or 13th century. Behind the cathedral is the Archbishop's Palace, with a hall containing sculptured and mosaic fragments from the Basilica Ursiana, and the so-called chasuble of St. John Angeloptes, probably of the 12th century. The Chapel of St. Peter Chrysologus, better described as the Oratory of St. Andrew, contains fine 5th cent, mosaics. At No. 3 Via Baccarini is the Aecademia di Belle Art! (PI. D 4; adm. 10-1, 11.; Sun. and holidays 9-11, free), containing Byzantine altar paintings, paintings of the Romagnole school, St. Romuald, by Guercino (1640), and the *Effigv, by Tullio Lombardo (1525), of Guidarello Guidarelli, treacherously killed at fmola in 1501. — Adjoining is the Monastery of Classe, a 16-17th cent, building, now containing the Biblioteca Classense, a library with some valuable codices, including an 11th cent, text of Aristophanes, and several thousand MSS. on vellum of the 10th century. In the Piazza Byron (PI. D 4) is the church of San Fran- cesco, built by Archbp. Neon in the 5th cent., but almost 10306 Rte.34 RA VENN A S. Apollinare entirely rebuilt in 1667 and 1793; it was throughly restored in 1921. The campanile is of the 10th century. The nave and aisles are divided by 22 columns of Greek marble. On the right of the entrance are the tombstone of Ostasio da Polenta (d. 1396) and a 4th cent, sarcophagus. The 2nd S. chapel is tastefully decorated by Tullio Lombardo; in the 4th N. chapel is a Madonna, with saints and donor, by Gaspare Sacchi da tmola; adjoining is a tomb by Tom. da Campione (1509). The crypt (9-10th cent.) has Byzantine and Romanesque capitals. The little church of Santa Maria della Croce, in the Via Guaccimanni, contains an Assumption, by Sacchi, under a 16th cent, marble baldacchino. On the left of San Francesco are the Mausoleum of Brac- cioforte (1480), with eleven sarcophagi, and the Tomb of Dante by Cam. Morigia (1780), a sacred shrine of Italian patriotism. The exiled poet found a last refuge in 1317 at the court of Guido Da Polenta, where he spent in peace the four closing years of his life, finishing the Divine Comedy and perhaps teaching. He died during the night of Sept. 13-14th, 1321, at the age of 56, and was buried beneath the portico of San Francesco. In 1483 Pietro Lombardo made the effigy of the poet which still adorns the in- terior of the tomb. The present mausoleum, well-designed, though scarcely adequate, was built at the instance of Card. Luigi Gonzaga. Since Sept. 13th, 1908, a lamp of remembrance has burnt here continuously, the gift of the ' So- ciety Dantesca '. At the corner of the Via Mazzini stood the former Hotel Byron, Byron's first residence at Ravenna. We follow the Via Mazzini S. to the 5th cent, basilican church of S ant' A gat a (PI. D 4), with its round campanile (completed in 1560), which contains antique columns and two Renaissance baldacchini. — The Via Oberdan, immediately beyond, on the left, ends opposite Santa Maria in Porto (PL D 5-6), a church of 1553, with a sumptuous marble fa9ade by Cam. Morigia (1775-84). Within are *Stalls by Mariano Francese (1575-93). In the monastery garden is the Lombardesque Loggia del Giardino (1508-14), seen from the Viale Sante Baldini (PI. E 6).— We now follow the Corso Garibaldi to the N. and soon reach the Calchi (No. 33), a building known also as the Palace of Theodoric, or of the Exarchs, which was really a military post to protect the court against the townsfolk. The struc- ture is made up of various fragments collected under the exarchs. The foundations of the real palace of Theodoric have been discovered farther E., near the railway. Farther N. is the basilican church of *Sant'Apollinare Nuovo (PI. C 5), built by Theodoric early in the 6th century. Dedicated originally to Jesus and later to St. Martin, the church passed from the Allans to the orth&dox Christians under Archbp. Agnellus. Its present dedication dates only from the 9th century. The facade with its portico was rebuilt in the 16th cent.; adjacent is a fine 10th cent, campanile, of circular plan. The 24 Greek marble columns within were heightened in the 15th cent., and are surmounted by a panelled ceiling pf 1611. Along the nave walls are two magnificent bandsTomb of Theodoric llA VEMMA U pe. 30? of *Mosaic; that on the N. side represents the port of Classis, with a procession of 22 virgin martyrs preceded by the Magi who offer gifts to the Infant Jesus seated on his mother's lap between four angels. The W. end of this mosaic, along with the fa$ade and ceiling, was damaged by an Austrian bomb in Feb. 1916, but has been skilfully restored. On the S. side are Ravenna, showing the fa$ade of Theodoric's palace, and a procession of 26 martyrs approaching Christ enthroned. Above, on either side, are 16 fathers of the church, or prophets; higher still, 13 scenes from the life of Christ. The Ambo in the nave dates from the 6th century. The 7th N. chapel was constructed in the 16th cent, of an- tique fragments. A fine new chapel on this side, with al- legorical paintings of the Allies, has been erected as a war memorial. The church of Spirito Santo (PI. C 5), a little farther N., was converted, like Sant'Apollinare, to the orthodox cult in the 6th cent, by Agnellus. Practically rebuilt in the 16th cent., it retains 14 original columns and a 6th cent. ambo. — The adjoining Baptistery of the Arians, originally the bath-house of the Casa di Droedone (No. 9 Via Farini), is now the Catholic oratory of Santa Maria in Cosmedin (PI. C 4) and contains a mosaic of the baptism of Christ. Holding still to the N. along the Corso Garibaldi, we pass near (1.) the church of San Giovanni Battista (PI. B 4), a 17th cent, reconstruction with a round campanile and a few relics of the 5th cent., and finally leave the town by the Porta Serrata (1582-85). Here we turn to the right, pass the rugged bastions of the Venetian Rocca di Brancaleone (PI. A 5), and in c. 10 min. (beyond the railway) reach the * Mausoleum of Theodoric (PI. A 7). The unfinished building, begun by the great Ostrogoth himself, is of hewn stone without mortar and is crowned by a monolithic roof (see p. 253). For a time, until 1719, it was used as a monastic church (Santa Maria al Faro). The ten-sided lower story has a deep recess on every side. Two staircases (1774-76) lead to the upper story, which is decorated with unfinished arcading. The monolithic cupola of Istrian limestone is 35 ft. across and weighs about 300 tons. Within is a porphyry bath which was used as the royal sarcophagus. The problem of the methods of construction and of the transport of the monolith is still unsolved. About 3 m. S. of Ravenna and reached either by rail (Classe station, see p. 301), or by road across the Ponte Nuovo (1736) and the site of the ancient Classis (p. 301), is the basilica of * Sant'Apollinare in Classe Fuori, built by Julius Argen- tarius in the early 6th cent, and consecrated by Maximian in 549. The four-arched portico and the pronaos which preceded the church have recently been reconstructed. The308 Rte, 34 CLASSE magnificent Campanile is the tallest and most beautiful of all the towers of Ravenna. The impressive Interior, in which traces of the original tessellated pavement are still perceptible, has 24 Greek marble columns with Byzantine bases and capitals. In the centre of the nave is Maximian's altar, restored in the 18th century. At the farther end of the church are eight columns from the two original ciboria, and in the aisles are 6th cent, inscribed sarcophagi. The * Mosaics of the apse are extremely in- teresting, though much altered and dilapidated: in the centre, the Transfiguration; at the sides, Sacrifices of Abel, Melchizedech, and Abraham, and Constantine IV granting privileges for the church of Ravenna to Archbp. Reparatus (7th cent.); between the windows, Archbps. Ursicinus, Ursus, Severus, and Ecclesius (6th cent.). On the front of the arch are five rows of symbolic mosaics. —: In the 12th cent, crypt is an urn which contained the ashes of the patron saint (now beneath the high altar); in the window is a bronze Byzantine grating. The *Pineta di Classe, E. of the basilica, though less closely grown than when its sylvan grandeur was sung by Byron, is still a picturesque and pleasant pine-wood. Garibaldi's Hut, where the fugitive hero sought refuge in 1859, is near the Pineta di San Vitale, N. of Ravenna. — To the S.W. of the town, near the first station of the Forll tramway, is the Colonna dei Francesi (1557), on the spot where the fierce Gaston de Foix, leader of the French against Julius II, was mortally wounded in 1512. ♦Santa Maria in Porto Fuori, 2£ m. E. of the Porta Alberoni (PI. C 6), is a basilica erected by Piero degli Onesti c. 1096, and enlarged two centuries later. It contains fine frescoes of the late 14th cent. Romagnole school; on the N. wall of the choir are two figures said to represent Guido Da Polenta and Dante. The unfinished campanile dates from 1178-87. From Ravenna to Castel Bolognese, see p. 293; to Faenza, see p. 294; to Ferrara, see p. 266; to Forll, see p. 294. 35. FROM BOLOGNA TO FLORENCE Railway, 82£m. (138 km.) in 3J-4hrs. (62 1. 85, 421. 50,25 1. 5 c.); to Pistdia, 61£ m. (99 km.) in 2£-3 hrs. (47 1. 15, 31 1. 95, 18 1. 90 c.). Restau- rant cars on the expresses, which go on to Rome. This picturesque route cross- es the Apennines, and the line with its viaducts and spiral tunnels resembles a St. Gothard railway in miniature. Best views on the left as far as Pistdia. There are several fine Road Routes across the Apennines: (i) vi& Bagni della Porretta to Pist6ia (59 m.); (ii) via Castiglione dei P6poli to Prato (50 m.); and (iii) vid Fiorenzuola to Florence (66 m.). Bologna, see Rte. 32. We diverge from the line to Pia- cenza beyond the bridge over the Reno (p. 276), and ascend the Reno valley to the S.W. The curious marl pinnacles seen here and there, called ' calanchi,' are formed by the erosion of landslips. — 6£ m. Casalecchio di Reno, in an industrial region, was the scene of a victory of the MilaneseOR0PR.DELT.C.I. RlPROD.VIET. Tato dt agixi, qiucdrctto rnJOO Valli di k .Comacchio Rotoijria (Sep.di TeodoHco) rimit&r° fy'ccc I a Pr.aSerrara OH del Gas Roccii (ju\ L \ nancaleon\ ,1 Una posj^ j "MaiiKolifiodi f'/y fc fcj O .'WtaleG r: -- is Cosmecttu 1 a Dars Bacc emt armi^ u\\ \ r~ Ill I Pal. Rava di Giiial Af Ql.d.C? V ' ' diDanteJllgh. fei IgSfBS IPCVl*,/V^'s rrn■" Teatrolfasi di ^Unidicjta" 1ibul
. \. Ls^nua © M.iiij^oi'lo « te, •iiatu. - r"»C Battistero 3D Biblioteca Museo 3-4D Canali (Canals): -— Corsini 7B — Molino Lovatelli (d.) 2-3-5-6-7E 2F Carceri 2D Casa del Popolo (Pa- lazzo Spreti) 4B Caserme (Barracks): — Santa Maria in Porto (di) 6E — San Vitale (di) 3B Cassa di Risparmio 4C Chiese (Churches): — Cappuccini (d.) 2D — Duomo 3D — San Biagio 2B _— San Carlino 4*5D .— San Domenico 30 — San Francesco 4D — San Giovanni Bat- tista 4B — San Giovanni E vangelista 5-60 — San Nicandro 40 — San Rocco 4*5E — Santa Croce 3B — Sant'Agata Mag- giore 4-5D — Santa Giustina 3D Santa Maria in Porto 5-6D — Santa Maria Mad- dalena 4CD .— Srant'Apollinare Nuovo 50 __ Sant'Eufemia 2-30 .— San Vitale SB — San Vittore 4A — Spirito Santo 50 Corso Garibaldi 4-5B 5CPE Darsena Baccarini 6-7B Distretto Militare 2D Duomo 3D Foro Boario 20 Giardino Pubblico 5-6B Intendenza di Finanza 4E Ippodromo 6DE Macello 5F Madonna del Torrio- ne 1-2D Mausoleo di Galla Placidia 3B Mercato 3-4BC Molino 3-4E Municipio 3-40 Mura (Walls): — Porta Gaza (di) 1-2D — San "Vitale (di) 3AB — Torrione (del) ID 1-2C Museo Biblioteca 3-4D Officina del Gas. 4-5A Oratorio di Santa Ma- ria Cosmedin 40 Ospedali (Hospitals): — Civile 5-60 — Militare 2D Pa\azz\( Palaces): — Arcivescovile 3D — Esarchi (d.) 50D — Gmanni 3-4D — Giustizia (di) 30 — Governativo 40 — Lovatelli 4E — Polentani (d.) 4-5E — Rasponi D. Teste 30 — Rava 5B — Spreti (Casa del Popolo) 4B Piazze (Squares): — Alighieri 40 — Arcivescovado 3D — Byron 4D — d'Armi 7D — Duomo 3D — Farini 6BC -— Garibaldi Anita 50 — Marsala 3-4B — Yenti Setteinbre 3-40 — Vittorio Eman. 40 Porte (Gates): — Alberoni 60 — Aurea 2D — Fratti 4E — Garibaldi 5-6E — Saffi 2B — San Mam ante 4E — Serrata 4A Poste e Telegrafl 40 Ricovero di MendiMtd. Garibaldi 5-6D Rocca di Brancaleo- re 5-6A Rotonda (Sep. di Teo- rico) 6-7A Ruderi del Palazzo di Teodorico 60 Sabbionara 3 A Sabbione 1 ° 10 Sabbione 2° 10 Sabbione 3® 10 Scolo Canaletto 6-7DE Seminario 3D Sepolcro di Dante Ali- ghieri 4D Sepolcro di Teodorico (Rotonda) 6-7A Sobborflh I (Suburbs): — FrattJ 4EF — Garibaldi 6EF — Saffi 1-2B Stazione FF. SS. 60 Strade (Roads): — del Cimltero (Nuova) 5-6-7A — di Alaggio 7B — di Circonvallazio- ne alia Madon- na del Torrio- ne 1-2D 2E — di Ciroonvallazio- ne alia Piazza d'Armi 7DE — di Circonvallazio- ne al Macello 4-5E — di Circonvallaaio- ne al Molino 3-4E — di Circonvallazio- ne al Montone abbandonato ID 1-2C 2B — di Circonvallazio- ne al Mulinet- to 6-7E — di Circonvallazio- ne San Gaeta- nino 2B 2-3-4A — Lavatoio 4E — Sant'Alberto 4A Teatri (Theatres): — Alighieri 40 — Mariani 4B — Rasi 5-6D Telefoni 40 Viall (Alleys): — Farini 50 — Maronoelli 6B — Pallavicino 60 Viali (Alleys): — Santi Baldini 6DE Vicolo Porziolino 5CD Vie (Streets): — Agnello Istorico 2CD — Alberoni 5-6D — Alighieri Beatrice 5B0 Alighieri Dante 4CD Alighieri Pietro 4B -— Allochi 2-3E 2F Anastagi (d.) 4B — Baccarini 4DE — Barbiani 2BC .— Bixio 2-3D 2E Bovio 3-4B — Brancaleone (di) 5AB 'j— Calcinelli 3-4A T~ Carraie 5F ■f- Carrari 4D ■_ Cattaneo 30 - Cavour 3B0 Colomut M. A. 5 6B Oorti alle Mura 3D-3-4E —- Costa 4-5BC — Cura 20 — D'Azeglio 2 30 3-4D Fanti 3B Fantuzzi 30 ■^r Farini 1-50 Ferrer 20 3D —«. Gamba 3B Gcssi 40 3D - Ghibuzza 1-2C - Grossi 3B _ Guaccimanni 4-5D - Guidarelli 2-3D _ Guidone 40D -— Lametta 3-4F 4E __ Longhi 30 -— Magazzini (ai) 6B 6-70 - Mariani 4-50 — Matteueci 4B - Mazzini 4CDE - Monti G. 3B Morigia SO .— Negri 50 Nove Febbraio 3C ,— Oberdan 5D 4E —. Pasolini 30 — Pieszi 5-6B — Poggi (d.) 7EF —h Ponte Marino 3-4B Porta Aurea 2-3D — Portoncino 2B0 — Portone 1B0 5B0 Vie (Streets): — Posteriore ai Ma- gazzini 7BC — Pozzi (de') 1-20 — Rampina 1-2B 10 — Rasponi 20 — Rasponi G. 3CD — Rattazzi 40 — Roeca ai Fossi 5-6B — Rondinelli 3-4D 3E — Rossi 4B — San Biagio 2B — San Vitale 3B — Scaletta 2B — Scuole Pubbliche 4-5F <— Tombesi Dall'Ova 4-5D — Traversari 3AB — Tredici Giugno 40 — Trento e Trieste 6DE — Vallona 1-2B — Vallona posteriore 2B — Zagarelli alle Mu- ra 4-5E —• Zanzanigola 4B — Zirardini 80PIST6IA 35 Rte. 309 over the Bolognese in 1402, and also of a battle in 1511 between the French under the Sieur de Chaumont and the army of Julius II, known as ' the day of the ass-drivers/ because the victorious French knights returned driving asses laden with their booty. — At (llfm.) Sasso diverges (1.) the motor omnibus route to (25 m.) Castiglione dei Pepoli (Hot. Mattei, pens. 23 1.), a summer resort amid beautiful mountain scenery. — We still follow the crooked valley of the Reno, with mountains rising to 3000 or 4000 ft. on either hand. —Near (16f m.) Marzabotto is the excavated Etruscan burial-ground of Misa. — 24J m. Vergato. — 29J m. Riola (827 ft.) lies at the end of a tunnel nearly 1 m. long. Beyond the Reno rise Monte Ovolo and Monte Vigese. — 36f m. (59 km.) Bagni della Porretta (1150 ft.; Hot. Helvetia, R. 15, D. 15, pens. 35 1.; Terme; Porretta; open June-Oct.) is a little spa (1675 inhab.) with warm sulphur and mineral springs. — 38J m. Ponte della Venturina. Beyond a long narrow gorge we enter Tuscany (p. 315). — 46 m. (74 km.) Pr&cchia (Hot. Appennino, R. 10, D. 18 1.; Fiornovelli, R. 8, D. 14, pens. 25 1.; Orticaia), visited in summer, is situated at the summit level of the railway (2037 ft.). We pass through several long tunnels, and then come in view of Pistoia, far below us in the Tuscan plain. Lofty viaducts are crossed during the long descent. 61|m. (99 km.) PISTOIA (213 ft.), a quiet town (29,967 inhab.), beautifully situated at the foot of the Apennines, has many attractions for the lover of art. Hotels. Globo (PI. a; D 3), Piazza Post Office (PI. D-E 2), 2 Via Cino. Cino, R. 15, D. 15, pens. 251.; Appen- Motor Omnibuses to Lima, Pon- nino (PI. b; F 3), near the station, tepetri, Porretta, etc. unpretending. History. Pistoria, though said to have been founded by the Boian Gauls, is first mentioned as the scene of Catiline's defeat in 62 b.c. It was a republic, in the 12th cent.; it was seized by the Florentines in 1306 and later by Castruccio Castracani (d. 1328), a military and political adventurer, to whom a poem by Mrs. Browning refers. Pistdia regained its freedom in 1329, and thenceforward it existed under the protection of Florence, whose fortunes it shared, as the Medici arms on the walls testify. As an ironworking town in mediaeval times, it gave its name to the pistol (originally a dagger, afterwards a small firearm), and indirectly to the Spanish pistole, so called as smaller than the French crown. Guittone Sinibaldi, called Cino da Pistdia (1270-1336), the friend of Dante, was born here. On entering the town from the station we turn to the right along the Corso Umberto I to reach the church of San Domenico (PI. E 3), dating from 1250, but restored in 1303 by Giovanni Pisano and enlarged in 1380. Interior (if closed, apply at No. 2 in the adjoining piazza; gratuity). Fra Bartolomeo (?), Madonna; Bern. Rossellino, Tomb of Lorenzo da Ripafratta,310 Rte. 35 PISTdlA Cathedral called by St. Antonino of Florence his ' dilettissimo padre ' (1457); Ridolfo Ghirlandaio, SS. Sebastian, Jerome, and Zeno; Fra Paolino da Pistdia, Adoration of the Magi; Crist. Allori, St. Dominic; Bern, and Ant. Rossellino, Tomb of Filippo Lazzari (1467). Farther on, to the left, is the 13th cent, church of San Paolo (PI. E 3), with a remarkable Tuscan Gothic front. To the N. is the picturesque Piazza del Duomo, the centre of the town. The * Duomo (PI. D 3; San Zenone) was originally (5th cent.) dedicated to St. Martin, but this saint was deposed in 590 in favour of St. Zeno of Verona, who was believed to have rescued the town from floods by breaking through the rocky barrier of the Gonfolina. The present building, dating from the 12th cent., has a fa SM$: is a large decorated window with a balcony, belonging to the Palazzo Nonfinito, with other noteworthy buildings (No. 24, another Palazzo Pazzi; No. 18, Palazzo Valori or ' dei Visaed No. 12, Palazzo Albizi, in the 15th cent, style; No. 15, Palazzo Alessandri) which make it the most impres- sive street in Florence. We emerge in the Piazza di San Piero Maggiore (PI. 19), with old houses on the right, and turn to the right at a cross-roads, down the Via Giuseppe Verdi, passing (No. 5) the Teatro Verdi, formerly Teatro Pagliano, the largest theatre in Florence. The street ends at the large rectangular Piazza Santa Croce (PI. 26), with the Dante Monument by Enrico Pazzi (1865) and several old palaces (No. 23, Palazzo delVAntella by Giulio Parigi, 1619). At the farther end of the piazza is the church of * Sailta Croce (PI. 26) which was rebuilt in 1294, probably by Arnolfo di Cambio, and is the largest and most beautiful of the Fran- ciscan churches. The white fa9ade, with its inlay of dark- coloured marbles, is by Nic. Matas (1857-63) from a design supposed to be by Cronaca. On the left of the church is a picturesque arcade of the 14th century. The cruciform Interior (163 yds. long), with nave and aisles and an open timber roof, is impressive and at the same time simple; 276 pavement tombs still remain. It has long been the custom to bury or to erect memorials to notable persons in this church, which is thus an Italian Westminster Abbey, About 1560 Vasari made various alterations in the building and added the altars in the transepts. W. End. In the round window is a stained-glass Depos- ition, from a cartoon by Ghiberti; on the left of the doorway stands the monument to G. B. Niccolini (1782-1851), patriot and tragic poet, by Pio Fedi (1883); on the right, monument to Gino Capponi (1792-1876), the patriot historian, and a memorial to Vieusseux (p. 347). Nave. On the 3rd S. pillar, a magnificent *Pulpit by Bened, da Maiano (1475), with scenes from the life of St. Francis and four Virtues; 7th N, pillar, monument to Leon Batt, Alberti (1404-72), by Lor. Bartolini. S. Aisle. 1st pillar, * Madonna suckling the Child, a sweet and delicate relief by Ant. Rossellino (1478); in front, the * Tomb of Michael Angelo, designed by Vasari (1570); between the 2nd and 3rd altars, the Cenotaph of Dante (d. 1321 at Ravenna, where he is buried, p. 306), by Stefano Ricci (1829); between the 3rd and 4th altars, Tomb of ViUorio Alfieri (1704-1803), the tragic poet, by Canova (1816), erected by order of the CQurjte§s of Albany. In the pillar opposite344 Rte. 36 FLORENCE Santa Croce a small *Door of inlaid wood, from the bottega of the Da Maiano, gives access to the staircase of the pulpit. Between the 4th and 5th altars, the *Tomb of Machiavelli (1469-1527), the celebrated historian and secretary of the Republic (" Tanto nomini nullum par elogium "), by Inn. Spinazzi (1787). Behind a curtain over the 5th altar (apply to the sacristan) is a *Fresco by Orcagna, the Triumph of Death. Beyond the 5th altar, the Baptist and St. Francis, an excep- tionally fine painting by Dom. Veneziano, and a large Renais- sance *Tabernacle, with a very lovely relief of the Annun- ciation, by Donatello (c. 1430); the archangel is a wonderfully expressive figure, and the Virgin has great beauty. Farther on, *Tomb of Lionardo Bruni (1369-1444), the humanist, by Bern. Rossellino, very harmonious and graceful, and a typical example of Florentine sepulchral art of the 15th cent.; and the Tomb of Gioacchino Rossini (1796-1868) the composer, by Gius. Cassioli (1887). On the right of the S. Transept is the *Castellani Chapel, with important frescoes. Those on the front are by Agnolo Gadcli (Prophets, Apostles, Saints, Doctors, and Evan- gelists), those on the walls by Gher. Starnini: right side, histories of St. Nicholas and St. John the Baptist; left side, history of St. Anthony Abbot. On each wall is a Delia Robbia terracotta: on the right, St. Francis of Assisi, on the left, St. Bernardino. On the altar wall is a Crucifix of painted wood, attributed to Nic. Gerini. ' Among the monuments we may not6 that of the Countess of Albany (1752-1824), by Giovannozzi and Santarelli. — At the end of the transept is the Baroncelli Chapel (now Giugni): at the entrance, two Prophets, by Taddeo Gaddi; to the right, below, *Tomb of a member of the Baroncelli family, by a disciple of Tino di Camaino, with a Madonna and Child by Taddeo Gaddi; on the back wall, on the right, is the Madonna of the Girdle, a fresco by Bastiano Mainardi; above, a huge Piet£i by Baccio Bandinelli (1549); on the adjoining walls, a fine series of ♦Frescoes by Taddeo Gaddi, Scenes from the Life of the Virgin. Next is a doorway by Michelozzo, with an inlaid door attributed to Giov. di Michele, leading into a corridor, also by Michelozzo, whence another inlaid door, on the left, gives entrance to the *Sacristy, a magnificent apartment of the J.4th cent., with pictures, frescoes by 14th cent. Florentines, a particularly fine cupboard, glass cases with reliquaries, and presses containing vestments and missals. Its apse, the Rinuccini Chapel, is closed by a Gothic grille (1371) and entirely covered with *Frescoes by Giov. da Milano, representing scenes from the lives of the Virgin and St. Mary Magdalen (1366). Over the altar is a polyptych by Nardo di done. Going on round the sacristy we pass a Crucifix of painted wood, in the style of Giotto, a small inlaid cupboard, a *Head of Christ, by Giov. Delia Robbia, and a polyptych by Nardo di Cione. — Returning to Michelozzo's corridor, we note on the left the monument to Lor. Bartolini;Santa Croce FLORENCE M Rte\ M& at the farther end is the Medici Chapel, also by Michelozzo (1434) containing a Tabernacle, by Mino da Fiesole; ^Madonna and Child, from Donatello's bottega; a door by Giov. di Michele; *Madonn& and Child, with angels and saints, an altar-piece in terracotta by Andrea Delia Robbia (c. 1480); a * Delia Robbia predella; and a *Coronation of the Virgin, of the School of Giotto. Chapels at the E. End. Beginning on the right, the first is the Velluti Chapel, with remains of frescoes by Cimabue. — 4th, *Peruzzi Chapel with * Frescoes by Giotto (after 1320), fine work of his mature period; in the archivolt are eight heads of Prophets; in the vaulting, symbols of the Evangelists; on the end wall, four Saints; on the right-hand wall, Scenes from the life of St. John the Evangelist (Vision at Patmos, Raising of Drusiana, Ascent into Heaven); on the left wall, Scenes from the life of St. John the Baptist (Zacharias and the Angel, Birth of St. John, Herod's Feast). — 5th, Bardi Chapel. Over the altar is a picture by an unknown Byzantine of the 13th cent.; the walls are entirely covered with *Frescoes by Giotto (c. 1318), representing the history of St. Francis. On the exterior, the, saint receiving the stigmata; in the. vault, Poverty, Chastity, Obedience, and the Triumph, of St. Francis; on the end wall, four Fran- ciscan saints; on the side - walls, taking right and left alter- nately, the saint is seen stripping off his garments, appearing to St. Anthony at Aries, dying* giying ;the Rule of ,the ;Grder,, being tried by fire, and, finally, we have the visions of Brother Augustine and Bishop Guido of .Assist; — ^th chapel* : Sa.NC- tuary. Over the altar, a large 14th cent, polyptycly tfte Madonna and Child, by Iacopo di Cipne or Qrcagna; . in the vault, Christ, the Evangelists, and St. Francis; on the walls, Legend of the Cross, fresco by Agnolo Gaddi (c. 1380). — 7th, Tosinghi and Spinelli Chapel (now Sloane Chapel). On the exterior wall, * Assumption of the Virgin, a fine fresco of the 14-th cent.; over the altar, a pentaptych of the Flo- rentine School (end of the 14th cent.) . —■ 10th, Baldi Chapel* Altarpiece, in terracotta by Giov. Delia Robbia, and frescoes by Bern. Daddi, Lives of St. Laurence and St. Stephen* — 11th, Bardi Chapel, or Chapel of San Silvestro, with a *Trip-. tych of St. John Gualberto (p. 365), by Nardo and Iacopo di done '; and the *Life of St. Sylvester by a Giottesque; artist (aft^r 1367), either Maso di Banco or Giottino, in a very dramatic and forcible style. N. Transept. On the right is the Niccolini Chapel, in the baroque style of the 17th cent., with polychrome marble decorations, and statues by Fran- ca villa; next is a second Bardi Chapel with the. celebrated wooden *Crucifix, by Donatello (c. 1425), which Brunelleschi criticized for-its excessive realism. — On the left is the Salviati Chapel, with the *Tbmb of Princess Sofia Czartoryski (d. 1837) by Lor< Bartplini, , and othe£ |^on^Ki!Kitgr ^t the corner the 11 -a346 Rte. 36 FLORENCE Capp. dei Pazzi N. transept and aisle, monument to L. Cherubini (1760-1842), the composer. N. Aisle: Monument to Raphael Morghen (1758-1833), the engraver; memorials of Paolo dal Pozzo Toscanelli (p. 369), Amerigo Vespucci, the explorer, and Vespasiano da Bisticci, stationer and biographer; monument of Carlo Mar- suppini (d. 1455), by Desiderio da Settignano, from a design inspired by that of the Bruni monument opposite; the sepulchral slab of Gregorio Marsuppini in the pavement near by, is likewise by Desiderio; under the organ, monument to Vittorio Fossombroni, by Bartolini; farther on, a commemorative monument to Donatello; in the pavement near the 5th altar is the sepulchral slab of Lorenzo and Vittorio Ghiberti. In this aisle are also memorials to Raphael and Leonardo, the tomb of Galileo Galilei (1564-1642), some Giottesque frescoes of the 14th cent., and the tomb of the poet Vincenzo Filicaia (1642-1707). On the side of the facade is the entrance to the conventual buildings and the Museo dell'Opera di Santa Croce or Museum of the Church. Adm. 9-12 and 2-5, 11.; Sun. 10-12, free. The 1st Cloister, by Arnolfo di Cambio, is of considerable interest. On the left is a 14th cent, arcade, with frescoes of c. 1350 and the tomb of Gastone della Torre (d. 1317), probably by Tino di Camaino. At the farther end is the graceful Campanile, in the 14th cent- style, by Baccani (1865). On the right are a portico and loggia of the late 14th cent., arid opposite us the *Cappe!la dei Pazzi, by Brunelleschi (1429-42), one of the most beautiful and original works of the Renaissance period; in the frieze are small medallions with cherubs, by Donatello and Desiderio. The colonnade has a barrel vault and a shallow cupola with terracotta de- coration by Luca Della Robbia, by whom is also the St. Andrew over the doorway; the door, of wood, is by the brothers Da Maiano. The Interior is very simple, with medallions of Apostles and Evangelists by Luca and Andrea Delia Robbia, and in the small apse, simple and dignified decorations of the school of Donatello, and a stained-glass window attributed to Alessio Baldovinetti. —■ We pass out, through a sumptuous doorway by Michelozzo, into the 2nd Cloister, by Brunel- leschi, and back into the 1st Cloister, whence, after noting the tomb of Virginia de Blasis, by L. Pampaloni (1839), among the rest under the colonnade, we gain access to the ♦Museum itself, in the old refectory. On the wall at the end are Frescoes by Taddeo Gaddi (the Tree of the Cross, St. Benedict in Solitude, Christ in the House of the Pharisee, St. Francis receiving the Stigmata, Life of St. Louis of Toulouse, Last Supper). We note also *St. Louis of Tou- louse, a colossal bronze statue by Donatello; *St. James enthroned, by Lor. Monaco; *Madonna and Child, with four saints, by Giotto; a large bronze ciborium by Vasari. In the colonnade is a memorial to Florence Nightingale (p. 321). To the left of Santa Croce lies the Via della Pinzochere, leading to the Casa Buonarroti (PL 19), bought by MichaelSani* Ambrogio FLORENCE 36 Rte. 347 Angelo for his nephew Leonardo, and now converted into a museum (adm. 10-3, 11.; Sun. 9-1, free). 1st Floor. Galleria Buonarroti. 1st Room. Works by Michael Angelo: two wax models for the David; Madonna and Child, in terracotta; another, in bronze and marble; Deposition, model for the facade of San Lorenzo; Battle of Centaurs and Lapiths, marble. — 2nd Room (left): *Drawings by Michael Angelo. — In the other rooms are pictures recording the history of the artist and his family; *Bust of Michael Angelo, in bronze, by Daniele da Volterra; three autographs of the master; pottery, etc. — 2nd Floor. Museum of Flor- entine History and Topography, a valuable collection of documents, drawings, etc., which occupies some rooms on the ground floor also. Turning to the left into the Via Ghibellina, and again into the Via dei Macci, we come to Sant'Ambrogio (PI. 20), a Romanesque-Gothic church of the 14th century. The Interior (best light in the morning) has fine Renaissance altars. Over the first altar on the right, is a painting attributed to Raffaellino del Garbo; 2nd altar. Madonna, Child, and saints, fresco by Agnolo Gaddi. The chapel on the left of the high altar (Cappella del Miracolo) contains a magnificent ♦Ta- bernacle by Mino da Fidsole (1481); at the sides are two Delia Robbia angels, and on the left wall is a fresco, the Procession of the Miracle, by Cosimo Ros- selli (1488), showing the old fa$ade of the church and various portraits of his contemporaries, among them Pico della Mirandola (p. 275). In the pavement is an inscription relating to Mino's burial; Verrocchio's is recorded on a slab between the 3rd and 4th altars on the N. side. Over the 3rd altar is a Madonna with saints, by Cosimo Rosselli; between the 3rd and 2nd a well carved wooden figure of St. Sebastian, by Leon, del Tasso, in a graceful niche, beneath which is an Annunciation after Filippino Lippi. We take the Via dei Pilastri on the right, then the Via Farini, inwhich is the Synagogue, and, arriving at the Piazza d'Azeglio, where is a public garden, turn to the left down the Via della Colonna. At No. 5 in this street is the *Pe- rugino Fresco (PI. 19-20) in the Convent of Santa Maria Mad- dalena dei Pazzi. This fresco, which dates from the painter's best period (1493-96), is divided into three portions: in the centre is Christ on the Cross, with St. Mary Magdalen; on the left, the Virgin with St. Bernard; on the right, St. John the Evangelist and St. Benedict. All are pathetic and mystical figures, with sweet and melancholy faces. The convent church is in the Borgo Pinti (entrance at No. 58). It has a fine courtyard by Giuliano da Sangallo, with magnificent capitals. The interior, altered in the 17th cent., contains paintings by Luca Giordano, and an organ by G. da Sangallo. Adjoining is the charming 15th cent. Cappella del Giglio, or Chapel of the Lily, with decorations by Poccetti. Admission 10-4,11.; Sundays 9-1, free, -rr No. 68 in the Borgo Pinti is the stately Palazzo Panciatichi Ximenes (PI. 13); No. 95 is the Palazzo della Gherardesca (now the State Railway office), with a fine garden. The street ends in the Piazzale Donatello, on the right of'which is the disused English Cemetery (PI. 13), a garden full of flowers and shaded by cypresses, with the graves of A. H. Clough (1819-61), Elizabeth Barrett Browning (1809-61), Theodore Parker of Lexington (1810-60), and Jean Vieusseux (1779-1863), the well-known bookseller. In the Via degli Artisti, to the N., No. 9 is the Museo Duprd (cdL$ts),> and a little farther is the Cimitero della Misericordia (PI. 13), ;which ffi^py ^ist^iafldjselentists. ^348 Rte. 36 FLORENCE Ponfe alle Grazie From the Piazza Santa Croce (p. 343; PI. 26) we take the Via dei Benci, where the lower parts of the houses are mostly ancient and of rusticated stone. Passing under an archway on the right, we turn aside to glance at the Piazza dei Peruzzi, with its typical 14th cent, houses and towers; then, regaining the Via dei Benci, we come to the Piazza San Iacopo Trafossi, where five roads meet. On the left is the Casa Torre or Tower House, the remains of the Loggia degli Alberti, and the end of the Borgo Santa Croce, with its stern old palaces. No. 6 is the Palazzo Serristori, which has an elegant courtyard; No. 8, the Casa Morra, which belonged to Vasari and contains frescoes by him; No. 10, the Palazzo Rasponi, in the 15th cent, style. The Via de' Neri, with its old houses, on the other side of the piazza, leads back to the Palazzo Vecchio. On the right, in the Via di San Remigio, is the church of San Remigio, with a 13th cent. fa$ade; on the left, at the corner of the Via Castellani, is the Loggia del Grano, now the Teatro Salvini, a good Renaissance building by Giulio Parigi (1619). The Via dei Benci, beyond the Piazza San Iacopo, passes (1.) the Casa Home, attributed to Giul. da Sangallo, contain- ing a museum of furniture, ceramics, drawings, pictures, etc., presented to the nation by Herbert Home (1864-1916). On the right are (No. 3) the Palazzo Bardi and (No. I) the Palazzo degli Alberti, a building of noble simplicity, once the home of Leon Battista Alberti. We are now facing the Ponte alle Grazie (1237; fine view from the middle of the bridge). Following thence to the left the Lungarno Generate Diaz, we pass the Piazza Mentana (monument to those who fell at Mentana in 1867) and the * Palazzo Castellani (PI. 25), a typical nobleman's dwelling of the middle ages, immediately beyond which is the Piazza degli Uffizi (p. 329). III. From the Piazza del Duomo to the Santissima Annunziata, San Marco, and the Piazza Cavour. The Via Ricasoli (PI. 18-22), running N.E. from the Duomo, intersects the Via de' Pucci, at the corner of which (1.) is the Tabernacolo delle Cinque Lampade, or Shrine of the Five'Lamps, with a fine fresco (r.) by Cosimo Rosselli. The Via de' Pucci leads to the right to the Via de' Servi, in which are the church of San Michele Visdomini (PI. 19), or San Mi- cjielino, with a painting by Pontormo (1518), and, farther N. (1.) the Palazzo Buturlin, by Dom. di Baccio d'Agnolo (1550). On the left side of the Via Bufalini, the continuation of theInnocenti FLORENCE 36 Rte. 349 Via de' Pucci, is the Hospital of Santa Maria Nuova(PL 19), founded in 1287 by Folco Portinari, believed to be the father of Dante's Beatrice. The Portico is by Bern. Buontalenti (1574-1612). A small door gives access to a passage, in which, on the right, is the reputed sepulchral slab of Monna Tessa, the servant who persuaded Portinari to found the Hospital; also Charity, a fresco by Giov. da San Giovanni. Next is the entrance to the church of Sant'Egidio (1418-20), at the sides of which are two frescoes: Martin V con- secrating the church, by Lor. di Bicci; and the same pope confirming its privileges, by And. di Giusto. In the lunette is a terracotta by Lor. di Bicci (1424). Within, immediately on the right, are the remains of the Portinari tomb; in the apse, a charming Madonna and Child in terracotta, by And. Delia Robbia; on the lbft, a tabernacle for holy oil with a little door by Lor. Ghiberti (copy; the original is at the offices of the Municipality). Farther on is the entrance to a little 14th cent. Cloister, with a Delia Robbia Pietk, and a door with beautiful jambs of Donatellesque design. On the right of the hospital, in the Via della Pergola, is the Teatro della Pergola (PI. 19), the principal opera-house of Florence. In the Via degli Alfani, behind the hospital, are the stately Palazzo Giugni (No. 50; now della Porta), by Ammannati, and the former convent of Santa Maria degli An- geli (No. 33), now incorporated in the hospital, and preserving a beautiful cloister with a Crucifixion by And. del Castagno. At the corner (1.) of the Via del Castellaccio is the unfinished octagonal church of Santa Maria degli Angeli (PI. 12), by Brunelleschi. -— The Via dei Fibbiai leads hence N. to the Piazza della Santissima Annunziata (PL 12), the most harmoniously designed square in the city. On the right is the Spedale degli Innocenti; in front is the church of the Annunziata and the convent of the Servi di Maria, with five Gothic windows; to our left, the colonnade of the Confraternity of the Servants of Mary, by Antonio da Sangallo (1518); at the corner of the Via de' Servi, the Palazzo Ridcardi-Mannelli, by Buontalenti (1565). In the middle of the square, are an equestrian statue of the Grand Duke Ferdinand I, by Giambologna (not one of l^is best works; cast by P. Tacca, 1608), and two quaint baroque fountains by Tacca (1629). The Spedale degli Innocenti (PI. 12) or Foundling Hospital, established in 1421, the first institution of the kind in Europe, is preceded by an elegant colonnade by Brunelleschi, com- pleted by Fr. della Luna (1444). In the spandrels between the arches are the famous circular *Medallions by And. Della Robbia (c. 1463), each with a baby in swaddling-clothes against a bright blue ground (the end ones on each side are modern). The frescoes under the colonnade are by Poccetti, except that above the door, which is by Giov. di Francesco (1458). In the first Court is an * Annunciation, a very lovely lunette by And. Della Robbia. On the right is the Pinacoteca, or picture-gallery (adm. 10-4, 11.; Sun. 10-2, free). Vestibule. St. Francis in Adoration, by Matt. Rosselli; bust of Leopold III, by Lor. BartolinL — Sala del Ghirlandaio. * Adoration of the Magi, one of Dom. Ghirlandaio's most joyoys works (1488); no^e the350 Rte. 36 FLORENCE Afinunziata movement of the whole, the spacious landscape, and the varying reds of the dresses; Madonna and Child, a wonderful group by Luca Delia Robbia; Madonna in coloured plaster, after Rossellino. — Sala Poccetti. Massacre pf the In- nocents, a large fresco by Poccetti (1610; the right-hand portion depicts a scene in the Hospital); *Ma donna and Child with an angel, a sweet and expressive picture attributed to Fra Lippo Lippi; *Marriage of St. Catherine, by Piero di Cosimo; illuminated choir books, a fragmentary MS. of the ' Divina Comme- dia,' etc.--Sala De Sanctis. Pictures and sketches by Gugl. De Sanctis oi Rome (1829-1911), autographs, a crucifix, etc. The church of the *Annunziata (PI. 12), erected by the seven founders of the Servite Order (1250), was rebuilt by Michelozzo (1441-55) together with the Sacristy, the small Cloister of Yows, the Large Cloister and Chapter House, and the Library. Of the portico the central arch is by Ant. da Sangallo, the rest by Giov. Caccinu The middle door, over which is a lunette with an Annunciation in mosaic by Dav. Ghirlandaio (1509), admits to the Atrium, or Cloister of Vows, by Manetti (1447), from the design of Michelozzo. This is of the Corinthian order, and has recently been restored. On the walls are extremely interesting frescoes (from r. to 1.): G. B. Rosso, Assumption (1513), the painter's first work, executed at the age of 17; Pontormo, *Visitation (1516); Franciabigio, Marriage of the Virgin (1514), spoiled by the painter himself; Andrea del Sarto r Birth of the Virgin (1514), a masterpiece of composition and style (the central figure is Lu- crezia del Fede, the painter's wife), and Coming of the Magi (1575), With his own portrait in the right-hand corner. Here intervenes the great door, in front of which are two bronze stoups by Ant. Susini (1615). Beyond the door: Alessio Baldovinetti, The Babe in the Manger (1460-62), spoilt by damp; Co- simo Rosselli, Vocation and Investiture of San Filippo Bdnizzi (1476); And. del Sarto, Scenes from the life of that saint (1509-10). Here is also a bust of Andrea, by Caccini (1606). The Interior is noble in effect despite 17-18th cent, al- terations. The rich ceiling is by Ciro Ferri (1670). Imme- diately on the left of the entrance is a large and splendid ♦Tabernacle, by Pagno di Lapo Portigiani (1448-61) from a design by Michelozzo, with a bronze grille by Maso di Bar- tolomeo. Within it is a fresco of the Annunciation, in the manner of Pietro Cavallini (c. 1250) but traditionally ascribed to Bartolomeo, a friar of the 13th cent., who, when in despair at not being able to paint the head of the Virgin well enough, found the work completed by an angel. In the neighbouring chapel is a fine Crucifix by Ant. da Sangallo (1483). . Nave Chapel. S. side: 5th chapel, Monument to Orlando de* Medici, by Bern. Rossellino (1456); 9th, Pietk, a colossal work by Baccio Bandinelli, who is buried here.—N. side: 2nd chapel, a sumptuous example of the baroque style by Foggini; 3rd, Paintings by A less. Allori; behind the altar, a powerful fresco by And. del Castagno; 5th, Perugino, ♦Annunciation. — From the N. transept we may enter the Sacristy, built by Pagno di Lapo, from Michelozzo's design. A small door in the same transept admits to the Cloister of the Dead (see p. 351).Mus. Archeologico FLORENCE 36 Rte. 351 The Sanctuary, completed in 1476, is a large structure, nearly circular, from which radiate nine semicircular chapels. To the left of the entrance is the magnificent tomb of Angelo Marzi Medici, by Fr. da Sang alio (1546). In the dome is the Coronation of the Virgin, by Volterrano. Beneath it is the high altar, with a large silver ciborium, by Ant, Merlini of Bergamo (1656), and a polygonal choir screen of marble, with stalls and lectern carved by Nanni di ZJnghero. — The 5th chapel was reconstructed by Giambologna as a sepulchre for himself and some Flemish artists; the works of art there are by him or his pupils. — 6th chapel, Resurrection, by Angelo Bronzino; 7th, Madonna and saints, from the bottega of Perugino; 9th, Birth of the Virgin, by Aless. Allori (1603). The Cloister of the Dead, with its memorial stones and frescoes, may be entered either by a door on the left of the portico, or by a door on the N. trans- ept, above which is the *Madonna del Sacco, a wonderful fresco by And. del Sarto. — The Chapel of St. Luke, entered from the right-hand side of the portico (apply to a sacristan), belonged to the fraternity of Florentine artists, and was the burial place of Cellini, Pontormo, Franciabigio, Bartolini, and many others. It contains two Delia Robbia terracottas, a Crucifixion attributed to Ant. da Sangallo, an Assumption by Luca Giordano, etc. The arch to the left of the Spedale degli Innocenti leads to the Via della Colonna, No. 38 in which, the Palazzo delta Crocetta, contains the Museo Archeologico (PI. 12), a well- arranged collection of the highest importance. Adm. 10-4, 21.; Sun. and holidays 9-1 free. Egyptian Collection (staircase and 7 rooms on the 1st floor). At the foot of the staircase is a tabernacle from the sanctuary of the Temple at Philae, inside which was kept a live hawk, adored'as a symbol of Ra. On the walls are casts, — 1st Floor. Room I (left). Statuettes of divinities; amulets and scarabs; the goddess Hathor, in the form of a cow, suckling the Pharaoh Horemheb (XVIIIth dynasty). — Room II. Inscriptions and statues, among them the bust of a Pharaoh in red basalt; Hemes the scribe seated between two statues of his wife (c. 1380 B.C.); lifelike bust of an aged princess (Case A.); fragments of mural paintings; large polychrome relief from the tomb of Seti I, representing the goddess Meet, and another of labourers at work. — Room III. Mummies (one, of a woman, in a glass case, is lying on a bed of modern design; beneath are canopic jars containing the viscera); ushabti figures; funerary ornaments and caskets. — Rooms IV and V. Sarcophagi and mummies of the Ptolemaic period, etc. — RooM VI (entered from Room II). Vases and fur- niture from Theban tombs. — Room VII. In the large central case, *Hittite Chariot, in wood and bone, of the time of Rameses II (14th cent., b.c.), a very rare specimen, remarkable for its combined strength and lightness and in perfect preservation. The *Etruscan Collection is in three parts: Vases and smaller objects, in RR. VIII to XV on the 1st floor; the Topographical Museum, on the ground floor; and the Tombs and Monuments, in the garden. — Room VIII: Etruscan vases of black bucchero ware and of grey and red clay, class- ified according to their provenance. — Room IX. Red pot- tery with geometrical decoration, of Italo-Greek, Etruscan,$52 Rte. M FLORENCE Museo and Athenian manufacture; — Room X. Metal articles, mainly of bronze, in imitation of Greek, Egyptian, and Phoenician work. — Room XI. Bronze statues: *Chimcera, discovered at Arezzo and restored by Cellini, an Etruscan work of the 5th cent. b.c.; Minerva, also from Arezzo, an imitation of Greek work of the 5th cent. b.c.; Bacchus and a genius, inspired by 4th cent. Greek art; the *Ar- ringatore, or Orator (Aulus Metellus), by an Etruscan artist of the 4th or 3rd cent. b.c. — Room XII (entered from R. IX). Greek vases in painted terracotta, with Etruscan imitations, an interesting series largely dating from the finest period of the art, and especially important for the perfection of the paintings (some of which may be assigned to the school of Polygnotus) and for the light they throw on Greek mythology. The most precious of them, in the middle of the room, is the celebrated *Frangois Vase, a crater painted by the Greek Clitias in Athens and decorated with six rows of paintings (6th cent. b.c.); it was restored, after being "broken, by Pietro Zei. — Room XIII. Campano- Etruscan vases, in imitation of metal designs. — Corridor XIV. Amphorae and Etruscan inscriptions.'—Room XXI (entered from R. XII). Sarcophagi and cinerary urns de- oorated with bas-reliefs. In the centre is the * Sarcophagus of Larthia Seiantia, in polychrome terracotta, on which the deceased woman is represented as leaning on one elbow in the act of finishing her coiffure. Near the door to R. XXII, *5524. Diademed head of Apollo, in alabaster; *5482: Obese Etruscan, showing the deceased as a hugely corpulent man prepared for a banquet. — Room XXII. In the centre, * Sarcophagus of Ramta TJz'enai, in alabaster, with paintings in tempera of Greek mythological subjects. , Graeco-Roman Colleetion (entered from R. XIII; if closed apply to the custodians): Room XVI (Smairbronzes): 2291. Jupiter with thunderbolts and sceptre; 2293-. Amazon of Polycleitus; 2336. Wrestler; 1948. Cupid; two Roman tripods. — Room XVII. In the middle, *Idolino, statue of a young athletic champion offering a libation, a Grefek bronze original of the Attic school of the 5th cent., found at Pesaro in l5S0. On the walls: Greek and Roman bronzes found in the sea off Leghorn, the best being a * Tor so of a Youth, a fragment of a Greek original, & *jtforse,s ffead, probably from a quadriga group, and heads of philosophers. Cabinet of Coins (entered from R. XVIII; apply to the custodians), one of the finest numismatic collections in Italy. Room; XIX: Coins of Italy, from Etruscan times (aes rude, aes signatum, ietc.) to the present day ; & Florentine series, almost complete, of the republican and ducal periods. — Engraved gems, cameos, and goldsmith's work, ranging from Assyrian and Babylonian incised cylinders and engraved stones from Egypt and Phoenicia, to Etruscan, Greek 'and Roman gems. Among the Roman jewels is a *Ring engraved with a sphinx, used by Augustus as a seal.— We return to Room XVIII, containing ^Egean antiquities, objects from Crete, especially from the palace at Phaestus, Rhodian vases, Cypriote antiquities, etc.Etrusco FLORENCE 36 Rte. 353 Museum of Etruscan Topography. — On the ground-floor; the exhibits are arranged geographically. Rooms I-IV, Vetulonia (N. of Grosseto: the most important of the twelve confederated cities). R. II. Circle Tomb, called ' Tomba del Duce ' on account of its rich contents of silver and bronze; R. III. *Tumulus of Petriera, in two stories, with jewellery, a gold diadem, etc., in adjoining cases; *Tomb of the Lictor, with two fine fibulae; * Stele of Aulus Eluskes; R. IV. Complete *Cottabus, a device for telling fortunes; two bronze *Lebete$ (vases with a foot). — Room V. Vola- ibrrm (Volterra): * Stele of travertine with the figure of a warrior of the Hittite type; urn in the form of an Etruscan temple; *Urn with figures of Circe and Ulysses. Arretium (Arezzo): pottery and fragments of vases, with moulds.—- Room VI, Populonia (now Porto Baratti, and formerly the port of Volterra, trading with Greece and Asia Minor): two *Hydrice (water-jars) in terracotta, Greek work with painted figures picked out with gold, and executed with extreme fine- ness, representing the myth of Phaon and Adonis; sumptuous jewellery; bronze * Fibula, with a figure of Venus in the pose of t|ie Medici statue (p. 333). — Room VII. Marsiliana (near Massa): iron weapons, objects in clay, bronze, gold, and iron; the * Cor sini Fibula, of gold; *Writing tablet of ivory with the Chalcidian Greek alphabet, the oldest known of its type. — Room VIII. Clusium (Chiusi); sculptures, notable as showing the development of Etruscan portrait- ure from the mask to the entire person; also bronze *,Cau- delabrum, with Apollo overcoming Eurymedon; * Greek vase, with Ariadne preparing the cottabus for the drunken Bacchus; *Cinerary urn with a dancer; * Statuary group, the deceased man in the guise of a hero, with a seated Fate (case A); * Alabaster urn with husband and wife (case C); *Funerary statue of the Dea Mater of the Etruscans enthroned (case D); * Ossuary in a large bronze-plated vessel (case E); ivory *Vessel, with Geryon, the Cyclops, and the companions of Ulysses (case F); ossuary in the shape of a man, with movable arms (case J), etc. — Room IX. Volsinii (Orvieto): in the middle, *Cippus or funerary pillar, in the form of a stem with foliage; another, shaped like a warrior's head, with helmet. Case 2: *Suit of armour made of bronze plates; *Vase, a good Etruscan copy of an Attic type. Case A, *Mould of an antefix with head of Ariadne; above case B, headless *Statue of Venus after the bath (Graeco-Roman)Rooms X-XI. Tarquinii (Tarquinia). Among the most ancient objects here are an urn of terracotta, covered by an Etruscan354 Rte. 3$ FLORENCE Mus. Etrusco bronze helmet, crested and inlaid, and urns shaped like square houses, one with a hole in the roof to admit light and provide an outlet for smoke.— R. XI contains a sarcophagus with remarkable bas-reliefs; the funerary head of a youth, inspired by Greek art; the gable of a chamber-tomb with a * Painting of a funeral banquet (5th cent. b.c.). — Room XII. Cortona: obiects from the subterranean tomb-chamber of Camucia. Perusia (Perugia): objects found in tombs of the 9-8th and 5-4th cent., b.c.; large vase with 12 small symbolic bronze shields, and tomb-furniture of the pre-Etruscan period; remains of the Tomb of the Biga (two-wheeled chariot), now in the New York Museum; furniture from the Tomb of Spe- randio. — Room XIII (entered from V). Luni (near Massa): terracottas from the gable of a large temple of the 3rd cent. b.c., reconstructed in Roman times (probably in the 2nd cent.), the principal being antefixes of a Siren, a Lasa (female tutelary deity), Diana, and palms, and a large cornice with sculptures both of the Etruscan (Juno between Jupiter and Apollo) and the Roman period (Jupiter, Juno, and Neptune). — Room XIV. Casts of Etruscan works in other parts of Italy and abroad. — Room XV. Rusell.®, Sovana, Saturnia (near Grosseto): Tomb furniture, two lead * Statuettes (4th cent. b.c.). — Room XVI. Visentia (on Lake Bolsena): Sacerdotal crested *Helmet; cup-shaped * Vase with vertical handle with a figure of the Etruscan Venus. — Room XVII. Telamon (Torre di Talamonaccio) the port of Saturnia: Remains of the decorations of a temple erected by the Romans in celebration of their victory over the Gauls in 225 b.c.; * Reconstruction of the N. pediment of the temple with por- tions of figures representing the defeat of Adrastus and Amphiaraus, leaders of the ' Seven against Thebes'; terra- cottas; antefixes, * Statuette of Jupiter Capitolinus, bronze bosses, probably from the temple doors, remains of some high reliefs representing the Death of Eteocles and Polynices; headless *Statue, a copy of Artemis Laphria in gold and ivory; arms and relics found on the battle field and kept in the temple, —- Room XVIII. Veii and her Colonies: Part of a golden bulla; bucchero ware; and an oak trunk hol- lowed for a sarcophagus. — Room XIX. Vulci (Pescia Ro- mana and Canino), Statonia (Poggiobuco and Pitigliano), Cosa (Ansedonia and Subcosa, the port of Vulci) : Etruscan capital with heads of divinities; stone *Lion, used to mark a tomb; sarcophagus cover with the figures of an obese man and a *Lasa (see above); a very beautiful. Etrvisco-Cam^aniaB ♦Vase (case 2).Accademia FLORENCE 36 Rte. 355 In the following rooms are antiquities from Florence, Fiesole, and the vi- cinity. — Small Court (XX). Remains of a Roman house of the Republican period, found near the Baptistery. — Interior Court (XXI). Remains of Roman Florence, from the Capitoline temple, the temple of Isis, the amphi- theatre, etc. — Room XXII. Remains of the thermae and fragments of stucco from the vault of a hall in the Capitol. — Room XXIII. Primitive Italic tombs: Etruscan objects found in Florence; remains of an Etruscan chariot from Castel- lina del Chianti; stelee. From Room XIII we enter the garden, which contains perhaps the most attractive section of the Etruscan Museum. Tombs and Monuments of the Etruscans. These are visited by conducted parties at fixed hours. Among the principal are: Well'tomb from Vetulonia; cell from another Vetulonian tomb, cruciform within and roofed by a dome; entrance door of a tomb from Populonia; cinerary urn from a tomb at Volterra; *Mdictila, or miniature house, from one of the two ' faviss®,' or repositories for offerings, of the sacred enclosure of the temple of the goddess Nortia, from Poggerello, near Bolsena; Tumulus tomb, and the lateral cell of another tomb, both from Volterra; *Tumulus tomb from Casal Marittimo; well-tomb from Tarquinia; large ziro or oil jar, used to hold the urn and various accessories, and a stele with the name of the deceased; door of a tomb hollowed in the rock, with a lion mask; Tumulus tomb crowned by a cippus with a helmet; *Lion with one paw resting on the head of a ram (sign used to indicate a tomb); sar- cophagi from Toscanella; reproduction of the Tomb of the Sette Camini, near Qrvieto, hollowed out of the rock and decorated with paintings; Tomb from the Necropolis of the Crucifix (Orvieto), of cyclopean stone-work, 6th cent. b.c. —- Room XXIV. Tuscania (Toscanella) and Ferentani (near Viterbo): Sar- cophagus of polychrome terracotta, with dolphins; polychrome sarcophagus of a woman, and cover of a man's sarcophagus; sarcophagus cover with the dead man in the guise of Bacchus. — Room XXV. Articles of the stone, bronze and iron ages. — Room XXVI. Copies of paintings from Etruscan tombs. — In the garden there are also some classic Greek and Roman sculptures. From the Annunziata the Via Cesare Battisti leads to the Piazza San Marco, passing (right) the Military Geographical Institute and the Institute of Advanced Studies (PI. 12). On the left, entered from No. 52 Via Ricasoli, is the *Galleria dell'Accademia (PI. 12; adm. 10-4, 2 1.; Sun. and holidays, 9-1, free). The entrance admits to a Hall on the walls of which are 5 Brussels and 2 Florentine tapestries, serving as a background for ""Originals and copies of works by Michael Angelo: Nos. 1 and 3-7. Prisoners or Slaves, intended for the tomb of Julius II (5 and 6 are casts of originals now in the Louvre; the rest are rough sketches); 2. St. Matthew, unfinished, for Santa Maria del Fiore; in the apse, the famous *David (1501-3), which the great sculptor hewed out of a block of marble left lying in the interior courtyard of the Cathedral Museum; the figure is remarkable for its anatomical perfection and the sense of pride and power which it conveys. We enter the rooms on to the right. — R. I. Paintings of the 13th and 14th cent., many still in the Byzantine manner. —- R. II. Bernardo Daddi, *Virgin enthroned, with saints; Giovanni da Mi- lano, *Pietk (1365).— R. III. Taddeo Gaddi, Ten small scenes from the life of St. Francis, and twelve from the life of Christ. — To the left of the apse are three more rooms.— R. IV: Giovanni del Biondo, Large polyptych with the Annunciation. — R. V. Andrea Orcagna, *Virgin appearing to St. Bernard, with saints. —- R. VI. Rossello di Iacopo Franchi, Large polyptych with the Coronation of the Virgin; pictures by SpineUo Aretino. Other rooms are in course of arrangement. In the Piazza di San Marco (PI. 12) is a statue of Gen. Manfredo Fanti (1806-65) and, on the N. side, the church356 Rte. 36 FLORENCE San Marco of San Marco, originally built in 1290, but almost entirely reconstructed by Michelozzo (1437) and altered by Giam- bologna (1588), The fa£ade is by Gioqcchino Pronti (1780). Interior. Above the entrance is a Crucifix on a gold ground in the style of Giotto. S. Side: 2nd altar, Madonna and six saints, by Fra Bartolomeo (1500); 3rd altar, Virgin in prayer, an 8th cent, mosaic from the Oratory of John VII at Rome. The triumphal arches at the end of the nave are by Giambologna. N. Side: between the 3rd and 4th altars are the graves of Pico della Mirandola (1463-94; p. 275) and of the poet Politian (Ang. Ambrogini; 1454-94). On the left of the nave is the Chapel of St. Antoninus, by Giambologna (1588), frescoed by Passignano; the Chapel of the Sacrament, N. of the choir, has rich baroque decoration; the Sacristy (1437-43) is by Michelozzo. To the right of the church, in the conventual buildings enlarged by Michelozzo (1437-52), is the *Museum of San Marco (PI. 12; adm. 10-4, 3 1.; Sun. and holidays, 9-1, free). This Dominican monastery, built in a simple but charming style, abounds in memories of Fra Angelico, St. Antoninus, Savonarola, and Fra Bartolomeo, all of whom lived within its walls. Cloister of St. Antoninus. In the lunettes are scenes from the life of the saint, by painters of the 16-17th cent., and frescoes by Fra Angelico representing (r. to 1.): 13. St. Thomas Aquinas; *8. Christ, in the dress of a pilgrim welcomed by two Dominicans; *1. Pieta; *St. Dominic at the foot of the Cross. We make our way round the cloister, entering in turn the various rooms opening from under the arcade. First comes the Pilgrims' Hospice, where are collected * Works of Fra Angelico, the sweet mystic of the Florentine school; all are admirable, but the most famous are, from Mt to right, Carriage and Death of the Virgin, Crucifixion, Naming of St. John the Baptist, Coronation of the Virgin, Coronation of, the Virgin and Paradise, the Madonna of the Star, Last Judgment, Descent from the Cross, another Coronation of the Virgin, and the tabernacle of the Linaioli or flax-workers (1433) with a large Madonna and Child enthroned. In the border of the last are twelve angelic musicians, lovely figures with charmingly ingenuous faces; on the doors four large saints; on the predella, Adoration of the Magi. —La- vatory. Terracotta from the studio of Giov. Delia Robbia; Dead Christ, by Fra Bartolomeo and Fra Paolino; Madonna and Child, with saints, monochrome, by Fra Bartolomeo. — Great Refectory. Last Judgment, a much damaged fresco by Fra Bartolomeo; * Providence, fresco by Sogliani. — Chapter House. ♦Crucifixion and saints, fresco by Fra Angelico, very beautiful in its expression of intense grief; St. Antoninus in adoration before the Crucifix, by Alessio Bal- dovinetti. Under the 24th lunette is the entrance to the Corridor, in which, on the right, is the staircase leading to the IsT Floor. We should pause at the top in order to note the striking effect of the Dormitory, which consists of small bare cells, each beautified with a fresco by Fra Angelico or his assistants (1435-45). Opposite the staircase is the * Annunciation, by the master. We mention the cells containing the best of Fra Angelico's frescoes. 1. Christ appearing to St. Mary Magdalen; 3. Annunciation; 6. Transfiguration. At the end of the corr- idor, opposite cell 11, are the rooms (12-14) occupied by Savonarola as prior, with some souvenirs of him, and several works of art. 25. Madonna and eight saints; 31. Cell of St. Antoninus with souvenirs of him; 33. Said to have been Fra Angelico's own cell; 34. Agony in the Garden, the Virgin and St. Martha; 35. Communion of the Apostles. 38 and 39 are the rooms occupied by Cosimo il Vecchio during his retreats to San Marco. —r The Library, a distinguished example of Michelozzo's architecture (1441), is a long rectangular apartmentChiostro d», Scalzo FLORENCE H Rte. 357 divided into three by Ionic columns. In the cases are choir-books, antiphonals, graduals, and psalters, with illuminations by artists of the 15-16th centuries. Descending" again, we find at the foot of the staircase, on the right, the entrance to the Small Refectory, containing a *Last Supper by Dom. Ghir- landaio, less good than that in the Ognissanti (p. 364). Next, we enter the Cloister of St. Dominic, also by Michelozzo, surrounding a garden. Under the arcades and in rooms opening from them is the Museum of Old Florence, consisting of architectural and sculptural fragments, with a few paint- ings, from parts of Florence that have been destroyed, notably the Mercato Vecchio (p. 325). On the N. side of the Piazza San Marco runs the Via Cavour, in which, at No. 69 on the left, is the Chiostro dello Scalzo or Cloister of the Barefooted Friar (PI. 12; adm. 10-4, 11.). The small rectangular court is surrounded by a graceful arcade of the early 10th cent., the walls of which are decorated with admirable frescoes in monochrome, representing the history of St. John the Baptist, by Andrea del Sarto assisted by Franciabigio. The street ends on the N. in the modern Piazza Cavour (PI. 5), where stand two isolated archways, the pprta San Gallo (1284), one of the old city gates, and a Triumphal Arch, erected in 1739 to commemorate the entry of Francis II of Lorraine.—-We return S. along the Via San Gallo. At No. 74, on, the left, is the. Palazzo Pandolfmi, by Giov. Fr, Sangallo (1516), executed from-a design by Raphael, and finely harmonious.- A little farther on are thei chiar&fcDi Sm\ Giomlmino dei Cavalieri (PI. 13), with a *Crucifix by Lor. Monaco, and, between. Nos. 42 and 40, the Casino Mediceo (PI. 11-12), a Renais- sance loggia of the 15th cent., formerly part of the Medici Garden where Cosimo il Vecchio and Lorenzo il Magnifico collected antique sculpture and Bertoldo built a school of art. Turning down the Via Ventisette Aprile on the right, we come to the *Cenacolo di Sant'Apollonia at No. 1 (Pl.ll; adm. 10-4, 11.; Sun. 10-1, free), so called from a painting of the Last Supper by And. del Castagno (1459), powerfully realistic and intensely dramatic in feeling. Other frescoes by the same master include a decorative *Design with monumental figures, from the Villa Pandolfini at Legnaia, beyond the Porta San Frediano. The street ends at the Piazza Indipendenza, with its monuments to Peruzzi and Ricasoli. Farther on is the Fortezza da Basso (PL 3), or Fortress of St. John the Baptist, designed by Antonio da Sangallo (1534-5), and still imposing of aspect. Thence we follow the Via Faenza (PI. 10-11), in which No. 42 (1.), is the entrance to the Cenacolo di Foligno and Galleria Ferroni. . In the refectory: *42, Portrait of a man, attributed to Diirer, but prob- ably by lians Burckmeikr; Carlo Dolci, 61, 62. Annunciations, 65. Ma- donna of! the: Finger; *114. School of FHippo Lippi,: Babe in the Manger; Ercolanoy Menelaijs and Helen, a painting on slate. The large fresco of the ♦Last Supper, on the wall, is a work of great tenderness of the early 16th cent. Umbrian-Tuscan School. • :i J , i s; ; >358 Rte. 36 florence San Lorenzo IV. From the Piazza del Duomo to San Lorenzo, Santa Maria Novella, and the Porta al Prato, and back by the Lungarno. The busy Via dei Martelli, running N. from the Piazza del Duomo, is continued by the Via Cavour, at the beginning of which is the *Palazzo Medici or Riccardi (PI. 11), now the Prefecture. This was built by Michelozzo (c. 1430-40) for Cosimo il Vecchio and was the residence of the Medici until 1540. In the rich and elegant interior courtyard, which contains sculptures from the old facade of the Duomo and ancient sculptures from Rome, we obtain tickets of admission to the Medici Chapel (open 10-5, Sun. 10-12, 11.; free on the first Sun. in each month). This *Chapel, the only portion remaining of the original building, was the work of Michelozzo, including the ceiling, stalls, and pavement, and is lined with rich frescoes by Benozzo Gozzoli (1450-63) representing the * Procession of the Magi to Bethlehem, the personages in which are portraits of the Medici, the gentlemen of their household, and the painter himself, while the whole is a gay and vivid picture of the life of his day. On the walls of the tiny apse is a lovely landscape with joyous smiling angels, recalling those of the painter's master, Fra Angelico. —The ceiling of the gallery is covered by a single fresco presenting the Apotheosis of the second Medici dynasty — a vigorous piece of painting by Luca Giordano. On an easel is a delightful *Madonna and Child, by Filippo Lippi. In the same palace (entrance at No. 3) is the Accademia della Crusca, insti- tuted in 1582 for the publication of a Dictionary of the Italian language, a work which, having got as far as the letter N, was suspended in 1923 for reasons of economy. The name (' crusca ' means bran) and seal (a sieve) of the Academy symbolize its aim of sifting the good from the bad in diction. — The Via de' Ginori, behind the palace, is an impressive street of old palaces, among which (No.4) is the Biblioteca Riccardiana, containing illuminated MSS. and incunabula. At the entrance to the Piazza San Lorenzo (PI. 18) is a heavy-looking seated figure of Giovanni delle Bande Nere, by Bandinelli (1540). On the W. side is the rough brick fa5ade of San Lorenzo (PI. 18), an ancient basilica rebuilt by Brunei- leschi (1425-56) and completed inside by the Manetti, father and son. Michael Angelo added the interior fa9ade, the New Sacristy, and the Library. The Interior is in the form of a Latin cross, with nave and aisles divided by Corinthian columns, and the whole effect is noble and harmonious. At the end of the Right Aisle is the *Monument of P. Benvenuti, an Aretine painter (1769-1844), by Aristodemo Costoli. At the end of the right transept is the Chapel of the Holy Sacrament, containing a delicately beautiful *Tabernacle by Desiderio da Setti- gnano. —Central Chapel. In the pavement, at the foot of the steps, three bronze gratings mark the tomb of Cosimo il Vecchio (d. 1464). Here, too, we have a good view of theMedici Chapels FLORENCE Rte. whole church and the dome. Over the altar is a Crucifix by Baccio da Montelupo (16th cent.). — 2nd chapel on the left. Over the altar, Three saints, attributed to Ghirlandaio; left wall, Ferrari monument by Dupre (1864). On the left a door, with fine inlaid jambs, gives access to the *Old Sacristy by Brunelleschi, one of the earliest and purest works of the Renaissance. This contains various characteristic works by Donatello: Bas-reliefs in coloured plaster in the dome, * Scenes from the life of St. John the Evangelist on the pendentives, and Evangelists in the lunettes; ~ round the walls, *Bust of St. Laurence in terracotta, full of truth and feeling; two terracotta lunettes, with saints, over the doors of the little chapel (whose grilles and altar are from his bottega), and the doors themselves, of bronze; also a lavabo, finished, however, by Verrocchio. Round three walls are raised seats and presses with intarsio decoration; in the middle, beneath a marble table, is the sarcophagus of Giovanni Bicci de' Medici and Piccarda Boeri, the parents of Cosimo il Vecchio; and, against the fourth wall, the magnificent porphyry and bronze sarcophagus of his sons Giovanni and Piero de' Medici, by Verrocchio. At the end of the left transept is the Martelli Chapel, with a monument to Donatello by Guidotti and Romanelli (1892), and, over the altar, an * Annunciation by Filippo Lippi. In the crypt (apply to the sacristan) are buried Donatello (d. 1466) and Cosimo il Vecchio (d. 1464). Left Aisle: Martyrdom of St. Laurence, a large fresco by Bronzino; *Cantoria or choir gallery, by Donatello, of marble inlaid in various colours. — Under the end arches of the nave are two bronze * Pulpits designed by Donatello in his old age (1461), executed by his pupils Bertoldo and Bellano, and altered in the 16th century. From the Old Sacristy a corridor leads to the Medici Chapels (adm. 9-4 or 5; Sun. 9-12.30; 2 1.). On the left is the entrance to the vast Chapel of the Princes, begun by Nigetti (1604) on a plan by Don Giovanni de' Medici, natural son of Cosimo I. It is an octagon 93 ft. in diameter and is entirely lined with dark coloured marbles, in a style of decoration perhaps not always very happy. However, the whole effect is one of gloomy magnificence, as befits the funeral chapel of a great dynasty. In the sarcophagi round the walls, from right to left, are buried Ferdinand II, Co- simo II, Ferdinand I, Cosimo I, Francis I, and Cosimo III. The second and third sarcophagi are surmounted by colossal statues in gilded bronze, by Tacca. In the vaulting are gorgeous frescoes by P. Benvenuti (1828). — At the end of360 Rte. 36 FLORENCE Medici Tombs the corridor is the *New Sacristy, by Michelangelo (1519-34), which remains unfinished, but contains his famous Medici Tombs. On the left of the entrance is that of *Lorenzo II, Duke of Urbino, a seated figure absorbed in meditation, marvellously dignified and expressive, with the superb reclin- ing forms of Dawn and Twilight on the sarcophagus below, Opposite is the tomb of his cousin, Giuliano, Duke of Nemours. with figures of Day and Night beneath; the last is the most admired of these four symbolic creations. At the end is the * Madonna and Child, an unfinished group which was to have formed part of the tomb of Lorenzo il Magnifico and his brother Giuliano. The Cloister, entered from the Piazza San Lorenzo and free to the public, is in the style of Brunelleschi, and is exceedingly picturesque, with its slender arcades, its red-tiled roofs, and its grass and flowers. Hence we ascend to the *Biblioteca Laurenziana, or Laurentian Library (PI. 18), built by Michael Angela and containing the collection of MSS. begun by Cosimo and Lorenzo. We pass through a vestibule and ascend the great staircase, both of which the artist has treated with great freedom, achieving an originality of style which had in it the germ of the baroque. The great Library itself is simpler and nobler in effect; its ceiling, seats * and desks were all designed by Michael Angelo. This and the adjacent rooms contain a Museum of Books and Miniatures, which includes some priceless treasures: a Pandect of, the 6th or: 7th cent.* a 5th cent, Virgil, and Syrian goSpels of the 6th century. , There are, besides, a Choir Book illuminated by Lorenzo Monaco and Attavante, a Psalter made for Matthew Corvinus by Monte and Gherardo,. a *Book of Hours which belonged to Lorenzo il Magnifico, illuminated by Francesco di Antonio di Chierico, the Citta di Vita of Matteo Palmieri, with miniatures in the style of Pollaiolo and Botticelli, and a Treatise on Architecture "with MS. notes by Leonardo da Vinci. The Borgo San Lorenzo takes us to the beginning of the Via dei Cerretani, in which is Santa Maria Maggiore (PI. 18), a very old church preserving some remains of its first and second reconstructions, in the Romanesque (12th cent.) and Gothic (13th cent.) styles respectively. The Interior, with nave and aisles, is Cistercian in character. Chapel N. of the choir: above the altar, *Madonna and Child, a Byzantine bas-relief; right, remains of the tomb of Brunette Latini (p. 321); left, sarcophagus of Salvino Armati of Florence (d., 1317), erroneously supposed to have been the inventor of spectacles. The Via Rondinelli, on the left, farther on, leads to the Piazza Antinori, in which are the Palazzo Antinori, by Giuliano da Sangallo (?), and the baroque church of San Gaetano (PI. 18), by Matteo Nigetti. In the church the 2nd chapel on the N. side contains a painting by Pi&ro da Cortona, the Martyrdom of St. Laurence, and in the crypt (apply to the sacristan) are an admirable Madonna, by And. Delia Robbia, and a Crucifixion, with saints, by Filippo Lippi.Pal. Strozzi FLORENCE 36 Rte. 361 In the Via Tornabuoni, to the S., No. 19 is the Palazzo Larderel, a wonderful erection by Giov. Ant. Dosio (1580); No. 20 is the Palazzo Corsi (formerly Tornabuoni), with an interior court by Michelozzo; No. 15 is the Palazzo Viviani, which once belonged to the Delia Robbia. Farther on, on the left, is the * Palazzo Strozzi (PI. 18), begun by Bened. da Maiano (1489), either from his own design or from one by Giul. da Sangallo, and continued by Cronaca, whose work was, however, interrupted in 1536. The side most nearly complete faces the Piazza Strozzi, and thence we can best appreciate this grand and beautiful building, the prototype of the 15th cent, fortress-dwelling, at once defiant and harmon- ious. Cronaca's great cornice, suggested by antique examples, and the wrought-iron torch-holders and fantastic lanterns by Caparra, should be noted. We now turn westwards, down a busy street, the Via della Vigna Nuova. Where this broadens out are (1.) the Loggia dei Rucellai, by L. B. Alberti (1468), and (r.) the * Palazzo Rucellai, built by Bern. Rossellino from a design by Alberti, who, as may be seen, departed entirely from the style of Brunelleschi. The street on the left of the palace, leads to the Piazza di San Pancrazio, to which the ruined church of San Pancrazio (PL 17) presents a magnificent fa9ade by Alberti, classical and harmonious in design. Close by is the Cappella del Santo Sepolero, entered from the Via della Spada (key with the porter of the Palazzo Rucellai), another admirable example of Alberti's style. Within is a rectangular model, an idealised version in marble of the Holy Sepulchre, whith graceful Corinthian pilasters,, decoration in two colours, a lofty entablature, and a cornice of oriental design. From the Via della Spada the Via delle Belle Donne leads N. At its junction with the Via del Moro is the curious Croce del Trebbio of the 14th cent. Pisan school, and at the end is the Piazza di Santa Maria Novella, a large and picturesque square. The two obelisks were set up in 1608 to mark the extreme points of the course for the coach races that began to be held here in 1563. On the S.W. side is the Loggia di San Paolo (1489-96), a free copy of the Loggia degli Inno- centi (p. 349), with terracottas by And. and Giov. Delia Robbia. On the N.E. is * Santa Maria Novella (PI. 17), the sister church of Santa Croce, begun by the Dominican friars Sisto and Ristoro in 1278. The lower part of the fa9ade is in the pure Florentine style of the 14th cent., the upper portion and the middle doorway are Renaissance, by Giov. Bertini (1456-70), from a design by Alberti. On the right, in a line with the fa9ade and continued at right angles to it along362 Rte.se FLORENCE S. Maria Novella the side of the church, are the tombstones of various great families, which form a wall enclosing the cemetery. The Interior (325 ft.), in the form of an Egyptian cross, with nave and aisles divided by composite pillars, is graceful and harmonious in effect. The side altars were added by Vasari in 1565. Above the central porch is a Crucifixion on panel, from Giotto's bottega; on the left are *Frescoes by Masaccio of the Trinity, the Virgin, and St. John the Evan- gelist, with donors. — S. Aisle: 2nd bay, *Monument to the Blessed Villana, by Bern. Rossellino (1451). Beyond the 5th altar is a passage leading to the little Cappella della Pura, with delicate Renaissance decoration, and, over the principal altar, a wooden Cross, with small painted scenes in the Italo-Byzantine style and a very expressive Christ. — S. Transept: on the right, *Bust of St. Antoninus in terra- cotta (14th cent.); tombs of Bp. Aliotti (d. 1336), by Tino di Camaino, Fra Aldovrando Cavalcanti (d. 1279), and Joseph, patriarch of Constantinople (d. 1440). At the end is the *Rucellai Chapel, containing the famous Rucellai Madonna by Duccio di Buoninsegna, the Martyrdom of St. Catherine, by G. Bugiardini (assisted, it is said, by Michael Angelo), and 14th cent, frescoes.-—Chapel of Filippo Strozzi (1st on the right of the choir): *Frescoes by Filippino Lippi, History of St. Philip the Apostle, painted with some- what excessive vehemence, and the * Tomb of the founder, a masterpiece by Benedetto da Maiano. •—Choir. In the pavement a sepulchral bronze plaque by Ghiberti (1426), covers the tomb of Lionardo Dati. The candelabrum to the right of the altar is by Piero di Giovanni Tedesco (late 14th cent.). On the altar is a Crucifix by Giambologna. In the Retro-Choir are stalls and a lectern attributed to Baccio d'Agnolo. The * Frescoes by Dom. Ghirlandaio (as- sisted by other artists) are considered his best work: S. wall, Life of St. John the Baptist; N. wall, Life of the Virgin; E. wall, Coronation of the Virgin, St. Dominic burning heretical books, Death of St. Peter Martyr, etc. Many of the figures are portraits of the artist's contemporaries, and the whole gives an interesting picture of Florentine life in the late 15th century. — The *Gondi Chapel (1st on the left of the choir) has architectural decoration by Giul. da Sang alio. On the end wall is the celebrated crucifix carved by Brunelleschi in order to show Donatello how the Redeemer should be represented (comp. p. 345). — Gaddi Chapel (2nd from choir): architectural decoration by Giov. Ant. Dosio; Christ raising Jairus's daughter, by Bromino. — N. Transept:S. Maria Novella FLORENCE 36, Rte. 363 At the end is the Strozzi Chapel, a completely-preserved example of a mid-14th cent. Tuscan chapel, with celebrated ♦Frescoes by Nardo di done (c. 1357), representing, in the vault, St. Thomas Aquinas and the Virtues, on the end wall, the Last Judgment, on the left wall, Paradise (with Dante among the blessed), perhaps the most mystical of all Flo- rentine paintings, and, on the right wall, Hell, a pictorial commentary on Dante's ' Inferno ' On the altar is a very fine picture (Christ giving the keys to St. Peter and the book of wisdom to St. Thomas Aquinas), by And. Orcagna (1357).—We now pass into the Sacristy, by lac. Talenti (1350), which contains a *Lavabo in terracotta, by Giov. Delia Robbia; a Last Supper, by Aless. Allori; stained- glass windows; and a fine fresco, designed by BuontaUnti, —- N. Aisle. * Pulpit by And. di Lazzaro Cavalcanti, from a design by Brunelleschi, noteworthy for its fine laurel- wreath borders, inspired by those of Trajan's Column. On the right of the 1st altar, *Tomb of the jurisconsult Ant. Strozzi (1524), by And. Ferrucci of Fiesole, with a very sweet Madonna and Child by his pupil Silvio Cosini. On the N. side of the church is the entrance to the ^Cloisters (adm. 9-4, Sun. 9-12, 11,). The *Chiostro Verde, or Green Cloister, so called from the colour of its frescoes, is Romanesque and severely elegant in style, and, with its little plot of grass and its rose-bushes, has an air of monastic calm. The most interesting of the frescoes are on the entrance wall, notably the *Deluge, and *Noah's Sacrifice, by Paolo Uccello, the heroic grandeur of which foreshadows the work of Michael Angelo. — Opening off this cloister is the Cappella degli Spagnuoli, or Spanish Chapel, formerly the Chapter House, by lac. Talenti, with very beautiful two-light windows on either side of the doorway. Within, the Walls and Gothic vault are completely covered with admirable frescoes by Andrea da Firenze (c. 1B55), considered to be among the finest examples of 14th cent, painting. The subjects are: in the vault, the Resurrection, Ascension, Via Dolorosa, Crucifixion, Descent into Hell; entrance wall, Life of St. Peter Martyr; right wall, the Mission, Activity, and Triumph of the Dominicans; left wall, the Triumph of St. Thomas Aquinas, " a group of holy Saints; the Sciences embodied by an artist with his paints." — In the Monks' Cemetery, ia small cloister gay with grass and flowers, are frescoes formerly attributed to Giottinb, and a powerful figure of St. Thomas Aquinas, probably by Giotto's nephew, Stefano. — Beyond the Chiostro Verde is the Great Cloister, occupied by a school of carabinieri but open to the public. Between the two is the Re- fectory, and, on the W. side of the Great Cloister, a Museum, with souvenirs of the Risorgimento and a theatrical collection. - A little to the S. is San Francesco dei VanchetOni (PI. 17), in which are two charming *Busts, the Child Jesus, by Desiderio, and the Child St. John, by Ant. RosselUno. The Via della Scala leads N.W. from Santa Maria Novella to the Porta al Prato (PI. 9), a gateway of 1284. On the way We pass, the Palazzo Ginori Venturi (No. 75; PI. 9), adjoining which are the famous Orti Oricetlari (open on Thiirs. 10-4; ' entrance in the Via Oricellari). In these gardens, Bern. RuCellai (a corruption of Oricellari) collected the sculptures stolen at the fall of the Medici dynasty in 1498, and later refounded the Platonic Academy.— Just before No. 60 Via della Scala is a lunette by Giov. Delia Robbia in the fafade of a former church.364 Rte. 36 FLORENCE Gall. Corsini From the Porta al Prato the wide Viale Re Umberto, passing the entrance to the Cascine (p. 380), leads to the Piazza Vittorio Veneto and the Arno. We take the Lun- garno Vespucci, passing monuments to Garibaldi and Manin. In a square behind the last is the church of the Ognissanti (PL 17), built in 1239 and altered in 1627. Above the door is a terracotta Coronation of the Virgin, by Bened. Buglioni. Interior S. Side: 2nd altar, Double fresco after Ghirlandaio (c. 1470), above, Our Lady of Pity sheltering with her mantle the Vespucci family (perhaps including Amerigo), below, Pieta; 3rd altar, Santi di Tito, Madonna and saints; between the 3rd and 4th altars, *St. Augustine in his chamber, an intensely expressive fresco by Botticelli (1480), and a 17th cent, pulpit with bas-reliefs by a pupil of Bened. da Rovezzano.— S. Transept. San Diego healing the sick, by lac. Ligozzi, in strong colour. In the Dome, the Glory of Paradise, by Giovanni da San Giovanni. The luminous modern fresco at the end of the apse, is by G. Pinzani. In the Sacristy is a Crucifix on panel by a follower of Giotto. — N. Side. Between the 4th and 3rd altars, a fresco, St. Jerome in his study, by Dom. Ghirlandaio (1480); 2nd altar, fresco by Rid. Ghirlandaio. On the left of the church in the Convent (No. 32; adm. 10-4, 11.; Stin. 9-1, free) containing the *Last Supper, the masterpiece of Dom. Ghirlandaio (1480), and a niche with a *Madonna and angel, by Agost. di Duccio. The Lungarno Vespucci ends at the Piazza Goldoni, opposite the Ponte alia Carraia (PL 17), and is continued by the Lungarno Corsini. In the handsome Palazzo Corsini (PL 17), by Pier Fr. Silvani and Ciro Ferri (1648-56), is the Galieria Corsini, the most important private collection in Florence (open on Tues., Thurs., and Sat., 10-3; gratuity). In the interior court, on the right, is a staircase leading to the entrance hall and 13 richly decorated rooms. Room I. 13, 14, 16, 18, 20. Sustermans, Portraits; Luca Giordano, 15. Venus healing the wounds of ^Eneas, 40. .flineas defeating Turnus. — Room II contains Battles and Seascapes by Jacques Courtois and Salvator Rosa. — Room III. 107. Spagnoletto, Martyrdom of St, Andrew; *190. Van Dyck, Ottavio Piccolpmini, sketch; 126. School of Caravaggio, Man carrying fish; 129. Rid. Ghirlandaio, Portrait of a man; Suster- mans, Geri della Rena. — Room IV. Carlo Dolci, 146. Peace, 150. St. Mary Magdalen; in the alcove, 407-414. A series of pictures, * Apollo and the Muses, begun for the ducal palace at Urbino by Giov. Santi and Evdngelista di Pian di Meleto, and continued by Timoteo Viti; 176. Botticelli, Madonna and Child, a youthful work; 162. Filippino Lippi, Madonna and five angels, a very delicate work; 163. Pontormo, Madonna and Child, with St. John; 160. Fra Bartolomeo, Holy Family; 173. C. Dolci, Hope; 167. School of Botticelli, Madonna and angels; 416. Crucifix, by an unknown Venetian, pupil of Giov. Bellini and Antonello; 180. Crist. Allori, Judith; Raphael, Cartoon for the portrait of Julius II. — Room V. 430. Rigaud, Neri di Filippo Corsini. — Room VI. 208. Antony Mor, Portrait of a man; 209. Hans Mending, Portrait of a man; *210. Rid. Ghirlandaio, Goldsmith (more probably one of the Medici); 211. Caravaggio, Old man with a lantern; *179. Carlo Dolci, Poetry, the masterpiece of this sentimental painter; 232. Guido Reni, Lucrece. — Room VIII: 248, 252. Salv. Rosa, Seascapes. Room IX. Views of towns, by Gasp. Vanvitelli; 270. G. Reni, Fiordispina and Bradamante, from the ' Orlando Furioso ' of Ariosto. From the beautiful Ponte a Santa Trinita (Pl. 24), by Ammannati (1566-69), a wonderful view may be enjoyed atSanta Trinita FLORENCE 36 Rte. 365 sunset. On the left is the Via Tornabuoni, No. 4 in which (right) is the huge frowning * Palazzo Spini (1289), now Palazzo Ferroni. On the left, beyond the Palazzo Gianfi- gliazzi, of the 13th cent., rises * Santa Trinita (PI. 17), an oratory in the 9th cent, and a Vallombrosan church in the 11th. It was reconstructed in the 13th cent., enlarged in the 14th, and finally received a baroque fa9ade by Bern. Buontalenti in 1593. The fine Interior, with nave and aisles divided by pillars with vigorous Gothic arches, and a square-ended sanctuary with two chapels on either side, is in the severe style characteristic of Cistercian building. On the entrance wall are remains of the Romanesque church. S. Aisle. 3rd chapel, Madonna and saints, panel by Neri di Bicci (15th cent.); 4th chapel: Lorenzo Monaco, ♦Annunciation, over the altar; on the walls, frescoes of the Assumption, Saints, Prophets, and the Life of the Virgin; 5th chapel, Pieta, by the same artist, and a inarble altar, by Bened. da Rovezzano, part of the tomb of St. John Gualberto, founder of the Vallombrosans. The tomb of Onofrio Strozzi (1421), in the adjoining sacristy, is one of the earliest in the Renaissance style. — N. Aisle. 3rd chapel (Davanzati Chapel), above the altar, Neri di Bicci, Annunciation and Expulsion from Paradise; on the left, fresco after Giottino, St. Catherine; 5th chapel, *St. Mary Magdalen, in wood, a fine work by Desiderio da Settignano and Bened. da Maiano. — Choir Chapels (r. to 1.): *Sassetti Chapel, a com- plete example of a 15th cent, chapel, with frescoes of the Life of St. Francis, by Dom. Ghirlandaio (1485); on the altar, Adoration of the Shepherds, by the same; against the walls, Tomb of Fr. Sassetti and Nera Corsi his wife, attr. to Giul. da Sangallo. — In the next chapel is a Crucifixion, on panel, said to have bowed approvingly to St. John Gualberto when he pardoned his brother's assassin. It is uncovered on Good Friday (shown at other times by special permission to students and artists). — Sanctuary. Triptych by Nic. Gerini; 1st N. chapel, Martyrdom of St. Laurence, bas-relief by Tiziano Aspetti; 2nd chapel, *Tomb of Bp. Federighi, an admirable composition by Luca Delia Robbia (1454-56). — The Romanesque Crypt is shown by the sacristan (gratuity). In the Piazza di Santa Trinita stands the Column of Justice, a large monolith of oriental granite from the Baths of Caracalla at Rome. No. 2 is the Palazzo Bartolini Salim- beni, by Baccio d'Agnolo (1520-29). Between this point and the Piazza della Signoria are to be found the most important and characteristic remains of mediaeval Florence. Taking the Borgo Santi Apostoli (PI. 18-25) we soon reach the Piazza del Limbo, with the church of the Santi Apostoli, possibly of the 12th cent., with a porch of the 16th century. The Interior is that of a Romanesque basilica, with nave and aisles. A stoup on the left is by Bened. da Rovezzano. At the end of the N. aisle is an especially fine *Tabernacle by Giov. Delia Robbia, and on the wall at the side, the magnificent "Tomb of the prior Oddo Altoviti (1507), by Bened. da Rovezzano. Continuing our way down the Borgo, with mediaeval palaces on either side (No. 17 is the handsome Palazzo Rosselli del Turco, by Baccio d'Agnolo), and several more or less complete tower-dwellings, we have a suggestive glimpse of former times, a,nd should not fail also to glance down the366 Rte 36 FLORENCE Ponte Vecchio side streets, particularly the Vicolo dell'Oro. We come cmt into a busy street, the Via Por Santa Maria, and see before us more towers and houses dating from the middle ages. Following this street to the left and then turning into the Via delle Terme, we see on the right the Palazzo di Parte Guelfa, begun by Francesco della Luna, completed by Brunel- leschi, and recently restored (comp. p. 318). The most interesting view is from the Piazza di San Biagio, where the palace incorporates the little church of San Biagio (13th cent.); in the Via di Capaccio is a small and elegant loggia, added by Vasari; within, a magnificent salone. In the same piazza are the fine Palazzo Canacci, of the 15th cent., and next to it, the Palazzo dei Giandonati. We now go through Vicolo della Seta to the Loggia del Mercato Nuovo, built by G. B. del Tasso (1547-41), and still the market for cheap wares, straw work, and, especially on Thursdays, for flowers. In it is a fountain with a bronze copy by Tacca of the marble boar in the Uffizi (p. 335). To the left, at No. 9 Via Porta Rossa, is the 14th cent. *Palazzo Davanzati, which, thanks to judicious restoration and ar- rangement, presents the aspect of an old Florentine palace both without and within. The furniture and accessories are nearly all of the 14th or 15th cent, (a few on one floor only are 16th cent.), and the visit affords much huiriatl -and domestic as well as artistic and historic interest (adm. 9-8, 21.; Suri. and holidays 9-12, free). , V. The Oltrarno, or Left Bank of the Arno. The *Ponte Vecchio (PI. 26), the oldest bridge in Florence, first mentioned in 996, was rebuilt by Neri di Fioravdnte in 1345. Along either side are jewellers' shops, whose projecting backs, supported on brackets, lend the bridge a most pictur- esque and characteristic appearance. On the left of the entrance to the bridge an inscription marks the spot where the Amidei killed Buondelmonte (p. 319f); in the middle of the bridge, on the right, is a bust of Benvenuto Cellini by Kaffaello Romanelli (1900). Above the left-hand row of shops runs the gallery connecting, the Uffizi and Pitti palaces. On the other side is a picturesque open space with old houses and an artistic fountain surmounted by a bronze Bacchus of the 16th century. Following the tortuous Borgo San Iacopo to the right, we pass the 11th cent. Romanesque church of San Iacopo sopr' Arno, with its fine porch. The street ends at a busy cross-roads opposite the Ponte a Santa Trinita. Skirting the Arno by the Lungarno Guicciardini (PI. 24), we pass (No. 1) the Palazzo Capponi, which has a room well frescoed by Poccetti; the simple yet stately Pa- lazzo Guicciardini (No. 5), by Baccio d'Agnolo; and No. 7, an early Renaissance palazzo now restored as the Palace Hotel.PARTE CENTRALE DI FIRENZE. Acc. di Belle Arti 12 Alberghi (Hotels): — Albion 25g -— Aquila d'Oro Ilae — Baglioni 18a — Berchielli 25r — Bonciani 17q — Oavour 18 i. — Corona d'ltalia llaf — De laGare et • MeublG 18i — d'Europe 18ao — di Spagna 18aq — du Nord l£an — Penice 18z —- Gioconda 18a? — Helvetia 18 j —~ Metropole et Lon- dres 18u — Milano-Terminus 18t — Minerva 17m — Moderno (gift Mu- cke) 1 Sat — Nazionale l7ad ■— Parlamento 25ac — Porta Rossa 18n — Rebecchino-Boncia- ni lOab — Roma l7w — Itomagna 18ah — Royal Gran Bre- tagna 25c —- Savoia 18e — Splendide H6tel Patria 18v — Stella d'ltalia e S. Marco 18x .Badia 18 Banche (Banks): — Coramerciale Ital. 19 — di Firenze (Palaz- zo Pazzi) 19 — d'ltalia 19 Battistero 18 Biblioteche (Libra- ries): — M. Laurenziana 18 — Marucelliana 11 — Nazionale 26 — Riccardiana 11 Borghi (Suburbs): — degli Albizi 19 — de' Greci 26 — San Jacopo 24-25 — San Lorenzo IS — Santa Croce 26 — Santi Apostoli 18-25 Borsa 25 Capp. d. Spagnoli 17 » dei Pazzi 26 Cappelle Medicee 18 Oasa Alighieri(degli) 18 Casa Antella (dell') 26 Casa Peruzzi 26 Casino Borghesi 19 Casino di Livia 12 Corso 18 Costa dei Magnoli 25 Credit© Italiano 18 Chiese {Churches): — Duomo (S. Maria del Fiore) 18 — La Misericordia 18 — Madonna de' Ricci 18 — San Barnaba 11 — San Benedetto 18 — San Carlo 18 — San Firenze 19 — San Gaet&no 18 — S. Giov. Evang. 18 — San Lorenzo 18 —San Marco 12 — San Michele Vis- domini 19 — San Niceold 26 — San Pancrazio 17 — San.Remigio 26 — San Simone 19 — Santa CrOce 26 — Santa Felicita 25 — Santa Lucia dei Magnoli 25 — S. Maria d. Fiore (Duomo) 18 — S. M. in Campo 19 — S. Maria Magg. 18 — S. Maria Novella 17 — Sant'Apollonia 11 — Santa Trlnita 17-18 — Sant'Egidio 19 — Santi Apostoli 25 — SS. Annunziata 12 — Santo Stefano 25 Farm, e Prof, di S. Maria Novella 17 1st. di Studi Sup. 12 Loggia del Bigallo 18 » del Grano 25 * dei Lanzi 25 » di S. Paolo 17 I.ungarno Acciaioli 25 » Archibusieri 25 » Corsini 17 » d. Grazie 26 » Gen. Diaz 25-26 » Serristori 26 » Torrigiani 25-26 Mercato Central© 11 Mercato Nuovo 18 Monte del Paschi 18 Monumento a Dante . 26 Municipio. (Palazzo Vecchio) 18-25 Musel (Museums): — Archeologico (Pa- lazzo Crocetta) 12 -r- del Castagno 11 — d. Pietre Dure 12 — d. Opera d. Duomo 19 — dell'Opera di S. Croce 26 — di S. Marco 12 — Nazionale (Bar- gello) 19 Or San Michele 18 Ospedall (Hospitals): — Innocent! (degli) 32 — MaterriitA (della) 12 — S. Maria Nuova 19 Palazzl (Palacesy. — Acciaioli 18-25 — Alamanni 26 — Alberti 26 — Albizi 19 — Alessandri 19 — Altoviti 19 — Antinori 18 — Arcivescovile 18 — Arte della Lana 18 — Bandinelli 11 — Bardi Serzelli 26 — Bargello (Museo Nazionale) 19 — Bartolini 18 - Berrefcti 17 — Canacci 18 — Canonici (dei) 18 — Capponi 24 — Capponi 25 — Cartelloni (dei) 11 —- Castellani 25 — Cerchi 25 — Corbizzi 19 — Corsi 18 — Corsini 24 — CorBini 26 — Corsini (Galleria) 17 — Crocetta (Museo Archeologico) .12 — Cuccoli Fiaschi 19 — da Dlaco^o 26 — Da Montauto 11 — Davanzati 25 — Fenzi 11 — Fenzi 18 —■ Gerini 12 —Giacomi 17-1S — Gianfiliazzi (d.) 18 — Ginori 11 (Continuation).PROPR. DEL T.C.I.- RIPROD.VIET. PARTE CENTRALE D I FIRE NZE Seala di 1 ■ 8 OOO 377 R.fstiluto di ii Superiori SS.AimuiiiWHt ^.itttKST % J Tramvie Acoaxlenua di BeJleArti ■V Pal: /(rorotUi isQjH'cheolAg.) i\fercato " .eentrale (irifbni Museo f >ietreJDj .Pal.Oinori Mont.auto N Bibliot.. p.' 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C»po Csrhograft) P.C0RBELLIN1Palazzi (Palaces): Piazze (Squares)^ Vie (Streets): — Gondi 18 — S* Maria Nuova 19 — Costa S. Giorgio — Grifoni 12 — Santa Trlnita 18 (della) 25 Giiadagni 19 — SS. Annunz. (d.) 12 — Fatmza 11 —' Guicciardini .24 — Signoria(della) 18-25 Fibbiai (d.) 12 — Larderel 18 — Strozzi 18 , — Ghibellina 19 — Medici o Riccardi — Uffizi (degli) 25 — Giglio (del) 18 (Prefettura) — Unita Italiana — Ginori (de')' 11 11-18 (dell') 17-18 — Giudei (dei) 25 — Mozzi (dei) 25-26 — Vitt Eman. 18 — Gondi (d.) 18 —: "Niccolini 18 Pont I (Bridges): — Gori 18 — Niccolini (Butur- — alle Grazie 26 — Guelfa 11 lin) 12-19 — Santa Trinita 24 — Guicciardini 25 — Nonfinito 19 — Vecchio 25 — Lambertesca 25 — Nortumbria 17-18 Poste e Telegrafi 18 — Lamberti 18 — Orlandini 18 Prefett. (Pal. Medici e — Leoni (dei) 25 —' Panciatichi 18 Riccardi) 11-18 ___ Maggio 24 — Parte Guelfa (di) 18 Pretura 18 — Martelli (de') 18 — Pazzi (Banca di Rotonda degli Angioli — Mercatino (del) 19 Firenze) 19 12-19 — Moro (del) 17 —. Pieri 26 Stazione Centrale — Nazionale 10-11 — "JPitti(Galleria) 24-25 FF. SS. 10 — Neri (de') 25-26 — Pucci 18-19 Teatri (Theatres); — Ninna (della) 25 -; Quaratesi 19 Folies Berg£res Ocbe (delte) 18 — Rasponi 20- (Salvini) 25-20 — OriuolO (deli') 19 — Kicasoli Firidolfi 24 — Niccolini 18 — Pandolflni (de') 19 . Ridolfi 24 — Pergola (della) 19 — Panzani (de') 17-18 — Rosselli del Turco 24 — Nazionale (Politea- — Parione (del) 17-18 — Rucellai *17 ma) 11 — Pecori (de') 18 — Salviati ' 18 Verdi 19 — Pellicceria 18 — Scali 17-18 Torrl (Towers): — Pergola (della) 19 — Serristori 26 —r Amidei (d.) 25 — Pescioni (dei) 18 :— Spiiii 18-25 — Consorti (dei) 25 — Por S. Maria 1»25 — Strozzi 18 — de' Rossi 25 — Porta Rossa 18 — Strozzino 18 — Marmelli 25 — Portinari F. 19 — Torrigiani 26 — Marsili (dei) 24-25 — Proconsolo(d.) 18-19 — Ufflzi (degli) 25 Tribunale 19-26 — Pucci (de') 18 — Uguccioni 18 Vie (Streets): — Renai (dei) 26 — Vecchietti 18 — Alfani (d.) 11-12-19 _— Ricasoli 11-12-18 — Vecchio (Munici- — Alighieri Dante 18 — Roma 18 pio) 18-25 — Alloro (dell') 18 — Rondinelli 18 ' — Vita 25-26 — Anguillara (d.) 19 — San Gallo 11 Plazze (Squares) — Anselmi (d.) 18 — San Nicol6 26 — Antinori 18 — Banchi (de') 17-18 _ Sant'Antonino 11 — Davanzati 18 — Bardi (de*) 25 — SaflfEgidio 19 — Demidoff 26 — Battisti Cesare 12 — Santo Spirito 24 — Duomo (del) 18 — Belle Donne (d.) 17 — Saponai (dei) ;. 25 — Giudici (dei) 26 — Benci 26 --r- Servi (de') 12-18-19 — Madonna degli Al- — Brunelleschi 18 — Spada (della) 17 dobrandini 18 — Bufalini 19 -- Speziali (dei) 18 • — Mentana 25-26 — Calimara 18 .- Strozzi 18 — Perazzi 26 •— Calzaioli 18 - Studio (dello) 18 ■ — Pitti . 24-25 — Campidoglio 18 - Terme (delle) 18-25 San Firenze 18 — Canto de' Nelli 11 -- Tornabuoni 18 — San ^Giovanni 18 — Capponi Gino 12 -■' Tosinghi (dei) 18 S. Jac. Trafossi 26 — Castellani Cde') 2a - Tripoli 26 San Lorenzo 11-18 -r- Cavour 11-12-18 - Vacchereceia 18 San Marco 12 —■ Cerchi (dei) 18 - Vagellai (dei) 26 San Pier Magg. 19 — Cerretani (de') 18 - Vecchietti (de') IS Santa Croce 26 — Condotta 18 __ Verdi 19 ■ S. Maria Novella 17 — Conti (de') 18 Brancacci Chap. FLORENCE 36 Rte. 367 The Lungarno Soderini, beyond the Ponte alia Carraia, leads to San Frediano (PI. 17), a church with an imposing dome and a good campanile. At the end of the Lungarno is the Torrione di Santa Rosa (1824), connected by a stretch of mediaeval wall with the *Porta San Frediano, a fine old gate by Andrea Pisano (c. 1382). In the Piazza del Carmine is the church of the Carmine (PI. 23-24), a building of 1268, almost completely burned down in 1771, and rebuilt by Gius. Ruggeri; two chapels arid the sacristy were all that escaped the fire. — The *Bran- caccl Chapel, at the end of the right transept, contains the masterpiece of Masaccio, the sovereign genius and innovator whose special and marvellous achievement, the rendering of three-dimensional form (of which these frescoes are the first example), owed almost nothing to the work of his predecessors and was the inspiration of all who came after. The work is a series of frescoes, in two rows, begun by Masolino da Panicale (1424-5), continued by Masaccio (1426-7), and completed by Filippino Lippi (1484-5). Upper Row (r. tol.): Masolino, Temptation of Adam and Eve; St. Peter, accom- panied by St. John, brings Tabitha to life; Masolino and Masaccio, St. Peter heals the lame man (the figure of the lame man is Masaccio's); Masaccio, *St. Peter baptising; note the nobility of the saint, the earnest faith of the young man being baptised, and the shivering figure of the waiting candidate; Masolino, St. Peter preaching; Masaccio, *The Tribute money, the painter's masterpiece, the grandeur, simplicity, and truth of which reach their culmination in the head of the Christ; *Adam and Eve driven out of Pa- radise. A comparison of this with Masolino's painting opposite shows the advance made by Masaccio.—Lower Row: Lippi, *The Angel releasing St. Peter from prison; St. Peter and St. Paul before the proconsul; Crucifixion of St. Peter; Masaccio, St. Peter and St. John giving alms; *St. Peter, followed by St. John, heals the sick with his shadow, an intensely expressive painting; St. Peter's sol- emnity is in admirable contrast with the passionate eager- ness of the sifck people. The next, begun by Masaccio and finished by Lippi, shows *St. Peter invoking the Holy Spirit and resuscitating the emperor's nephew; Lippi, St. Peter visited by St. Paul in prison. The Gothic Sacristy contains an episcopal throne of the 14th cent.; Christ on the Cross, a 12th cent, panel; a chapel with frescoes of the Life of St. Cecilia, by Spinello Aretino; etc. The vestibule admits to the cloister, part of which is old and adorned with frescoes, and to the refectory, with a Last Supper, by Cristofano- A liori. In the Apse of the church308 Me. 36 FLORENCE Santo Spirito is the fine *Monument of Pier Soderini (d. at Rome, 1522), by Bened. da Rovezzano; and at the end of the left transept, is the sumptuous Chapel of Sant'Andrea Corsini (d. 1373), by Gherardo Silvani (1675-83), with marble reliefs by G. B. Foggini. On the other side of the Via de' Serragli is the Piazza Santo Spirito (PL 24), with the * Palazzo Guadagni, attributed to Cronaca, one of the best examples of 15th cent. Florentine dwellings, and the church of Santo Spirito (PI, 24). On the left of the bare fa£ade is the Corsini chapel, with pointed windows, and behind, the slender campanile by Baccio d'Agnolo. The "Interior is a superb creation by Brunelleschi (c. 1432-46), continued by Ant. Manetti, and completed by Salvi d'Andrea (1481). The plan is a Latin cross with nave and aisles divided by Corinthian columns, which are continued round the transepts and apse, forming a continuous arcades. The 35 elegant columns (including those of the cupola) are combined with the arches and vault- ing in a serene and rhythmic design. The beautiful W. wall was certainly designed by Brunelleschi. Around the walls are 40 semi-circular niches (numbered here from r. to 1.) with numerous works of art: 3. St. Nicholas of Tolentino, in coloured wood by Nanni Unghero, from a model by Iacopo Sansovino; 5. Coronation of the Virgin, by A. Gherardini; 8. Raphael and the Young Tobias, marble altarpiece by Giov. Baratta (1698); 11. Madonna, in wood, attributed to Donatello (usually covered); 13. Madonna and Child, with the Infant St. John, saints and donors, by Filippino Lippi (c. 1490); 15. *Sarcophagus of Neri Capponi, by Bern. Rossellino (1458); 17. Virgin with saints, by Lor. di Credi; 18. Madonna and saints, by a follower of Giotto; 21. Woman taken in adultery, by Aless. Allori; 23, 24. Annunciation and Nativity, School of Botticelli; 25. Madonna, with saints, School of Ghir- landaio; 26. *St. Monica, by Francesco Botticini; 27. *Madonna and two saints, by Cosimo Rosselli; 28. the *Marble decoration of the whole chapel is by Andrea Sansovino; 29. *The Trinity, by Giov. Graffione; 31. Madonna and saints, by Raffaellino del Garbo; 36. Madonna, St. Anne, and saints, by Ri- dolfo Ghirlandaio or Fra Bartolomeo. — Over the rich and monumental High Altar, by Caccini (1599-1609) is a wooden Crucifix, carved by Michael Angelo when he was about twenty. — After the 35th niche we enter a *Vestibule with 12 Corinthian columns against the walls, which support a barrel-vault with ornate coffers, a fine piece of work by Andrea Sansovino; and, next, the octagonal *Sacristy, by Giul. da Sangallo and Cronaca (1480-92). The Via Maggio, a little E. of Santo Spirito, runs from the Ponte Santa Trinita to the Piazza San Felice. No. 26 in this street is the house built for Bianca Cappello (p. 225) by the Grand Duke Francis I. No. 9, actually in the Piazza San Felice, is the 15th cent. Casa Guidi, celebrated by Mrs. Browning, who died here in 1861 (inscription). San Felice , (PL 24) is a Gothic church with a Renaissance fa9ade by Michelozzo (1457), and a fine doorway of the same period. The Interior has a single nave, the first half of which is occupied by a tribune supported by eight columns. — Right Side of Nave: 1st altar, Pietk, attr. to Nicola Gerini; 2nd altar, Pietk, in terracotta, by Cieco da Gambassi; 6th altar, Madonna and saints, by Rid. and Mich. Ghirlandaio. — Left Side: 7th altar, Triptych by Neri di Bicci (1467); near the 5th altar, *Christ on the Cross, afterPal. Pitti FLORENCE 36 Rte. 369 Giotto; 1st altar, Triptych by an unknown pupil of Botticelli called ' Amico di Sandro \ — Apply to the sacristan for permission to visit the Oratorio dei Bini (entrance, Via Romana, between Nos. 6 and 8), where are a Virgin by Rossello Franchi and two pictures after Filippino Lippi. The Via Romana leads hence to the Porta Romana (PL 30), a massive gate-tower of 1326. No. 19 is the Museo di Fisica e Storia Naturale, or Museum of Natural Science (adm. 10-3, Tues., Thurs., and Sat.; free), containing on the 1st floor an interesting historical collection of scientific instruments, on the 2nd floor the natural history exhibits. — In the other direction the Via Romana leads to the Piazza Pitti, No. 16 in which was the house of Paolo dal Pozzo Toscanelli (1397-1482), who was the greatest geographer of his time and conceived the project realised by Columbus. On the right is the colossal * Palazzo Pitti (PI. 24-25), a plain but majestic edifice begun by Brunelleschi (c. 1440) for Luca Pitti, a wealthy merchant, and continued by Luca Fancelli until 1465. An addition made in the 17th and 18th cent, continues Brunelleschi's design, with its bold rustication. No palace in the world combines grandeur and simplicity with so stupendous an effect. The central door admits to the imposing Atrium, by Pasquale Poccianti (c. 1850), and to the baroque Court, by Ammannati (1558-70), the fourth side of which is formed by a terrace, with the Fontana del Carciofo, or Artichoke Fountain, by Susini and Fr. Ferrucci, jun,, and beneath it the Grotto del Most with a fountain-basin and statuary. — On the right is a staircase leading to the Royal Apartments (open on Sun. and Thurs., 10-4). On the first landing of the Grand Staircase is the Genius of the Medici,: a bronze by Giambologna. The most notable of the apartments are the Ball Room, from a design by G. M. Paoletti, the Sala di Bona, with fresco decorations by Poccetti, the Sala delle Nicchie, decorated by G. M. Terreni, and the Sale di RappresEntanza, or reception rooms, with tapestries, furniture, oriental porcelain, bronzes, etc. On the 2nd floor is the Galleria Moderna, now in course of re-arrangement. Under the portico at the left hand corner of the palace is the entrance to the celebrated * Galleria Pitti, a series of magnificently decorated apartments containing some 500 pictures, nearly all masterpieces of the 16-17th cent., which make up one of the most splendid art collections in the world (adm. 10-4, 3 1.; Sun. and holidays, 9-1, free). By the Grand Staircase, a fine piece of work in the style of Brunelleschi, by the Florentine Luigi del Moro (1895- 97), we ascend to the Vestibule, which has a coffered ceiling by the same artist. Opposite is a small room in which is the end of the passage connecting the Uffxzi . and Pitti galleries (cpmp. p. 336). Some pictures of the Venetian school have been hung here temporarily. —To the left is — Room I (Sala delVIliade; ceiling by L. and Fr. Saba- telli), in the middle of which is a marble figure of Charity, 12370 Rte. 36 FLORENCE Pitti by Lor. Bartolini. To the left: 391. Pourbus, Eleonora of Mantua; 223. Joos van Cleef the Younger or Bernard van Orley, Portrait of a man; 229. Raphael, Pregnant woman (c. 1505); *225. And. del Sarto, Assumption (1526); 194. Paris Bordone, St. George; 224. Rid. Ghirlandaio, Portrait of a woman; *Barocci, Francesco Maria II; *215. Titian, Nobleman; 261. 251. Barocci, Annunciation (in two parts); Artemisia Gentileschi, St. Mary Magdalen; 200. Titian, Philip II of Spain; 234. Guercino, Susanna; 398. A. Gent- ileschi, Judith; *195. Veronese School of the 15th cent., Gui- dobaldo da Montefeltro; *191. A. del Sarto, Assumption (unfinished); 187. F. Pourbus the Younger, Eleonora de' Me- dici; Sustermans, *190, etc., Count Valdemar Christian, and other portraits; 814. Paul Veronese, Baptism of Christ; Fr. Bassano the Younger, Christ on the Mount of Olives; *243. Velasquez, Philip IV of Spain; 450. lac. Bassano, Pastoral; 236. Fr. Bassano the Younger, Good Samaritan; 176. Domenichino, St. Mary Magdalen; 476. A. del Sarto, Madonna and Child. Room II (Sala di Saturno; painted *Ceiling by Pietro da Cortona), the first of a very remarkable series, comp. p. 371. Works by Raphael: *178. Madonna del Granduca (c. 1506), in which the enchanting innocence and tender melancholy of the Virgin's expression should be noted, 171. Tomaso Inghirami (old copy; the original is in Boston), *165. Ma- donna del Baldacchino (finished by Giulio Romano), 61. Angelo Doni (weak in characterisation as compared with the later portraits), 59. Maddalena Doni, in the pose of Leo- nardo's Gioconda, *151. Madonna della Seggiola (or ' della Sedia '; c. 1512), his most popular work, full of plastic vigour, warm colour, feeling, and harmony, 158. Cardinal Dovizi da Bibbiena (old copy of the original now at Madrid), *174. Vision of Ezekiel (only the drawing is Raphael's).— Andrea del Sarto: *172. Disputation on the Trinity, a very happy composition (the lower part damaged in a flood), 165. Annunciation; Perugino, *164. Descent from the Cross (1495), which has more unity of design than most of his works, *42!. St. Mary Magdalen, notable for its chiaro- scuro, colour, and mysticism. Other pictures (1. to r.) are; 168. Guercino, St. Peter; 166. Ann. Carracci, Head of a man; 169. Puligo, Holy Family; 170. Dom. Campagnola, Adam and Eve; *159. Fra Bartolomeo, Risen Christ appear- ing to the Disciples (1516); 167. Giulio Romano, Apollo and the Muses; 181. Salvator Rosa, Poet; Carlo Dolci, 155. The Holy Rose, 154. Infant St. John asleep, 213.Gallery FLORENCE 36 Rte. 371 Moses; Guercino, 156. Virgin with the sparrow; 490. St. Sebastian; Giov. da San Giovanni, Madonna and Child. Room III (Sala di Giove, ceiling by Pietro da Cortona). From the left: 141. Rubens, Nymphs assailed by satyrs; 175. Albani, Holy Family; *272. A. del Sarto, St. John the Baptist (1523), a masterpiece of modelling and delicacy; *64. Fra Bartolomeo, Descent from the Cross, extremely fine in colour and feeling; .173. Albani, Christ appearing to Mary Magdalen; 113. Rosso Fiorentino, The Fates; *131. Tintoretto, Vincenzo Zeno, a superb portrait; *125. Fra Bartolomeo, St. Mark; A. del Sarto, *124. Annunciation (1511), enchanting in its grace (the Madonna is the portrait of Lucrezia del Fede, the painters wife), 123. Madonna and saints (unfinished); *118. Portrait of himself and his wife (c. 1517; perhaps the inspiration of Browning's poem); 114. Lelio Orsi, The Manger; *254. Raphael, Veiled Woman (Donna Velata), now considered to be the true portrait of La Fornarina; 109. Paris Bordone, Portrait of a woman; *110. Venetian School, Three Ages of Man (formerly attri- buted to Giorgione, Morto da Feltre, or Lor. Lotto); 428. Fr. Furini, Allegory; *230. Parmigianino, The ' Madonna with the long neck *18. Titian, La Bella. Room IV (Sala di Marie; ceiling by P. da Cortona). 95. Cigoli, Sacrifice of Abraham; *85. Rubens, Four philo- sophers (soon after 1611); 91. C. Dolci, St. Peter weeping; Rubens, *86. Consequences of War (1638), full of colour and vitality, and profound in conception, *93. St. Francis, a youthful work; *94. Raphael, Madonna dellTmpruneta (1514), executed by one of his assistants; 78. Guido Reni, St. Peter weeping; 235. Rubens, Holy Family; 81. A. del Sarto, Holy Family; *82. Van Dyck, Cardinal Bentivoglio (4.623), very effective and extraordinarily skilful in tech- nique; 6. Bart. Manfredi, Fortune teller; 83. Tintoretto, Luigi Cornaro; 104. Luca Giordano, Immaculate Conception; *1'55. Titian, Concert (c. 1518; formerly attributed to Gior- gione); the head of the Augustinian monk, who is lost in ecstasy at the music, is incomparably expressive; 100. Guido Reni, Rebecca at the well; *381. Giampetrino, St. Catherine. Room V (Sala di Apollo; gelling by P. da Cortona and Ciifo Ferri). *63. Murillo, Madonna and Child, one of his best works; 58. A. del Sarto, Descent from the Cross (1523); 57. Raphael, Virgin of the Lizard (copy by Giulio Romano of the picture now at Madrid); 56. Murillo, Virgin of the Rosary; 48. Simone Cantarini, St. Andrew; 55. Barocci, Federigo, Prince of Urbino; 407. Paris Bordone, Portrait of§n kte. 36 FLORENCE Piiti Gallery a man; *47. Guido Reni, Bacchus; 237. Rosso Fiorentino, Madonna and saints; 50. Guercino, St. Paul raising Tabitha; *46. Sustermans, Vittoria della Rovere, as the Vestal Tuccia; *375. Mantegna, Portrait of a Gonzaga, very strongly drawn; *207. Rid. Ghirlandaio, Goldsmith; *370. Piero del Pol- laiolo (attr. to), Head of St. Jerome, vigorous drawing; 198. Flemish School, Portrait of a man; *40. Raphael, Leo X, with the cardinals Giulio de' Medici (afterwards Cle- ment VII) and Luigi de' Rossi (1518); immense in power and truth of character-drawing; 38. Palma Vecchio, Sup- per at Emmaus; 150. After Van Dyck, Charles I and his wife Henrietta Maria; 73. Spagnoletto, St. Francis; 65. A. del Sarto, Portrait of himself; *67. Titian, St. Mary Magdalen (c. 1530), a splendid figure, rich and warm in colouring. Room VI (Sala di Venere; ceiling by P. da Cortona). 15. Salvator Rosa, Sea piece; 380. Dosso Dossi, St. John the Baptist; 183. Caravaggio, Sleeping Cupid; 13. Matteo Rosselli, Triumph of David; *14. Rubens, Return from work, a large landscape; 8. Guercino, Apollo and Marsyas; 9. Rubens, Ulysses in the Isle of the Phseacians, large land- scape; *4. Salvator Rosa, Sea-piece, with a beautiful effect of golden light; 70. Raphael, Julius II (copy by a Venetian artist of the portrait in the Uf&zi, p. 334); 298, 295. Suster- mans, Portraits; 2. Salvator Rosa, Falsehood; 29. Guercino, St. Joseph; 24. Guido Reni, Old man; *92. Titian, Nobleman, called the Duke of Norfolk. In the middle of the room, a *Standard, by Sodoma, with a well-known and striking figure of St. Sebastian, and the Virgin in glory, with St. Roch and St. Sigismund.—We return to Room III, in order to reach — Room VII (Sala di Prometeo). 257. School of Botti- celli, Holy Family; 359. Dom. Beccafumi, Holy Family; 355. Luca Signorelli, Holy Family; 353. School of Botticelli, 'La Bella Simonetta ' (comp. p. 332); 347. Fr. Botticini, Adoration of the Infant Christ; *348. School of Botticelli, Madonna and Child, with angels; *343. Filippo Lippi, Ma- donna and Child, a charming tondo; *345. Fr. Granacci, Holy Family; 427. Franciabigio, Calumny of Apelles; Fra Bartolomeo, *256. Holy Family, 377. Ecce Homo; 336. Filippino Lippi (attr. to), Allegory; 384. Attributed to Er- cole da Ferrara or Piero del Pollaiolo, St. Sebastian; *219. Perugino, Adoration of the Child; 399. Salviati, Patience; *491. Florentine School of the 16th cent., Portrait of a man. —-On the right is the Galleria Poccetti (R. VIII), with 453. Salvator Rosa, Peace burning weapons. On the left is a series of rooms which temporarily houseGIARD1N0 Picture Gallery. — A. Grand|Staircase. — B. Vestibule. 4. Saia di — C. Entrance to the Passage leading to the Uffizi. — D. Ter- ments (6. araees. — E. Poccianti Staircase. —: F. Artichoke Fountain. — 10-14. I. Sala dell'Iliade. — II. Sala di Saturno. — III. Sala di Giove. — IV. Sala di Marte, — V. Sala di Apollo. — VI. Sala di Venere. — VII. Sala di Prometeo. — VIII. Gal- leria Poccetti. — IX. Corridoio delle Colonne. —■ X. Sala della Giustizia — XI. Sala di Flora. — XII. Sala dei Putti. — XIII. Sala di ■ ' " Ulisse. — XIV. Bath- room. — XV, Sala del- l'Educazione di Giove. — XVI. Sala della Stufa. Royal Apartments. — 1. Vestibule. — 2. En- trance HalL — 3. Ball Room or Stucco Room. — Bona. — 5. Tapestry Rooms. — 6-9. King's Apart- Ante-room; 7. Red Room; 8. Study; 9. Bedroom). Queen's Apartments (10. Parrot Room; 11. Yellow Room; 12. Bedroom; 13. Dressing-room; 14. Study and Music Room). — 15. Cha- pel. — 16. Sala Celeste. — 17. Throne 00SOLI Room. — 18. Green Room. — 19. Sala delle Nicchie. — 20. Sculpture Gallery. — 21-27. Crown Prince's Apartments or Quartiere del Volterrano (21. Sala del Volterrano; 22. Sala delle Belle Arti; 23. Salone d'Ercole; 24. Sala dell'Auro- ra 25. Sala di Tito; 26. Sala di Psiche; 27. Bathroom and Vestibule). — 28. Sala dell*Area. — 29. Chapel of the Relics. — 30. Music Room or Salone dei Tamburi. «wrt 27112S CORTILE Xlll! VII . rmrrn, rrn ,rr „ A Z. Z^A PALAZZO PITTI (ist floor) 374 Rte. 36 FLORENCE Pitti Gallery the celebrated collection of Portraits of Painters by themselves (Autoritratti). The more important of these are: Raphael, Bernini, Tintoretto, Luca Giordano, Salvator Rosa, Guercino, P. Benvenuti, G. Bezzuoli, L. Sabatelli, Ant. Ca- nova, Fr. Hayez, Fil. Palizzi, Dom. Morelli, Bern. Celen- tano, William Hogarth, Joshua Reynolds, Albert Diirer (? a copy), Hans Holbein, the Younger, Angelica Kauff- mann, Velasquez, Ribera, Mme Vigee-Le Brun, Largilliere, Jacques Callot, Van Dyck, Rubens (two), and Rembrandt. Among recent British and American painters honoured by admission are Alma Tadema, Walter Crane, Alf. East, Herkomer, Holman Hunt, Leigh ton, Millais, Orchardson, Richmond, Sargent, and Watts. We now return to the Sala di Prometeo, and pass through the Corridoio delle Colonne (R. IX; miniatures) into Room X (Sala della Giustizia): *409. Seb. del Piombo, Baccio Valori; *3. Tintoretto, Venus, Vulcan, and Cupid, a youthful work; Bonifazio Veronese, 405. Disputation in the Temple, 222. Portrait of a woman, 101, Finding of Moses, *89. Repose in Egypt, 84. Holy Family; 128, 121. G. B. Moroni, Portraits; 339, 65. Tintoretto, Portraits; *54. Titian, Pietro Aretino, a marvellous piece of portraiture; *147. Dosso Dossi, Nymph pursued by a satyr, especially fine in colour. Room XI (Sala di Flora). In the middle, * Venus Italica, by Canova; *62. A. del Sarto, Holy Family; 638. Tintoretto, Iacopo Sansovino; 426. Fr. Furini, Adam and Eve; *622. Giorgione, Knight of Malta, a portrait which conveys a good idea of the artist's power; 631. Giov. Bellini, Holy Family; 88, 87. A. del Sarto, Life of Joseph; on an easel, *C. Dolci, St. Mary Magdalen. Room XII (Sala dei Putti). 451. Rachel Ruysch, Flowers and fruit; 400. Hondecoeter, Cocks; 468, 466, 464. Willem van Aelst, Still Life; Canaletto, The Rialto and Doges'Palace, Venice; 462. Jan van Huysum, Flowers; C. And. Ruthart, Stag pulled down by wild beasts. Returning once more to the Sala di Prometeo, we turn to the right into Room XIII (Sala di XJlisse). Titian. *228. The Saviour, *201. Card. Ippolito de' Medici in Hungarian costume; 139. Rubens, Holy Family; 411. /. Both, Landscape; 297. Salvator Rosa, Temptation of St. Anthony; 80. Titian, Vesalius; 216. Paolo Veronese, Daniele Barbaro; 301. Sal- viati, Portrait of a man (also numerous other portraits).— R. XIV (Saletta da Bagno) is in the Empire style. — Room XV (Sala dell'Educazione di Giove). *257. Bonifazio, Sibyl an- nouncing to Augustus the coming of the Redeemer; Carlo Dolci, 266, Martyrdom of St, Andrew, 4Q6, St, Dominic;Boboli Garden FLORENCE 36 Rte. 375 *96. Crist. Allori, Judith, his best work (Holofernes is his own portrait, Judith that of his wife, and the maid that of his wife's mother); *270. Guido Reni, Cleopatra; 248. School of Tintoretto, Descent from the Cross; 249. Pontormo, Francesco da Castiglione; 246. Boccaccio Boccaccino, Gipsy girl. — Room XVI, called the Sala delta Stufa, or ' Stove Room,' on account of its continual warmth, contains paint- ings by Volterrano: 107. Love sleeping, 105. Venal Love, 137. 'Una burla del piovano Arlotto' (the parson's jest), formerly attributed to Giov. da San Giovanni. Leaving the gallery we turn to the right and enter the *B6boli Garden (PI. 25-31), a beautiful and typical Italian garden laid out for Cosimo I by Tribolo (1550) on a delightful hillside. As we enter we see facing us the Grotto del Buontalenti, consisting of four chambers decorated with paintings, and containing a fountain with a Venus by Giambologna. We ascend (r.) the gently sloping avenue of ilexes, between Roman statues on either side, and, passing the Grotto del Menaboni, reach the first of the terraces. On the right is Ammannati's court with the Artichoke Fountain (p. 369); on the left the * Amphitheatre, surrounded by 6 tiers of seats; in the centre are (view of Florence) a large antique basin and an obelisk from Thebes. We ascend the farther slope ; on the first platform are antique statues, among them a fine Ceres; on the second platform, a large fountain-basin, the Lake of Neptune, in the middle of which is an island with a bronze figure of Neptune by Stoldo Lorenzi (1565). We next make a short detour to the left, through romantic winding alleys overshadowed by ilexes, and reach the Casino, or Coffee-House, near some immense cypresses (view of Florence and Fiesole). On the last platform is a colossal figure of Abundance, by Giambologna and Tacca. Still ascending we pass, on the left, an 18th cent, pavilion and two flights of steps leading to the Giardino del Cavaliere, or Knight's Garden, with the Monkey Fountain, by Tacca, on the promenade of the bastion constructed by Michael Angelo (view of the Certosa and Monte Olive to). Redescending we take the flight of steps (1.) between the seated Muses and soon reach the Prato dell' Uccelliera, or Aviary, enclosed by cypresses and ilexes. On the left is a surprising view of the Viottolone, a straight alley which descends steeply between dark walls of laurel, cypress, ilex, and pine, to end in a smiling garden. On each side of the Viottolone and in the branching alleys are antique statues, and 17th cent, groups. At the bottom we find ourselves in the Piazxale del- Vlsolotto, an open space bordered with high espaliers of ilex; a circular moat surrounds an island with a gay garden and Giambologna's Fountain of Oceanus (p. 388). An alley on the right leads to the Royal Stables. Beyond the Isolotto, we take the Viottolone once more, following it round a meadow encircled with plane trees to a place where several paths meet. Returning, we keep to the left along an alley with high hedges and statuary, pass the Orangery, and turning again to the left by a little 18th cent, villa, emerge at the Annalena gate, near the Porta Roman a. From the Piazza Pitti the Via Guicciardini (PI. 25) leads to the Ponte Vecchio passing (No. 17) the Palazzo Guicciar- dini, birthplace of the Florentine historian (p. 321), and (No. 16), the Casa Campigli, in which Machiavelli (p. 321) lived and died. On the right, in the piazzetta named after it, is the church of Santa Felicita (PI. 25), last rebuilt by376 Rte. 36 FLORENCE S. Felicita Ferd. Ruggieri in 1736. In the portico is the tomb of Card. Rossi (d. 1518) by Raffaello da Montelupo; in the 4th S. chapel, Martyrdom of the Maccabees, by Ant. Ciseri (1863); in the sacristy by Michelozzo (1470) is a polyptych by Taddeo Gaddi, and St. Felicity and her seven children, by Neri di Bicci. — From the Piazza dei Rossi (r.) we begin the ascent of the Costa San Giorgio. On the right is the church of Santi Gior- gio & Massimiliano, with a 17th cent, interior and a paint- ing of St. Romuald, by Passignano, over the 2nd N. altar. As we ascend a good view of Florence and Fiesole opens on the left; on the right (No. 11) is the House of Galileo, and farther up the Forte di San Giorgio (PL 32), the former For- tezza di Santa Maria del Belvedere, built by Bern. Buontalenti (1590). The *Porta a San Giorgio (1324), in fairly good preservation, has a fresco by Bicci di Lorenzo. Beyond it the lonely and romantic Via di Belvedere descends steeply to the 14th cent. Porta di San Miniato, by which we re- enter the city. San Niccolo sopr'Arno (PI. 26), to the left, a 14th cent, church, contains, in its sacristy, a beautiful fresco (Madonna della Ci'ntola) by Alessio Baldovinetti beneath a little shrine in the style of Michelozzo. At the end of the Via San Niccolo (r.) is the *Porta a San Niccolo (PI. 27), a massive gateway of 1324 (view) at the foot of a flight of steps mounting to the Piazzale Michelangelo (p. 377). Hence a pleasant return may be made via the Lungarno Serristori, passing the Palazzo Serristori (1515), the home of the traitor Baglioni (p. 319). At the Piazza Demidoff we turn uphill alongside San Niccol6 to reach the Via San Niccol6, which we descend to the right between fine old palaces. No, 95, the Pal. Strozzi-Ridolfi, has a fine 14-15th cent, courtyard. On the left, where the street widens into the Piazza dei Mozzi are three 13th cent, palazzi of the Mozzi family. In the piazza are the Pal. Bardini (No. 1; r), and the Palazzi Torrigiani (Nos. 5 and 6; 1). The line of palaces is continued in the Via de' Bardi (named after the family of which George Eliot's ' Romola' was a member). On the right, next to No. 18, is the church 6l Santa Lucia dei Magnoli (PI. 25), with a terracotta by Bened. Buglioni in the lunette over the door, and within (1st S. altar), St. Lucia, by P. Lorenzetti, also an Annunciation attr. to lac. del Sellaio, In the last part of the street are some characteristic mediaeval dwellings. ENVIRONS OF FLORENCE. No city surpasses Florence in the number of beautiful excursions afforded by the surrounding country. The simple charm of the neighbouring villages is a fitting pendant to the gracious dignity of the town; and while it is preferablePROPR. DEL T.C.I.-RIPROD. VIET- Faenza Pistoia BjJAU'As se ' Berr" . del Romito As iloMortuario >mito empio Russo ' TEul. Fortezza da Basso ij^Cimitero ^ /-d'' Sc&nM" t.: v.CX<;s ^Tu+r6\at3iS&- PaLCrocetta ct - ^-A^mziaiA \^(|We0 ArcheoL) Ospedale \ <*t, - Pal.. < >(LMaternita Gel-mi A <>• x!> > • Lm" J* .— > :c*Jb • Scuole *. Affres Jj Medico Chirurg. ^ d.Perugi Ospedale ^ S5M S.MariaNnova^ - . / u Teairo ^ Mnseo O&PergolR <• & d«S -,■ Xovel r'cCar&wiL Battistero >-+ SiFranc. -«* ^^d-Vanchetonj/ *§ <> DgqissantLc^ cl G.OKgrdan ^ ' oitv / one Cj S.Maria ti alPignon * ops 1; orgo (CAtivzi I J tV. He.''PandalftrcL $ Off. del Gas Zentrc M.UIivefo o fpzav £ Ghxberti tMercato) . IgiMighit '' Baiiia r, T V.CcmxCotr a L =?- p, faio Pz.a defla S.Fii oco^jBignoria y —Moccoli ^ lstibito Saiesiano Uffiri P" 4 S.Spirdto & > i" ?r k* t, Tvoiv, ^ A ^ •?* P av ? lastr. / \ _ - v > Vs Militare/ > ^ " 4? ^ ^ # • ' a 2i r/ • / ■■■S&Tt.' ^ Pal. tV KJMuseo .... 4Fermri ^ ^fei„..- ••■•,:■■: Cas^; Prdnc. ) dTNapoli. CasnIa>CQ S.Giorgio ^ ( -Poggi :as.NiQpoio.*r Bellosguardo Y^l 'OmbreUzno ^oS.Giorcjio Ricorboli '*°V^Buti V^Nobili r". • Romana , Vi _ ' v\* * ^onfe V SiMiniaLo ^affe Croci V^Medud Y^Bokolinx) Vf-Rangoni il Gioiello, -11-12 32 26 4 24 24 11 >-11-12 19 24 11 >-1j0-17 14-21 30 24-30 5-18-19 34-35 17 9-16 17 1-2 24 25 18 11 11 l.S-25 27 16 18 24 1 18 26-27 19 10 6 15 13-14 18 5-12 11 4-5 19 21 17 19 23 25-26 85 31-32 33 34 84-35 29 34-35 29-30 35 22 85 29 33 30 33 34 22 FIRENZE. Caserma 27 Forte di Belvedere o S J. Caserma Principe di Na- Giorgio 32 poli 27 Fortezza da Basso 3 Caserma Principe Euge- Garage Fiat 10 nio di Savoia 10-11 Garage Nagliati 16-17 Caserma San Giorgio 25 Giardini (Gardens): Caserma Vittorio Eman. 9 -10 — della Gherardesca 13 Casino Midiceo 11 -12 — di Boboli (R.) Centrale llettrica 20 24-25-31-32 Chalet \ 8 — Torrigiani Gioiello (il) 23-30 Chiese (\jhurches): 32 — Duomol 18 Giuoco del Pallone 8 —■ Moccolf 21-28 Granaio di Cosimo III 16 — Ognissinti 17 Intendenza di Finanza 11 — San Felice 24 Ippodromo 8 — San Francesco dei Van- 1 stituti (Institutes): chetyni 17 ■— di Stud! Superior! -— San Frediano in Ce- (R.) 12 stello 17 — Salesiano 28 — San G&etano 18 Loggia dei Lanzi 25 — San Giovannino dei Lungarno Acciaioli 25 Cavalieri 12 % Corsini 17 — San Giuseppe 27 » Gen. Diaz 25-26 — San Jacopino 2 » Grazie (delle) 26 — San Leonardo 32 » Guicciardini 24 — San Lorenzo 18 » Serristori 26 — San Miniato al Monte 34 » Soderini 16-17 — San Niccold 26 » Tempio (del) 28 — San Pancrazio 17 » Torrigiani 25-26 — San Paolino 17 » Vespucci 15-16-17 — San Salvatore al Monte 34 » Zecca Vecchia — Santa Croce 26 26-27 — Santa Felicita 25 Mereato (p. Ghiberti) 20 — Sant'Agata 5 Mercato Centrale 11 — Santa Maddalena dei Mereato Nuovo 18 Pazzi 19-20 Monte alle Croci 34 — Santa Maria al Pi- Monte Uliveto 15 gnone 15 Muse! (Museums): — Santa Maria del Car- — Archeologico (Palazzo mine 23 Crocetta) 12 — Santa Maria della Con — dell'Opera del Duomo 19 cezione 4 — di Fisica e Storia na- — Santa Maria Novella 17 turale 24-31 — Sant'Ambrogio 20 — DuprG 13 — Sant'Apollonia 11 — San Marco 12 — Santa Teresa 20 Officina del Gas 16 — Santa Trlnita 17 Officina Idraulica 27 — Santi Giorgio e Ma- Or San Michele 18 miliano 25 Orto Botanico 12 — Santissima Annunzia- Ospedall (Hospitals): ta 12 — di Boniracio 5 — Santo Spirito 24 — Maternita 12 — San Vito a Bello- — Mayer 6 sguardo 22 — Militare 5 Chiostro dello Scalzo 12 — Militare 15 Ciclodromo 8 — Orbatello (dell') 12-19 Cimitero degli Inglesi 13 — Santa Maria Nuova 19 Cimitero della Misericor- — Vespucci 17 dia 13 Palazzi (Palaces): Cimitero Israelitico (ab- — Amerighi 24 band.) 23 — Arte della Lana 18 Comando Militare 11 -12 — Capponi 12 Convento delle Stimatine 33 — Cesaroni 9-10 Convento di S. Verdia- — Corsi 18 na 29 — Corsini 9 Corso 18 — Corsini 17 Corso Regina Elena 9 -16 — Cricetta (Museo Ar- Deposito ^ del Tramvay i 6-7 cheologico) 12 Distretto Militare 24 — di Giustizia 11-12 Dogana (R.) 10 — Favard 16 Esposizione di Arte Mo- — Feroni 24 demla 5 — Gerini 12 Ferrovie dello Stato (Di- — Ginori Venturi 9 rez. Gener.) 13 — Guadagni 24 Fiume Arho — Medici o Riccardi 8-15-lf17-24-25-26-27-28 (Prefettura) 11 Forbici (Le) 7 — Mozzi (d.) 25-26 Palazzi (Palaces) : — Nonfinito ; 19 — Panciatichi Ximenes 13 -— Pandolfini 5-12 —- Pitti (Gallerii) 24-25 — Pucci 18-10 — Sonnino 9 — Strozzi 18 — Strozzi Ridolfl 10 — Ufflzi (degli) 25 — Vecchio 18-2S Parterre 5 Piazzale Michelaqgiolo 33-34 Eman. 8 20-21 23-24 5 16-17 20 13 18 27-28-34-35 20 17 Piazzale Vittorio Pfazze (Squared): — Beccaria — Carmine — Oavour (Port*. S. Gallo) ■— Cestello — D'Azeglio <— Donatello — Duomo — Ferrucci -— Ghiberti (Mereato) — Goldoni — Indipendenza 4-11 — Manin 17 — Mentana 25-26 — Nerli (d.) 16-23 — Oberdan 21 — Pitti I 24 — Poggi 26-27 -— Rinuccini 24 — San Firenze 18-19 — San Giovanni 18 — San Jacopino 2 — San Marco 12 — Santa Croce 26 — Santa Maria fovella 17 — Santissima Annunziata 12 Santo Spirito — Savonarola — Signoria (dellja) — Stazione — Torino — Ufflzi (d.) — Unit* Italian! 24 6 18 10 12-13 25 10-11-17-18 6 —- Vasari — Vittorio Emaauele (Centro) — Vittorio Veneto Pignone Politeama Fiorentino (ex Vittorio En tan.) Politeama Nazioi iale Pontl (Bridges) j — alia Carraia — All'Asse — alle Grazie | — del Romito | — di Ferro | — Santa Trlnita — Sospeso — Vecchio Porte (Gates): — Romana — San Frediano — San Gallo (Piazza Cavour) — San Giorgio , — San Miniato ? — San Niccold 1 Poste Telegrafi. «RR.) Prefettura (Palazzo Me- dici o Riccardi) 16 10-11 17 2 26 3 27-28 24 8-15 25 30 16 5 32 26-33 26-27 18 11 Ricorboli 35 San Jacopino 1-2 Scuderie Reali 31 Scuola di Sanitft, Militare 12 Scuola di Scienze soc. 12 Scuole Medico-Ohirurg. 19 Serbatoio di Carraia 32-33 Stazlonl (Railway-Stat.): — Campo di Marte FF. SS. 14 — Centrale FF. SS. 10 Tempio Ebraico 20 Tempio Inglese 9 Tempio Russo 4 Teatri (Theatres): — Alfieri 19 — Alhambra 20 — Folies Bergeres (Sal- vini) 25-26 — Goldoni 24 — Pergola 19 — Salvini (Folies Ber- geres) 25-26 — Verdi 19 Tribunaie 19 Vasca (La) 4 Viali (Alleys)'. — Belfiore 2-9 —• Bisarno 28 — Carlo Alberto 20-27 — del Mille 6-7 — della Regina 8 — del Re 8 — Duca di Genova 20-27 — Galileo 38-34 —- Machiavelli 30-31 — Mazzini 14-21 — Michelangiolo 34-35 — Milton 4-5 — Petrarca 23-30 — Principe Amedeo 5-6-13 — Principe Eugenio 13-20 — Redi 2 — Regina Margherita 4-5 — Regina Vittoria 5-6 — Re Umberto 9-10 — Segni 13-14 — Strozzi 3-4-10 — Volta 6-7 Vie (Streets): — Agnolo (dell') 19-20 — Alamanni 10 — Albero (d.) 17 — Alfani (d.) 12-19 — Alfieri 13 — Alighieri D. 18 — Alloro (d.) 18 — Ammirato 21 — Anconella (d.) 16 — Anguillara (d.) 19-26 — Ardiglione (d.) 24 — Ariento (dell*) 11 — Arnolfo 98 — Artisti 6-13 — Banchi (de') 17-18 — Barbano (di) 4-11 — Bard! (de') 25-26 — Bastion! (dei) 27-34-35 — Battisti C. 12 — Belle Donne 17-18 — Bellini 1 — Bellosguardo 22 — Belvedere (di) 32-33 — Benci (de') 26 — Benivieni 6 — Bixio 7 — Borgo Allegri 19-20-26 Vie (Streets): 16-17 J fie (Streets): — Borgognisaanti 4- Lane (d.) 6 — Borgo Pinti 13-19 — Laura 12 — Bovio 21 — Leonardo da Vinci 5-6 — Bufalini 19 —f— Leone (d.) 16-23 — Buonarroti 19 _4_ Leone X 4 — Buonvicini - 6 Leoni (d.) 18-25 — Caldaie (d.) 24 Leopardi 20 '— Calliano 1-2 i— Lorenzo il Magnifico 4-5 —- Calzaioli 18 Lull! 1 __ Camaldoli (di) 23 4- Lungo le Mura 16-23 — Campo d'Arrigo 7-14 r~ Lupi 4-5 — Campuccio 23-24 ,r- Macci (de') 20-27 —; Capo di Mondo 14-21 f- Madonna della Tosse 5-6 — Capponi 12 ■I-- Maffla 24 — Carducci 20 Magenta 9-16 — Carra (d.) 2 r Maggio 24 — Casine (delle) 27 ■:JS tr- Magliabechi 26 Casone 23-30 Malcontent! (de') 26-27 — Cassia 2 Manzoni 20 — Castellan! (de') 25 Maragliano 1-2 — Cavallotti 15 Marchetti 7 — Cavour 5 -11-12 Martelli (de') 18 —. Cenacolo (d.) 21 i- Masaccio 6-13-14-21 — Cennini 10 - Mattonaia (della) 20 — Cerchi (de') 18 :T~~ Mazzetta 24 — Cerretani (de') 18 Melarancio 18 — Cherubini 5-12 Mcnotti 21 — Chiara 11 *■— Mercatino 19 — Chiesa (della) 23-24 'L_ Michel! 12 —, Cimabue 21-28 Mirandola 6 — Cimarosa 2 — Modena 5-12 — Cittadella 2-9 .— Monaco 2-10 — Collejta 20-21 Montebello 1 M6-17 — Colonna (d.) 12-20 — Moro (d.) 17 — Conce (d.) 20-27 — Nardi 13-14 Condotta 18 :— Nazionale 10-11 — Costa San Giorgio 25-32 — Neri (de') 25-26 — Curtatone 16 .— Niccolini 20 — Da Castagna 6-7-14 — Oche 18 —■ da Diacceto J. 9-10 — Orgagna 21-28 — Delia Robbia (dei) Oriuolo (dell') 19 6-13-14 — Orti Oricellari 10 — di Mezzo 19-20 — Orto (dell') 23 .— Dolfi 4 n-- Palazzolo 17 . — Doni 1 Palestro 16 ' — Erta Canina (dell') 33 -- Pandolfini (de') 19 — Faenza 10-11 ---- Panicale 11 — Farina (la) 13-14 •-.<- Panzani (de') 17-18 — Farini 20 - Parini 10 .— Ficino 6-13 - Parione (d.) 17 — Fico (d.) 19 Pecori (de') 18 — Fiesolana 19 ------ Pepi (de') 19-26 — Fonderia 15-16 -- Pergola (d.) 12-19 — Fornaci (d.) 27 r— Piazzola (d.) 7 •— Fortezza 10-11 f- Pier Capponi 5-6-13 — Foscolo 30 Pietrapiana 19-20 — Fossi (de') 17 ■ Pignone (d.) 15 — Fra' Angelico 28 —. Pilastri (dei) 19-20 — Fra Bartolommeo 5-6 ---- Pilo 7 — Garibaldi 9-16 -- Pindemonte 30 — Ghiacciaie 2-3-10 __- Pinzochere (d.) 19-26 — Ghibellina 19 -20-27 Pisana 15-16 — Ghirlandaio (del) 21-28 _ . Poggi 4 — Giacomini 6 Poliziano 4 — Gianbologna Giano D. Bella 13-14 Ponte all'Asse 2-9 — 23 Ponte alle Mosse 1-9 — Giglio (d.) ia •i— Ponte Sospeso 15 — Ginori (de') n-: Porcellana (d.) 17 ,— Gioberti 21 |.1_. Por S. Maria 18-25 __ Giotto 28 i- Porta Rossa 18 — Giusti 12-13 — Porte Nuove 2-9 — Guelfa 11 .— Prato (d.) 9 ,— Guerrazzi 13-14 ^— Presto (del) 24 — Guicciardini 25 — Proconsolo (d.) 19 — Lamarmora 5-12 — Pucci (de') 18 — Landino 5 — Renai (dei) 26San Miniato FLOR&UCE 36 Me. 377 to make the following excursions on foot if possible, the system of motor om- nibuses and tramways brings every point of interest within reach of the hurried traveller. : 1 ; I. The Viale dei Colli and San Miniato (3} mi)1 are accessible by tramway No. 13 from the S. side of the Piazza del Duomo, or on foot by the steps from the Porta a San Niccol6, preferably in the early morning. — The * Viale dbi Colli, constructed by Giuseppe Poggi in 1864-77, is the most beautiful walk near Florence, and pursues a winding course from the Porta a San Niccol6 to the Porta Romana. Im- mediately above the former gateway is the Piazzale Mi- chelangelo (PL 34; 340 ft.), the finest view-point on the Viale. In the centre is the Monument to Michael Angelo (1875) made up of reproductions of the artist's most famous works of sculpture now at Florence. On the charming Loggia (now a cafe) in the 16th cent, style, is an inscription in honour of Poggi (" Look round, behold his monument "), and from the balustrade may be enjoyed one of the most delightful views in Italy, embracing the city, the plain as far as Pistoia, and the peaks of the Apennines. The steps behind the cafe mount between cypresses to San Salvatore al Monte (Pl. 34), a building of gracious simplicity (by Cronaca; 16th cent,), called by Michael Angelo " la sua bella villanella " — his pretty country maid. In the 2nd N. chapel is a ^Descent from the Cross by Giov. Delia Robbia. — To the S. is the summit of the hill (453 ft.) with its picturesque group of buildings. *San Miniato al Monte (Pl. 34), a dignified Romanesque basilica, was begun by Bp. Hildebrand in 1013; the fa5ade started in 1062 was not completed until the late 13th century. Over the fine W. window is a large mosaic in a Byzantine style (1297) of Christ between the Virgin and San Miniato. The plain aisled Interior is practically in its original state. Some of the capitals were brought from earlier Romanesque buildings in Florence and Fiesole; the inlaid marble pavement dates from 1207. At the end of the nave, in front of the crypt, is an exquisite *Tabernacle by Michelozzo (1447),, which formerly contained St. John Gualberto's Crucifixion, now at Santa Trinita (p. 365); the terracotta decoration inside the vault is by Luca Delia Robbia (1448), the paintings by Agnolo Gaddi. In the aisles are remains of 13-15th cent, frescoes. On this side is the Sacristy (1387), frescoed by Spinello Aretino; in the vault are the Evangelists, on the lunettes the Life of St. Benedict. Here are also two Delia Robbia statuettes and stalls by Giov. di Dom. da Gaiole and Fr. di Domenico, called II Manciotto. The raised Choir consists of a square space with columns: and.a semicircular apse. It has a fine transenna and a magnificent pulpit faced with marble of two colours. The carved and inlaid stalls are by the same craftsmen as those in the sacristy. The altar in the apse bears a Delia Robbia Crucifixion; the imposing vault-mosaic (1297) represents Christ between the Virgin and San Miniato and the symbols of the Evangelists. — In the N". aisle is the Renaissance Chapel of the Cardinal of Portugal, by Ant. Manetti (1459-61), a pupil of Brunelleschi, containing the *T6nlb of Card. lac. da Lusitaniam Rte. M PLOREXCE Ceriosa (1436r-59), son of Alfonso of Portugal and Archbp. of Lisbon, by Ant. Rossellino. In the vault are * Medallions of the Cardinal Virtues and the Holy Ghost, by Luca Delia Robbia. —The large and lofty Crypt retains its primitive altar (1013-18). The Campanile, begun from Baccio d'Agnolo's design (1524), was never finished. During the siege of Florence (1530) Michael Angelo mounted two cannon here, while the building was protected by a screen of mattresses from the answering fire of the hostile artillery. The Bishop's Palace, with well- designed twin windows, dates from 1295 and was enlarged in 1320. Used successively as a monastery and as barracks, it has been recently restored to its original appearance. The Fortezza originated in a hastily improvised defence-work planned by Michael Angelo during the months preceding the siege. In 1553 Cosimo I converted it into a real fortress with the help of Fr. Sangallo and others. Since 1839 it has contained an aristocratic cemetery. Beyond San Miniato the Viale is continued as the Viale Galileo and the Viale Machiavelli to the Porta Romana (PI. 30). On the right, just short of the circular Piazzale Galileo, the Viale crosses the Via di Arcetri. On the right this descends to the Porta a San Giorgio (p. 376), passing (r.) the 11th cent, church of San Leonardo in Arcetri (PI. 32), which contains a celebrated *Pulpit (early 13th cent.) from the demolished church of San Piero Scheraggio. — On the left the Via di Arcetri ascends past the Observatory (r.) and the imposing 14th cent. Torre del Gallo (1.), and finally reaches the long village of Pian de' Giullari. No. 29 (r; bust and inscription) is the Gioiello (now Villa Legnazzi- Dossi), the house where the aged Galileo lived, practically as a prisoner, from 1631 till his death in 1642, and where he was visited by Torricelli (p. 293) and Milton. II. The Certosa and L'Impruneta. Tramways run from the Mercato Nuovo to (3} m.) the Certosa and (5J m.) Tavarnuzze, whence a motor omnibus plies to L'Impruneta. The tramway goes on to San Casciano or Greve. — Outside the Porta Romana the tramway turns to the left along the fine avenue of the Viale di Poggio Imperiale, and then to the right to reach the halt of (If m.) Gelsomino. Alighting here, we may turn back a little and follow the rest of the avenue to the Pdggio Imperiale (view), a huge villa (no adm.), confiscated by Cosimo I in 1565. It was enlarged in the 17-18th cent., and takes its present name from the Grand Duchess Maria Maddalena, a former proprietress. The tramway goes on along the Siena road, passing (r.) the thick cypresses of the Cimitero Evangelico degli Allori, the former burial-ground of the Orthodox Greeks. A turn of the road reveals the picturesque hill of the Certosa. — 3 m. Galluzzo. — 3f m. Certosa. Immediately on the right of the road rises the Colle di Montaguto (360 ft.), on which stands the celebrated Certosa del Galluzzo, founded in 1342 by the Florentine Nicola Acciaioli, High Steward of the kingdom of Naples. A few paces beyond the tramway-halt we ascend to the right and ring at a gateway. Visitors are conducted by a monk. — The Church, which has a baroque facade, is divided internally by a wall. In the first part is the Lay Brethren's ChoirVImpruneta FLORENCE 36 Rte. 379 in the chapels beneath which are the Founder's Tomb, a magnificent Gothic structure, the sepulchral slab of his son Lorenzo, and tlie splendid tomb of Card. Agnolo Acciaioli (d. 1409). In the church, on the right, is the cruciform Lady Chapel (14th cent. Gothic), with fine stalls (15th cent.), and, behind the partition, the Monks' Choir, decorated with true baroque gorgeousness. The stalls are a masterpiece of intricate work (1591), and the sanctuary is profusely adorned with marble. Of the conventual buildings the Chapter House has a good fresco; the Great Cloister is remarkable for 77 medallions by Giov. Delia Robbia; the Refectory, the Lay Brethren's Cloister, and the Guest House are likewise notable. Before leaving visitors are offered a glass of Chartreuse in the Pharmacy. The tramway ascends the right bank of the Greve. From (4J m.) Le Rose a long but pleasant walk ascends to L'lm- pruneta.— From (5£ m.) Le Tavamuzze a motor omnibus runs to (3J in.) L'Impruneta (902 ft.), a large village (2538 inhab.) on a plateau, celebrated for the great cattle fair of St. Luke (mid-Oct.). In the large central piazza is the church of Santa Maria Impruneta (? in pineta), founded c. 1000 and rebuilt after 1593, with a fagade of 1634. Of the chapels on either side of the choir, both probably by Michelozzo, that on the right contains a charming *Tabernacle by Luca Delia Robbia; that on the left has a polychrome frieze and statues of SS. Peter and Luke, also by Luca. On the rich marble altar is a venerated Byzantine Madonna (in whose honour the church was built), said to have been accidentally dug up on the site of the church and to have cried out when struck by the labourer's spade. Some of the cars go on to (12 m.) San Casciano (two interesting churches), others to (20 m.) Greve, a centre of the Chianti trade, with a monument to Giov. da Verrazzano (d. 1528?), the explorer of the N. American coast, who is commemorated also in New York. III. Monte Oliveto and Lastra a Signa (8 m.). Tramway to (5 m.) Casellina (steam tramway to Signa sus- pended).— About | m. beyond the Porta a San Frediano (PI. 16) a road on the left (before No. 42) ascends towards (10 min.) Monte Oliveto (PI. 15). The Renaissance church of San Bartolomeo (for adm. apply at the adjoining hospital) contains two baroque statues of Vestal Virgins, and (at the high altar) the Entry of Jesus into Jerusalem, by Santi di Tito. In the remains of the refectory is a fragment of a *Last Supper, a fresco by Sodoma. Above Monte Oliveto is Bellosguardo (PI. 22-29), a charming hamlet described by Mrs. Browning, and containing some fine villas, including L'Om- brellino, occupied by Galileo in 1617-31, and La Torricella, the home of Ugo Foscolo in 1812 (bust). Beyond Monte Oliveto the Via Pisana passes a number of suburban villages. — 3 m .San Quirico has a pretty Renais- sance church, served by Fra Lippo Lippi in 1442. — Beyond (3 j m.) Ponte a Greve the houses become more scattered. — 5 m. Casellina is the terminus of the tramway. The church of San Martino has 10th cent, remains and a 16th cent, portico.—About f m. beyond (5 J m.) Piscetto, and 5 min. to the right of the road, is the church of San Giuliano380 Rte. 36 FLORENCE C as cine a Stitimo, 18th cejit. in outward appearance, but actually an 8th cent, building. — Over a mile N.E. of (6} m.) Fovnaci is the Badia di San Salvatore a S£ttimo, a 10th cent, abbey, converted into a fort in 1371, and restored in the 15th cent, and later. The church has an old campanile and a fagade with a fine round window. In the 2nd chapel of the N. aisle is a Madonna with saints attr. to Fra Bartolomeo. The choir has a *Frieze of the Delia Robbia school; in the chapel on the left are frescoes by Giov. da San Giovanni (1629) and a beautiful 15th cent, ciborium. The interesting remains of the monastery include much of the old fortifications and a 13th cent, mortuary chapel. 8 m. Lastra a Signa, a large village near the confluence of the Vingone with the Arno, preserves its walls of 1380, with three gates. In the Via Carducci is the Loggia di Sant'Antonio (1411), formerly the Hospital of the Silk Workers, noteworthy for its polychrome decoration. No. 12 in the adjoining Via dell'Arione is the Palazzo Pretorio, with a fine window and the escutcheons of many podesta. The church dates from 1404. — In the hills to the S.W. is the castle of Malmantile (1424), an outpost of Castracani (p. 388) against the Florentines, celebrated in a poem by Lorenzo Lippi. We may go on beyond Lastra to (9J m.) Signa, on the railway from Pisa to Florence (p. 386). IV. The Caseine (PI. 8; tramways 5 and 17 from the Piazza del Duomo), the favourite promenade of the Floren- tines, most frequented on summer afternoons, were formerly occupied by farm-lands belonging to the Medici and later to the city, and in the 18th cent, were converted into a public garden. They are traversed by two avenues, the Viale del Re and the Viale della Regina, the circuit of which makes a pleasant hour's drive. The Viale della Regina skirts the Arno for about 2J miles. At the farther end is the curious monument to Rajaram Cuttraputti, Maharajah of Kolapur, who was cremated on its site in 1870. In the garden are two race-courses, a cycle racing-track, tennis-courts and football grounds, and schools of forestry and fruit-growing. V. Poggio a Caiano is reached by motor omnibus (10 m.; see p. 318) or by tramway from the station to (5J m.) Brozzi and thence on foot. — Leaving the town by the Porta al Prato (PI. 9) we follow the long Via del Ponte alle Mosse, passing (r.) the Parco San Donato. — 3f m. Peretola was the ancestral home of the Vespucci. The church contains a font attributed to Mino da Fiesole (1467), a *Ciborium by Luca Delia Robbia (1441), and a stoup by Fr. Ferrucci (1466). A branch of the tramway runs hence to (3f m.) Campi Bistnzio, with an old town hall, a ruined castle, and an interesting church.Poggio a Caiano FLORENCE 36 Rte. 381 The church of Petriolo, the next village, contains a ci- borium, after Desiderio. — 5J m. Brozzi, with another ci- borium and an interesting font. The church of Sant'Andrea a Brozzi, farther on, contains frescoes after Dom. Ghirlandaio. — 10 m. P<5gg!o a Caiano, at the foot of Monte Albano, is famous for its *Villa (free permit to view obtained at the Palazzo Pitti), acquired in 1480 by Lorenzo the Magnificent and rebuilt by Giuliano da Sang alio (1480-85). The Villa, beyond the Ombrone, is a rectangular building on a broad terrace (fine view) supported by a colonnade. Of its numerous apartments, many of which contain portraits of the Medici by Sustermans, the most remarkable is the *Salone, which is decorated with frescoes (by Franciabigio, And. del Sarto, and Allori) depicting incidents in Roman history paralleled in the history of Cosimo il Vecchio and Lorenzo. Here are also Vertumnus, Diana, and Pomona, by Pontormo. The Loggia has a ceiling decorated with stucco, a Delia Robbia frieze, and remains of frescoes after Filippino Lippi. The garden and park are pleasant. VI. La Petraia, Castello, and Sesto are reached from the Via dei Pecori by tramway No. 18. Castello and Sesto have stations on the Florence-Pistoia railway. — Leaving by the Barrier a del Romito (PI. 3), we traverse the industrial suburb of Rifredi. In the main road, to the right of the tramway route, is the church of Santo Stefano in Pane, with Delia Robbia decoration. The villa of La Quiete, farther on, on the right, contains some interesting paintings. — Beyond the cross-roads of (2|- m.) II Sodo a turning on the right leads up to the Villa della Petraia (free permit to view at the Palazzo Pitti). Originally a castle of the Brunelleschi, the villa was rebuilt in 1575 for Card. Ferd. Medici by Buontalenti. In 1864-70 it was a favourite residence of Victor Emmanuel II, and in 1919 it was presented to the State by Victor Emmanuel III. — Passing through the park, we reach the front of the villa, which still preserves a tower of the old castle. In the glass-roofed courtyard - are frescoes by Volterrano (r. and 1.) and by Giov. da San Giovanni; the rooms contain tapestry, costumes, etc. On the upper terrace of the garden (view) is a fountain, by Tribolo, with a *Statue of Venus, by Giambologna. The huge ilex (400 years old) lower down was a favourite tree of Victor Emmanuel II. ( The Villa di Castello (adm. as for La Petraia) stands lower on the hillside, a short distance N.W. It came into the possession of Lorenzo the Magnificent in 1477. The viila was sacked during the siege of 1530 but restored under Cosimo I by Bronzino and Pontormo. Like La Petraia it was presented to the State in 1919. — An avenue of Spanish chestnuts leads to the villa, on the 1st floor of which are frescoes by Volterrano. The typical garden, well laid out by Tribolo (c. 1540), contains his *Fountain of Hercules and Cacus, with statues by Giam- bologna. In the middle of the shady park is a statue of Januarius, by the same sculptor. - The tramway ends at (5J m.) Sesto Fiorentino (station, see p. 314), a small town (8346 inhab.) with a 14th cent. Palazzo Pretorio (now the post office) and a church with382 Rte. 36 FLORENCE Villa Stibbert slight Romanesque remains. About 1 m. N.E. is the por- celain factory of Doccia (Societa Richard-Ginori), founded by the Marchese Ginori in 1735, containing a small museum. VII. The Villa Stibbert and the Villa Medicea are served by tramway No. 2 from the Piazza della Signoria, which runs via the Ponte Rosso (PI. 5) to the long Via Vit- torio Emanuele. On the right, farther on, rises the Colle Montughi. Among the many villas on the hillside No. 48 is the Villa Fabbricotti, where Queen Victoria resided in 1894. We take the Via Montughi, also on the right, which leads to the Bologna road and is lined with splendid villas. No. 15 (r.) is the *Villa Stibbert, inherited from his Italian mother by Frederick Stibbert (1838-1906), and bequeathed by him with his collections to Florence. Adm. on week days 9-4, 2 1.; Sun. and holidays 9-12, free. The villa, reconstructed in a mediaeval style by Gaetano Fortini, contains a Museum, especially interesting for its well-arranged collection of armour. The most interesting rooms are here described in the order in which we reach them: — Room X contains malachite furniture, 16th cent, armour, and paintings: Portrait of Stibbert, by Gelli; 4080. Mannus van Romerswael, Money Changer, etc. — Room XII: Paintings by the Brueghels and Hobbema. — Room XI: Musical Instruments. — Room IX: in the centre, Equestrian figure of a *Con- dottiere, with 15th cent, armour; 14th cent, armour; Roman and Etruscan helmets; Lombard armour. — Room VIII contains a Cavalcade of 14 fully- armed knights of the 16th cent., preceded by two men-at-arms on foot.— Rooms VII-I contain 17th cent, and other armour and tapestries; in R. V. are 842. Luini, Charitas Romana, and other paintings. — Of the other rooms Nos. XVI-XVIII contain a fine collection of Persian and Indian armour; in Nos. XXI-XXIII are arms and other objects from China and Japan. The Via Vittorio Emanuele (see above) skirts the foot of the hill. Beyond a slight rise we reach (L) the Palazzo Bruciato, named from a former villa on this site which was burned by Hawkwood (p. 322) in 1364. On the right is the Via Taddeo Alderotti which we follow for a little over 1 m. to reach the Villa Medicea di Careggi. The villa, in a well-wooded park, was acquired by Casimo il Vecchio in 1417 and enlarged by Michelozzo after 1433. It became the literary and artistic centre of the Medicean court, and was the scene of the death of both Cosimo (1464) and Lorenzo (1494). After a period of decay it was redecorated by Pontormo and Bronzino for Cosimo I (c. 1540). Externally the villa preserves the appearance of a mediaeval castle; in one of the rooms is a terracotta ♦Resur- rection by Verrocchio. VIII. Fiesole, 5 m. from Florence, is served by tram- way No. 7 from the Piazza del Duomo (S. side); the excursion is best made in the early morning or late afternoon.--The tramway route quits the town by the Viale Aless. Volta (PI. 7), and soon after ascends the hillside, affording delightful views on either hand. A double curve brings us to the Piazza San Domenico.San Domenico FI&SOLE 36 Rte. 383 Walkers may reach this piazza either by the Viale Volta and the Via delle Forbid, or by the Viale Regina Vittoria (PL 6) and the bank of the Mugnone, passing (r.) the Villa Palmieri, the traditional scene of the ' Decameron.' On the right of the piazza a road runs to the Villa Landor (formerly Villa Gherardesca), the residence of Walter Savage Landor from 1829 until 1835, when he left his family here. The ' Valley of Ladies,' described in the Decameron, lies within the grounds. Emerson, Monckton Milnes, and N. P. Willis were among Landor's visitors here. The church of San Domenico di Fiesole dates from 1405-35; the portico (1635) and campanile (1611-13) were added by Matteo Nigetti. The nave chapels, entered by beautiful Renaissance arches, by Giuliano da Sang alio and his imitators, contain notable works of art. In the 1st N. chapel, Fra Angelico, *Madonna with angels and saints (c. 1430; the predella is in the London National Gallery); the architectural background was added by Lor. di Credi in 1501; 2nd N. chapel, Sogliani, Adoration of the Magi; 3rd N. chapel, lac. da £mpoli, Annunciation. 2nd S. chapel, Lor. di Credi, Baptism of Jesus. On the high altar is a wooden tabernacle of 1613. — In the monastery St. Antoninus (Antonino Pierozzi, 1389-1459) and Fra Angelico (Guido di Pietro or Fra Giovanni da Fiesole, 1387-1455) first assumed the religious habit. The Chapter House contains a frescoed *Crucifixion, by Fra Angelico. The Via di Badia dei Roccettini, descending to the left# leads in 5 min. to the *Badia Fiesolana, the cathedral of Fiesole until 1028, and later a Benedictine and a Lateran house. The particoloured fa9ade of the 11th cent, is set in a large and bare 15th cent, front. The plain cruciform * Interior is in an imposing design of the style of Brunelleschi. The conventual buildings are now a college of the Padri Sco- lopi. — The charm of the journey hence to Fiesole is enhanced by a continual succession of wonderful views. 5 m. FIESOLE (968 ft.; Hot. Italia; Aquila Neva; Aurora, R. 16, D. 18, pens. 35 1.), a little town (2786 inhab.) on a hill overlooking the valleys of the Arno and the Mugnone, is the most attractive and interesting spot in the neighbour- hood of Florence. Fasulce, one of the chief cities of the Etruscan confederacy, is mentioned in 283 B.C., when its people, in alliance with other Etruscans, Were defeated by the Romans at Lake Vadimone. With the Roman occupation it became the chief town in Etruria, but the barbarian invasions led to the decay of the city and to its supersession by Florence as the capital of Tuscany. Its present-day in- habitants are largely occupied in the straw-plait trade. The tramway ends in the Piazza Mino da Fiesole, called after the sculptor (c. 1430-84; born at Poppi, p. 407) who made Fiesole his home. On the N. side of the piazza is the Romanesque *Cathedral, a plain building of 1028, with 13— 14th cent, additions, and a machicolated campanile of 1213. The interior recalls that of San Miniato, which it further resembles in having capitals brought from other buildings. In the N. aisle is the wooden throne of And. Corsini, a relic of the choir stalls carved by Pietro di Lando (1371),384 Rte. 36 Fill SOLE Environs On the right of the choir is the Cappella Salutati, containing frescoes by Cosimo Rosselli, and the Tomb of Bp. Leonardo Salutati (1464), and an ^'Altar- front (Madonna and saints, with a bust of Christ), two of Mino's best works. Over the high altar is a triptych by Bicci di Lorenzo. The chapel N. of the choir has a beautiful altar by And. Ferrucci and two paintings of St. Romulus with his companions and their martyrdom, after Dom. Ghirlandaio. On the side of the piazza is a sculptured group (1906) of the meeting of Victor Emmanuel and Garibaldi at the bridge of Teano, near Capua (1860). On this side, too, are the old Palazzo Pretorio, with coats-of-arms of many podesta, and the church of Santa Maria Primer ana (rebuilt in the 16-17th cent.), containing Delia Robbia terracottas (1442) and a bas-relief by Fr. Sangallo (1542).—The W. side of the piazza is occupied by the Vescovado and the Seminario, both with fragments of the Etruscan acropolis wall in their gardens; the oratory of the seminary contains a terracotta group by Giov. Delia Robbia. Between these two buildings the Via San Francesco rises steeply, passing (r.) the Public Garden; a terrace higher up commands a *View of Florence. Leaving on our right the church of Sant' Alessandro (fine Roman columns), and on our left that of Santa Cecilia, we mount to the top of the hill (1132 ft.) where once stood the Etruscan and later the Roman acropolis. It is now occupied by San Francesco, a church of 1330 and 1407 with a charm- ing facade, containing an Annunciation, attributed to Raf- faelliiib del Garbo. In the old Franciscan friary are two cloisters (18th and 14th cent.), some remains of the acropolis, and a Holy Family of the Delia Robbia school. From the Piazza Mino the street behind the apse of the Duomo brings us to the Roman Theatre and Museum (adm. in winter 10-4.30, summer 9-12 and 1.30-7.30; week-days 21., Sun. free). From the foot of the staircase just inside the entrance we obtain a good comprehensive view of the excavations, backed by the Mugnone valley and the dark cypresses of the hill of San Francesco.—The Museum occupies a small Ionic temple (1912-14). Room I. Etruscan and Roman stelae and urns; frag- ment of a Roman she-wolf in bronze (1st cent. b.c.), still Etruscan in style, found in the capitol of Fassulae. — R. II. Fragments from the thermae; vessels and bronzes from other buildings, including (896) a fine patera and (1131) a hydria. — R. III. Fragments from the temple of Bacchus (on the site of San Francesco); 340. Head of Claudius; Fiesolan coins. — R. IV. Objects from a tomb of the Goths j etc.—The Roman Theatre, built at the time of Sulla, Was enlarged by Claudius and Septimius Severus; the cavea, excavated in the hillside, is 111 ft. across and held 3000 spectators. On the right of the theatre are the Thermae, built under Sulla and enlarged by Hadrian; they consist of two or three swimming basins and the usual chambers attached to a Roman t?ath. — The path hence to the temple passes two altars, one made up of frag-» ments, the other monolithic. The Temple, of Etrusco-Roman workmanship, is cut in two by the Via Giov. Dupre, and is best seen from that street (p, 385), Immediately to the right of the exit, in the Via Dupr£, is the Museo Bandin\ (open 9-7), containing Delia Robbia terracottas and a few paintings.of Florence SETTIGNANO 36 Rte. 385 In the Via Dupre, which we now follow, is the entrance to the Cemetery, in which may be seen the tomb of Giovanni Dupre (1817-82), the sculptor, with a copy of his Pieta, and against the hill of San Francesco, a large section of the Etruscan wall. Farther on we see on the left the tripart- ite cella of the Temple (p. 384) and, on the right at the cross-roads a fragment of an Etruscan Gateway, and a long stretch of the Wall extending as far as the loggia of the thermae. Among the delightful walks to be enjoyed in the country round Fi^sole may be mentioned that to (c. 3 m.) the Castelln di Vincigliata round the N. shoulder of Monte Cecevi. The castle was built in 1031, and restored in 1855 by John Temple Leader who was visited here by Gladstone and Queen Victoria. — Another good walk follows the tramway line down to where it reverses direction, and then goes on, vi4 (r.) the Villa Bencista, where Arnold Bocklin, the Swiss painter, died in 1901, to (If m.) Maiano, the home of the brothers Benedetto and Giulio da Maiano (1442-97 and 1432-90). The return to San Domenico (p. 383) may be made by the old road to Florence, which passes the church of San Girolamo (15-17th cent.) and the Villa MMici (adm. on presentation of card), built by Michelozzo in 1458-61, a favourite resort of Lorenzo the Magnificent and his friends. IX. Settignano, 4 m. E. of Florence, may be reached from the Piazza del Duomo (S. side) by tramway No. 9. — Leaving the city by the Via Fra Angelico (PI. 28), we cross the Affrico and diverge to the left from the Rovezzano tramway. Beyond Coverciano we reach the cross-roads of (3 m.) Cartone. The Via di P6ggio Gherardo ascends to the left to a fork, whence the left branch leads to Maiano (see above), and the right branch to the graceful 15th cent, church of San Martino a Mdnsola, containing an Annunciation, attrib- uted to Fra Angelico (N. aisle), and other good pictures. — About l£ m. farther on is the castle of Vincigliata (see above). 4 m. Sdttignano (584 ft.), a cheerful village on a pleasant hill, is famous for its school of sculptors, most famous of whom were Desiderio (1428-64) and the brothers Rossellino (Ant. Gambarelli, ft. 1456-78, and Bern. Gambarelli, 1409-64). In the piazza where the tramway ends are a statue of Nic. Tommaseo, the patriotic writer, who died here in 1874, and the 16th century church of the Assunta, which contains a Delia Robbia Madonna, a 16th cent, pulpit, and a 15th cent, ciborium. In the lower Piazza Desiderio (view of Florence) is a monument to the sculptor. The Villa Gamberaia (c. f m. S.E.; visitors admitted) is a fine example of an 18th cent, villa with its garden. X. Rovezzano, 3 m. E., is served by tramway No. 10. — We follow the route to Settignano as far as the bridge over the Affrico (see above). — A little farther, on the left, is the Abbazia di SaB Salvi, with a 14-16th ceot, church. la386 Rte. 37 EMPOLI the refectory (entrance 14 Via S. Salvi; adm. 10-4 or 6, 1 1.; Sun. 9-12.30 free) is the celebrated *Last Supper by Andrea del Sarto (1519), a masterpiece of Florentine fresco, remarkable for its colouring. — 3 m. Rovezzano was the home of the sculptor Bened. da Rovezzano (1474-1522; born near Pistoia). In the church of Sant'Andrea is a delightful Madonna by Giov. Delia Robbia. Other excursions may be made from Florence to Bagno a Ripoli (tramway 11); to Ponte a Ema, f m. E. of the chapel of Santa Caterina dell'Antella, frescoed by Spinello Aretino (tramway 12); to the convent of La Maddalena (frescoes by Fra Bartolomeo), near Le Caldine station on the Faenza line (p. 295); etc. From Florence to Bologna via Prato and Pist<5ia, see Rte. 35; to Faenza, see p. 295; to Forli, see p. 295; to Pertigia via Arezzo, see Rte. 42; to Pisa, see Rte. 37; to Rome, see Rte. 40; to Siena, see Rte. 41. 37. FROM FLORENCE TO PISA Railway, 49 m. (79 km.) in 1^-2 hrs. (371. 85, 251. 70, 151. 30 c.), fol- lowing the river Arno. Florence, see Rte. 36. — We pass the Cascine (p. 364) and at (8f m.) Signa, noted for its straw hats and terracotta, cross the Arno. Following the river, we enter the remarkable Gorge of the Gonfolina, hollowed out by the Arno in the flank of Monte Albano. — 16 m. Montelupo, at the meeting of the Pesa with the Arno, was fortified by the Florentines in op- position to the now demolished stronghold of Capraia, beyond the river; thus the wolf (' lupo ') was to devour the goat (' capra '). Baccio d'Agnolo, the sculptor and architect, was born at Montelupo (1460). On the right of the railway, farther on, is the villa of L'Ambrogiana (1587), now a criminal lunatic asylum, with towers at its four angles. 19f m. (32 km.) £mpoli (8120 inhab.; Rfmts.; Hot. Sole; Tazza d'Oro), an ancient town whose name suggests a Greek origin, has some interest for lovers of art. Here was held, in 1260, the famous ' parliament' of the Ghibellines after their victory at Monteaperti (p. 426); the proposal to raze Florence to the ground was defeated by Farinata degli Uberti, who is honoured for his protest by Dante (Inferno, X). lac. Chimenti, the painter, known as L'fimpoli (1554-1640), was a native of the town; lac. Carrucci (1494-1557) was called II Pontormo from the village of his birth, Pontormo, 1 m. E.; Leonardo da Vinci (1452-1519) Was born at Vinci, 8 m. N. The church of Santo Stefano contains frescoes by Masolino and an Annunciation by Bern. Rossellino (1444). The Cathedral (Sant'Andrea), though largely modernized in 1738, retains its original fag:ade of 1093 (practically unaltered), imitated from that of San Miniato (p. 377). The campanile dates from the 15th century. In the Baptistery is an in- teresting font of the school of Michelozzo (1447) and a *PietkPROPR. DEL T.C.I.- RIPftOD. VIET. .'i bo ^kMon torso Ii [j Ctf Basriajick* n.w\\ ^ „ A* *\CJi/mcasta ld\ Borqo 3. 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Botticini; a Madonna by Mino da Fiesole; a reredos and other terracottas by the Delia Robbia; a triptych by Lor. Monaco; an Annunciation and a good altarpiece ascribed to Botticini; and paintings by Chimenti, Cigoli, and Giotto. Immediately W. of the town is the church of Santa Maria a Ripa, with a St. Lucy by G. Delia Robbia and a Madonna by Sogliani. From fimpoli to Siena and Chiusi, see Rte. 41. 25£ m. (41 km.) San Miniato, an ancient town about 2 m. from the station (omnibus), was once the seat of the imperial vicariate in Tuscany, and was visited by Barbarossa and Frederick II. The latter built the castle where Pier della Vigna slew himself (Dante, Inferno, XIII), but only a single tower remains (view of the Valdarno). Francesco Sforza, who became duke of Milan in 1450, was born here. The church of San Domenico retains some interesting frescoes, and on the ruthlessly restored front of the Duomo are some decorations in majolica. The Palazzo Comunale and Palazzo Grifoni deserve notice. — 36f m. (59 km.) Pontedera (8642 inhab.), where the Era joins the Arno, is connected with Pisa also by tramway. About 10 m. S., in the valley of the Era (omnibus), is the frequented little spa of Casciana (Grand-Hdtel, June-Sept., R. 10, D. 18, pens. 851.; delle Terme e Villa Margherita, May-Oct., R. 10, D. 14, pens. 301.; Firenze), with a bathing establishment and mineral springs recommended for gout and rheumatism. To the right is seen the Monte Verruca (1759 ft.), which, next to Monte Serra (3011 ft.) is the highest summit of the isolated hill groups between Pisa and Lucca known as the Pisan mountains. — At (41 m.) Cascina, which preserves its old walls, the Pisans were defeated by the Florentines in 1364. 49 m. (79 km.)> extrtuwbaiiPs 1st di 5 JAGNIdiNERONE Fisiolo^ia 1*' S.Tcn*iyo ^ jj**1 i; Seminario s'jrrrprbta A'rcivosr. Cliuica .aterina . JPiaizi;* r u^Tma. 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CapoC#rNxjr«fo:P.CORBELLINI VAILAROI-LUCCA Aiberghi (Hotels): — Croce di Malta 3C,b — Tosca 3D,c — Universo 3D,a Anfiteatro 4B BaluarcH(T0«ra Walls): La Libert^ 6D — San Colombano 4DE — San Donato 1C — San Frediano 3B — San Martino 4«6A — San Paolino ID — San Pietro 6A — San Regolo oD — San Sa.lv atore 6BC — Santa Croce 1-2B — Santa Maria 2-3E Banca d'ltalia 3-4C Biblioteca (R.) 2-3C Borgo Giannotti 4A Caserme (Barracks): — Principe Amedeo 5-6JB — Umberto I 2D Chiese (Churches}: — San Cristoforo 3-4C —• San Frediano 3-4B — San Giovanni 3-4D — San Michele 3C — San Paolino 20 - San Piero So- maldi 4B — San Ponziano 5-6C Sant'Alessandro 2-3C - Santa Maria Cor fceorlandini 30 Santa Maria dei Servi 41) - Santa Maria del Carmine 40 — Santa Maria del Suffragio 40 -— Santa Maria Fo- risportiuu 4-5D Cimitero 1A Collegio e Ginnasio (R.) 3-4B Corso Garibaldi 2-3-4D Duomo 4D Fosso Cunetta 2B6C1-2-6D2E Istituti (Institutes): — Belle Arti 3D — Tecnico 4B Liceo (R.) 3B Manifattura dei Ta- bacchi (R.) 1-2D Municipio 3C Municipio di Capan- nori 4C Officina del Gas 3-4F Orto Botanico 5D Ospedate Civile 2C Palazzi (Palaces): — Arcivescovile 4D — Mansi 2C Provinciate 2-3D Passeggio delle Mu- ra Urbane 1-6C 1-2- 3-4B 4-5A 3-4E 4-5D Piazzali (Squares) —. Umberto I 3E — G. Verdi 1CD Vittorio Eman. 3E Piazze (Squares): —. Antelminelli 4D — Bernardini 40 — Curtatone 4E — Giglio (d.) 3D — Indipendenea (d.) 2-3E — Mercato (d.) 4B — Napolecwie 3D —, Ricasoli 4E — San Donato 10 — San Francesco 5B — San Frediano 3-4B — San Giovanni 3D — San Martino 3-4D __ San Matteo 20 San Michele 30 — San Pietro So- nialdi 4B — San Romfato 2D —• San Salvatore 30 — Sant'Agostino 3B Passeggio delle Mu- ra Urbane Piazze (Squares): — Santa Maria 4AB Pinacoteca 3D Porte (Gates): — Elisa 60 — San Donato IC — San Gervasio 50 — San Pietro 3E Santa Maria 4A — Vittorio Eman. 1CD Poste 3D Prefettura 3D Pretura (R.) 40 Prigioni San Giorgio 2B Seminario 4-5D Stazipne FF. SS. 4E » Tramv. 4E Teatri (Theatres): — del Giglio 3D — Pantera (R.) 3C Viali (Alleys): — Baroni 4A — Carducci 1CD 1-2E — Cavour 3-4E — Giusti 5-6D4-5E — Matti 5-6A 6B — Pacini 6D — Reg. Margherita 3-4E Vicolo San Romano 2D Vic (Streets): ,,, — Anfiteatro (d.) 4B — Angelo Custode (d.) 40 — ArciVescovado (d.) 4CD — Baechcttoni (d.) 6AB — Bandettini 2F — Bastardo (d.) 6BC — Battistero (d.) 3-4D — Beccheria 30D — Biscione (d.) 4-5B -— Boccherini 30 — Borghi (d.) 5AB — Burlamacchi 2CD — Calderia 30 — Carrara 3E — Cavallerizza (d.) 4B — Cenami 30 D | Vie (Streets): — Oittadella 2D ■— Civitali 3EF —- Co nee (d.) 2B — Elisa 5-60 — Fatinelli 40 — Fillungo 3-4B 30 — Fossaccia (d.) 5-60 — Fosso (d.) 5BC4-5D — Fratta (d.) 4-5B — Galli Tassi 20 — Gallo (d.) 40 3-4D — Giardino Bota- nico (d.) 4-5D — Guidiccioni 2-3F — Guinigi 40 — Liceo (d.) 3B — Mordini 3-4C — Moro (d.) 30 — Nazionale 3CD — Nottolini 3-4F — Orti (d.) 50 — Pelleria 2B — Piaggia (di) 4-5D — Porta San Pietro (di) 2D 2-3E — Quarquonia fd.) 5-6B — Rosa ( 158J m. (255 km.) in 4^-5 hrs. (99 1., 69 1. 70, 42 1. 45 c.). Rome Express, see p. 9* The line skirts the Tyrrhenian coast nearly all the way (best views on the right)* Pisa, see p. 387. The line runs through the low lands at the mouth of the Arno, including a part of the royal domain of San Rossore. 12|m. (20 km.) LEGHORN (104,678 inhab.), in Ital. Li- vorno, a busy modern town and seaport on the Tyrrhenian Sea, is visited for sea-bathing, but is of little interest to the general tourist. Its English name is probably a sailors' ver- sion of the Italian. Hotels. *Palace, on the sea front; d'Angleterre & Campari, Giappone, in the town; Corallo, close to the station; II Castello, at Antignano. — Pension Pesaro (Jewish clientele); Post Office, Piazza Carlo Alberto. — British and American Consu- lates, 3 and 2 Scali d'Azeglio; — Anglican Church, 11 Via Verdi; services on Sun. at 11 and 4. Tramways from the station to the town and sea front and to Ar- denza and Antignano (p. 400). — Funicular Railway to the sanctuary of Montenero, see p. 400. Steamers on Tues. and Sat. to (8i hrs.) Portoferraio, via Gorgona and Capraia, going on next day to (5£ hrs.) Pianosa. Shipping Agencies, Anchor Line, Cunard Line, Piazza Cavour; etc. — Railway Ticket Office, Cassa Na- zionale Ferrovieri, 2 Piazza Vitt. Emanuele. History. Leghorn was until the 16th cent, an obscure village. Its rise was due to the recession of the coast from the old port of Pisa, and the work of building the new port was begun in 1577 by decree of Cosimo de' Medici. Duke Ferdinand I (1587-1609) continued the work, and not only began the great mole, but by his proclamation of religious liberty made the town a refuge for persecuted Jews, Greeks who fled from the Turks, converted Moors expelled firom Spain and Portugal under Philip III, and Roman Catholics driven from England under the penal laws. They were joined by many Italians fleeing from the oppression of their own states, and by exiles from Marseilles and Pro- vence. The policy of Ferdinand was pursued by his successors, and Leghorn became a great port, second only in Italy to that of Genoa. To this day much of the trade is in the hands of Jews and Greeks. Pietro Mascagni, composer of * Cavalleria Rusticana,' was born here in 1863. — Some 3 m. off Leghorn rises the reef of Meldria, where the maritime power of Pisa was crushed by the Genoese in 1284. From the station the Via degli Acquedotti and Via Lar- dereriead to the PiazzaJCavlo Alberto, in which are monuments406 Rte. 39 VOLTERRA Prom Pisa to Ferdinand III and Leopold II, the last grand-dukes of Tuscany. Thence the Via Vittorio Emanuele leads to the Piazza Guerrazzi, with the Museo Civico (open 10-4; grat- uity), of local antiquarian interest, and to the huge Piazza Vittorio Emanuele. The fa9ade of the Duomo, on the S. side, was designed by Inigo Jones; the whole was renovated in 1856. Behind it is the Synagogue, richly decorated with marbles; and behind this again was the old English ceme- tery, where Tobias Smollett (see below) was buried in 1771. The Prefecture, on the W. of the Piazza, was the old grand- ducal palace. To the N. are the Palazzo Comunale and the. Borsa, with the crowded and characteristic quarter known as ' Venezia ' behind them. The Via Vittorio Emanuele ends at the harbour, where stands the fine Monument to Fer- dinand I, its founder (see above), with his statue by Giovanni Bandini (1595) and four Moorish slaves by P. Tacca (1623-26). Farther on are the Fortezza Vecchia and the important naval workshops. The Tramway skirting the harbour and beach passes a number of small resorts. The Bagni San lacopo are named from the old church of San Iacopo in Acquaviva, where St. James the Great is supposed to have landed on his way to Spain; St. Augustine also is said to have stayed here after his baptism. The tramway goes on to (2 m. from Leghorn) Atdenza di Mare and (3 m.) An- tignano, both of them lively little bathing resorts in the season. By this tramway and a funicular railway (l£ m.), or directly by tramway from the Piazza Vit- torio Emanuele, we may reach Montsnero, where Tobias Smollett (1721-71) spent the last two years of his life. The pilgrimage church contains.a miraculous picture of the Madonna, supposed to have sailed by itself in 1345 from the island of Negropont to the shore of Ardenza. A branch line connects Leghorn with (11£ m.) Colle Salvetti (p. 395). Beyond (15 m.) Ardenza and (16 m.) Antignano (see above) we join the line from Pisa via Colle Salvetti (see p. 395) at (30 m.) Vada. — 33 J m. (54 km.) Cecilia (Hot. Roma; Uni- verso) is the junction for Volterra. From Ctcina to Volterra, 29J m. (47 km.) in 1£ hr. (through journey from Pisa, see p. 395). — 18f m. Saline di Volterra is named from its salt deposits. An omnibus plies hence to Pomarance (1200 ft.), an old walled town with the castle of Larderel, and to Larderello, noted for its production of boric acid. 29£ m. (47 km.) VOLTERRA (1785 ft.; Hot. Nazionale; Stazione; Stella), a characteristic mediaeval walled town (5299 inhab.), was one of the chief Etruscan cities (Velhatri), with a territory extending over the lower valley of the Arno, and to the S. as far as her colony Populonia. It became the Roman Volaterrce (3rd cent. B.C.), gained some importance under the Lombards, and was subdued by Florence, after long struggles, in 1361. Persius Flaccus (34- 62 a.d.) the satirist, and St. Linus (c. 56), the supposed successor of St. Peter in the papal chair, were natives of Volterra, together with Daniele da Volterra (1509-66), the painter. Almost all the buildings are of a kind of limestone, ■panchina, the matrix of alabaster, which is found here in abundance and is used for making statuettes. On the way from the station to the town is the *Porta all'Arco, an Etruscan gateway with three colossal heads, probably of deities. The Piazza Maggiore is bordered by mansions either mediaeval or in the mediaeval style. To the N.E. is the Palazzo Pretorio, to the N.W. the Pa-to Rome ELBA 39 Rte. 401 lazzo Incontri, and to the S.W. the austere '"Palazzo dei Priori (1208-57), now the town hall, and the oldest building of its kind in Tuscany. It contains an interesting Pinacoteca of Tuscan paintings. The Duomo, reached by the Via Turazza, is a remodelled Romanesque church containing a bust of St. Linus by Giov. Delia Robbia, two Angels by Mino da FUsole, a reliquary of St. Octavian by Raffaele Cioli (1522), etc. The octagonal Baptistery (13th cent.), opposite, has a tabernacle by Mino da Fi6sole (1471). The Campanile dates from 1498. The Via Ricciarelli (forming a picturesque corner with the Via Buomparenti) leads to the old churches of San Lino and San Francesco. Thence, by way of the Porta San Francesco, we reach the ruins of Santo Stefano and the Badia and the terrible precipice of Le Balze, which has already engulfed the oldest part of the Etruscan burial-ground in its landslips, and threatens the remainder. The *Etruscan Walls, which are still preserved at many points, included pastures and springs within their circumference of 5i miles. — To the E. of the Piazza Maggiore, in the Via Guarnacci, stands the church of San Mickele, with a facade in the Pisan style and, in the interior, a Madonna by Giov. Delia Robbia. At No. 31 in the Via Vittorio Emanuele, to the S.E., is the *Museo Etrusco Guarnacci (open 9-3 or 5; adm. 11.), an interesting collection including more than 600 Etruscan cinerary urns, mostly of the 3rd cent, b.c.., in alabaster car tenracotta (the latter probably the most ancient). On the lids are generally the recumbfijit figures of the dead, with the cup of life reversed; many are sculptured with admirable reliefs, including mythological subjects from the Theban and Trojan cycles. At the foot of the same street is the Fortezza founded by the Duke of Athens in 1343 (adm. by permit only; apply at the Prefecture; good; view). Near by is the Porta a Selci, and f m. farther on, San Girolamo (15th cent.), containing terracottas by Giov. Delia Robbia and a beautiful * Annunciation by Benvenuto da Siena (1466). Still farther on is an Etruscan burial-place, in the garden of the Villa Inghirami. Beyond Cecina the line approaches the coast, and the promontory of Populonia and island of Elba come into view. —55J m. Campiglia MariUima is another junction where many of the expresses stop. A branch line runs S.W. from Campiglia to (8| m.) Piombino (19,759 inhab.; Hot. Moderno, R. 7, D. 101.; Centrale, R. 51.), an old town with large metal- works. It is situated on the S. side of a promontory (once an island) at the N. end of which are the walls of Populonia, an Etruscan town (the " sea-girt Populonia" of Macaulay's lay). It is said to have been built by Corsicans and colonized by the inhabitants of Volterra, and was destroyed by Sulla in 82 ».c. From Piombino steamers ply 2 or 3 times daily (once on Sim.) in 1£ hr. to the Isle ot Elba, 18 m. long and 6 m. broad, known since ancient times for its iron-ore, and famous as Napoleon's place of exile in 1814-15. The landing- place is Portoferrdio (Hot. Ape Elbana, R. 6, D. 9, pens. 251.; Risorgimento, R. 6, D. 11, pens. 201.), the chief town (5927 inhab.). Interesting excursions may be made thence to the blast-furnaces, to Monte Capanne (3345 ft.), the highest of the mountains ^rhich occupy most of the island, and to the Villa Napoleone, containing souvemrs of Bonaparte. — From Portoferrdio to Leghorn, see p. 399. We are now in the Maremma Toscana, a district which long had an evil reputation for malaria. -— 65f m. Folldnica, an ironworking town, commands a view of Piombino and the isle of Elba. A branch line runs N.E. from Folldnica to (15£ m.) Massa Marlttima (Hot. del Sole), the birthplace of St. Bernardino of Siena, and for centuries an inde- pendent republic. It preserves its old town walls, a 13th cent. Palazzo Comu- nale, and the severe 13th cent, church of San Cerbone. In the neighbourhood are copper and argentiferous lead mines. Omnibuses ply hence to Siena (p. 415), Grosseto (p. 402), San Gimignano (p. 414), and Volterra (p. 400).402 Rte. 39 G&OSSETO Prom Pis ft 80 m. Giuncdrico. To the W. is the Etruscan hill-top city of Vetulonia, where, the Gauls were routed in 224 B.C.; its treasures have been deposited in the Museo Archeologico at Florence.—- 83£ m. Montepescali, another hill-top town, was once a fortress of the Aldobrandi. From Montepescali to Asciano and Siena, see p. 426. 89J m, ! (148 kmO Grdsseto (8737 inhab.; Hot. Bastiani, R.i 7, I?, 12 1.; Stella d'Italia, R. 6, D. 13 1.; Giappone; Nuova Gf&sseto), the chief town of the Maremma, surrounded by its old wall§ and bastions (restored), has a Duoivio of 1294 in white and red marble, indifferently restored. On the S. side are Gothic windows and a sculptured portal; the cam- panile dates from 1402. In the interior should be noticed the stoup and font, the altar of the Assumption by Ant. Ghini, an Assumption by Matteo di Giovanni, and the Ma- donna of the Cherries by Sassetta. The Museo, in the Palazzo Comunale, contains some interesting antiquities, among them a black bowl on which is scratched the Etruscan alphabet of 22 letters. In the Etruscan period the plain between Grosseto and the sea was a shallow gulf, above which rose the islets of Vetulonia and Roselle; but by the time of the Romans it was already a salt lagoon (Prelius), and by 1380 it had become a fresh-Water lake (the Lago di Castiglione), which in turn gave place to malarial swamps, latterly drained and, cultivated. On the coast to the W. of Grosseto (motor-omnibus) is Castiglione della PescAia (Hot. Elba; Roma), probably on the site of the Etruscan Hast a and the Roman Traianus Portus: it preserves a castle and some old walls. About 5^ m. N.E. of Grosseto, near the ruins of Moscona, may be traced the walls of the Etruscan Roselle, or Rusellce, one of the twelve great cities of Etruria (comp. p. 815). It was pillaged in 935 by the Saracens, and soon afterwards disappeared from history. An omnibus plies from Grosseto to (19£ m.) Scansano and (37} m.) Roc- calbegna, both with interesting churches; other services run to Massa Marittima (p. 401), Montieri, Casteldelpiano, etc. We cross the Ombrone and skirt the wooded Monti del- rUccellina. — 106J m. Talamone, on a little bay 2 m. W. of the station, was an Etruscan city of importance, said to have been founded by Telamon, the Argonaut, about 1300 B.C. Here the Romans routed the Gauls (225 B.C.), and here Marius landed on his return from Africa (^7 B.C.). — We cross the Qsa, then the Albegna, and our attention is pre- sently arrested by the striking peak of Monte Argentdrio (2081 ft.), rising like an island from the sea. Actually it is joined to the mainland by three narrow strips of land, separated by lagoons. — 110f m. Albegna. — 115-J m. (186 km.) Orbetello (Hot. Nazionale; Iris; Pellegrini, all unpretend- ing), situated 2 m. from the station, on a sandy isthmus, was an Etruscan colony and a place of importance in the middle ages. The Spaniards fortified it in 1557. On clearto Rome TARQUfNIA 39 Rte. 403 mornings there is a wonderful view of the lagoons and Monte Argentario, with Porto Creole to the left and Porto Santo Stefano with the Isola Giglio to the right. The ♦View from Monte Argentario (see p. 402; 2-8 hrs. from Orbetello) is even finer. — A light railway runs from Orbetello (station and town) to Porto Santo Stefano, whence a steamer sails every weekday to (1£ hr.) the Isola Giglio. From Orbetello to Pitigliano, 39 m. (63 km.), motor omnibus in 4 hrs. (18 1. 30 c.). — 7 m. Albegna (see p. 402). — 27 m. Manciano, an old Sienese fort- ress, is the starting point of another omnibus service plying to (27 m.) Roccal- begna (p. 402), viel (4£ m.) Montemerano, an old walled town with a church (San Giorgio) containing a fine polyptych by Sano di Pietro (1458). Beyond Mon- temerano this route passes (7i m.) Saturnia with its impressive Etruscan walls and mediaeval ramparts. 39 m. Pitigliano {Hot. Guastini; della Posta), on the site of another Etruscan town, was a seat of the Orsini, and preserves their Palazzo and a fine Re- naissance church. Sovana, 2 m. S.E., now a small village, was once the seat of a bishop, and was the birth place of Gregory VII (Hildebrand; pope in 1073-86). It preserves the ruins of the cathedral and other churches and palaces, and a keep of Gregory's family, the Aldobrandeschi. — From Pitigliano to Orvieto, see p. 413. Beyond Orbetello a flat-topped hill comes into view on the right; here stood the Etruscan city of Cosa, afterwards called Ansedonia, some of whose walls are still in excellent preservation. — 124J m. Capdlbio. We enter the province of Lazio (Latium), and cross the Fiora. — 136J m. Montalto di Castro is connected by omnibus with (40 m.) Viterbo (see the Blue Guide to Southern Italy), via (9 m.) the ruins of Vulci (p. 354). — 146 m. (235 km.) Tarquinia (6320 inhab.; Hot. Tarquinia; Restaurant Vitelleschi) is seen on a height to the left, with its mansions and lofty towers rising in terraces above the natural ramparts of the hills. It was long called Corneto, but has reverted officially to the name derived from the Etruscan Tarquinii, the cradle of " the great house of Tarquin," which stood on the hill to the N.E. Tarquinii or Tarquinia was one of the twelve Etruscan capitals (comp. p. 315). It is said to have been founded by Tarchon (son of the Lydian prince Tyrrhenus), who is made by Virgil to help ^Eneas against Turnus. Here sprang from a furrow Tages, the son of Hercules, who taught the Etruscans the art of divination. Here also settled Demaratus of Corinth (c. 700 b.c.), whose son, Lucius Tarquinius Priscus, became the fifth King of Rome. Later Tarquinii aided Tarquinius Superbus. It was eventually crushed by Rome, and sacked by the Lombards and the Saracens. Finally its destruction was completed by the men of Corneto (1307). At the entrance to the town stands the Palazzo Vitelleschi, with a fine Gothic front and courtyard. Within it is installed the *Museo Etrusco, containing a fine collection of Etruscan and Roman sarcophagi, vases, goblets, etc. The Via Castello leads to the Duomo, with frescoes by Ant. da Viterbo (1509), and the impressive Castello, attached to which is the Rom- anesque church of Santa Maria (12th cent.; pulpit of404 Rte. 39 CIVITAVECCHIA 1209). The parish churches, especially San Pancrazio and San Francesco, are likewise of interest. There is another collection of Etruscan antiquities in the Palazzo Bruschi Falgari. The *Necropolis of Tarquinii (guide at the Palazzo Vitelleschi ; visit of 5-6 hrs.), occupying over 10 sq.m., is one of the most imp'ortant that have been excavated. It consists of a number of chambered tombs (notably the Grotta del Triclinio, Grotta dei Tifoni, Grotta di Polifemo, and Grotta del Barone), interesting for their frescoes. The ridge on which the necropolis stands is rich in tumuli. In one of them was found (1823) a warrior stretched on a bier; but on the admission of air he crumbled away. Beyond Tarquxnia the volcanic Tolfa range, noted for its alum mines, is seen on the left. We cross the Mignone, at the mouth of which is Torre Bertdldo or Sant'Agostino, supposed to be the spot where St. Augustine found the child pouring the water of the sea into a hole in the sand •— the image of a finite comprehension of infinity. — 158J m. (255 km.) Civitavecchia (*H6t. des Thermes, R. 10, D. 20, pens. 40 1.; Italia, R. 8, D. 15, pens. 35 1.), a town of 19,659 inhab., and the port of Rome, occupies the site of CentumcellcB, built by Trajan (c. 100 a.d.) and destroyed by the Saracens in 828. It was rebuilt by its inhabitants under the name of ' the old city ' in 854. The Forte del Sangallo (1512) was designed by Michael Angelo, and the Arsenal, begun by Bramante, was completed by Bernini. In the Palazzo Comunale are some Etruscan remains. Steamers ply daily from Civitavecchia to Terranova Pausdnia, in Sardinia (see the Blue Guide to Southern Italy). The railway follows the coast. — 164J m. Santa Mari- nella (Hot. Regina), with the 16th cent, Castello Odescalchi. — 170 m. Santa Sever a possesses another mediaeval castle; the village occupies the site of Pyrgi, the port of Caere (see Southern Italy). — 178f m. Palo, the Pelasgic Alsium, like- wise preserves a Castello Odescalchi. In the neighbourhood are several chambered tumuli. — 187J m. Maccarese, on the site of the Etruscan Fregence.— From (195 m.) Ponte Galera a branch-line runs to (7 m.) Fiumicino. The Alban and Sabine Hills come into view, together with the Tiber and the three masts of the wireless station, 721 ft. high. — Beyond (203 m.) Roma San Paolo we cross the Tiber; to the left are the Aurelian walls and Monte Testaccio, the pyramid of Cestius, the Aventine Hill, the fa$ade of San Giovanni in Laterano, and the temple of Minerva Medica. — 208£ m. (336 km.) Rome (Termini station).AREZZO 40 Rte. 405 40. FROM FLORENCE TO ROME Railway, 196im. (316 km.) in 5£-6£hrs. (1221. 50, 861. 5, 521. 85 c.); to Arezzo, 54£ m. (88 km.) in lf-2£ hrs (42 1. 5, 28 1. 45, 16 1. 95 c.); to Orvieto 118 m. (190 km.) in 3^-4 hrs. (881. 45, 591. 45, 841. 95 c.). Restaurant and sleeping cars on the expresses. The journey is varied and picturesque (views on the left). — For an alternative route (214 m., vi& Siena, comp. Rate 41. Florence, see Rte. 36. The railway makes a sweeping curve round the city, and ascends the valley of the Arno, which gradually narrows. — 13 m. Pontassieve, at the meeting of the Arno and Sieve, has a Madonna by Fra Angelico in its church. Branch line to Faenza, see p. 294; road to Forli, see p. 294; to Stia, see p. 407; — 16 m. Sant'Ellero. A cog-wheel railway ascends from Sant'Ellero to (5 m.) Saltino (3154 ft.; Grand-H6tel, R. 15, D. 18, pens. 40 1.; Milton, both June-Oct.; del Lago; Croce di Savdia; etc.), a fine point of view. Thence it is a walk of £ hr. to Valiom- brosa (3182 ft.; Hot. La Foresta Demaniale, R. 18, D. 22, pens. 40 1.; Paradisino, R. 15, D. 18, pens. 35 1.; Abbazia, R. 151.; Villino Medici) a summer resort with a famous Monastery (now a forestry school), of which St. John Gualberto (p. 365) was the founder (11th cent.). Milton is believed to have stayed at the guest- house in 1688; the surrounding pine-woods are the "Etrurian shades" of ' Paradise Lost.' The church contains a painting of five Saints by Raphael, and good 16th cent, stalls. Fine mountain walks may be taken in the Pratomagno, E. of Vallombrosa, among summits 4800 to 5000 ft. high. Beyond a tunnel we cross the Arno. — 22J. m. Incisa in Valdarno, so called from the deep chalky cutting made by the river. — 25^ m. Figline Valdarno. — 30 m. San Giovanni Valdarno, with blast furnaces and lignite mines, is the birth- place of the painters Masaccio (Tomaso Guidi, 1401-28) and Giovanni da San Giovanni (Giov. Mannozzi, 1592-1636). — Beyond (33J m.) Montevarchi we continue to ascend, threading three tunnels. — 38 m. Bucine. We cross the Canale della Chiana, hollowed out in a deep groove. 54f m. (88 km.) AREZZO (17,398 inhab.), an ancient and interesting town, is pleasantly situated on a hill-slope about 3 m, from the Arno, at the foot of the Casentino, its upper valley (comp. p. 407). Hotels. I.nghilterra, Piazza Um- berto Primo, R. 10, D. 18 1., simple; Sav6ia, Stella, R. 81.; Politeama, R. 6, D. 11, pens. 17 1., all in the Via Giiido Monaco. — Ristorante dei Co- stcmti, Piazza Umberto I; Petrarca; La Posta. Post Office, Piazza Principe Amedeo. Motor Omnibuses to Siena, Sina- lunga, and Terranova Bracciolini, once or twice daily. Railway Ticket Office, Banco di Firenze, 52 Corso Vitt. Emanuele. History. Arezzo (Arretium), an Etruscan city, at first the foe and later the faithful ally of Rome, suffered at the hands of the barbarians but emerged as a free republic in the 10th century. It generally supported the Ghibelline party, and was therefore frequently at odds with Florence, suffering a heavy defeat at Campaldino (1289). Finally it submitted to Florence in 1384. — Ever 3ince the Etruscan period Arezzo has produced notable artists and craftsmen,406 Rte. 40 AREZZO From Florence notably the potters who fashioned the ' vasi aretini.' Among its eminent citizens are C. Cilnius Maecenas (d. 8 B.C.), the friend of Augustus and patron of Horace; Guido d'Arezzo (c. 995-1050), the inventor of the musical scale; Margaritone, the painter (1216-93); Petrarch, the poet (1804-74); Spinello Aretino, the painter (1333-1410); Pietro Aretino (1492-1566), the most shameless writer of the late Renaissance; and Giorgio Vasari (1512-74), the architect, painter, and historian of art. We follow the Via Guido Monaco and cross the Piazza of the same name in order to reach the Piazza Umberto Primo, and the church of San Francesco, built by Fra Gio- vanni da Pistdia in 1322. At the W. end is a stained glass window of 1520. The walls are covered with more or less damaged frescoes, including the Saviour and the Magdalen, by Spinello Aretino; the * History of the Cross, by Piero della Francesca (c. 1454-66), in the choir; an * Annunciation, prophets, and saints, admirably composed; and SS. Michael and Gregory and other frescoes by Spinello in a chapel S. of the choir. Thence the Via Cavour and Corso Vittorio Emanuele (1.) lead to the 11th cent, church of Santa Maria della Pieve, said to have been founded on the site of a temple of Bacchus, and converted into its present form by Mar- chionne Aretino (13th cent.). The severe fa5ade consists of three open colonnades, containing 68 pillars of various shapes (one of them, a human figure). The interior is impressive; among the paintings are a Madonna and saints and an An- nunciation, by P. Lorenzetti (1320). The graceful apse and the original Campanile (1330) with its forty double windows are best seen from the Piazza Vasari, behind the church. Here stand also the Gothic and Renaissance Palazzo della Fraternita del Laiei, with a lunette by Bern. Rossellino, and the fine Loggia built by Vasari in 1573. We go on along the Corso Vittorio Emanuele, passing the Palazzo and Torre della Cassa di Risparmio (14- 16th cent.; recently restored) and the 14th cent. Palazzo Pretorio with the armorial bearings of many podestk The Duomo, over- looking the valley of the Arno and the Apennines, was begun by Margaritone (1277) and completed in the 16th century. The fa9ade is modern; on the S. side is a good portal. The interior is basilican, with a nave, tribune, and aisles, clustered columns, pointed arches, and good stained glass windows by Marcillat (William of Marseilles; 1519-23), who painted also the three vaults of the nave and the first of the N. aisle. In the S. aisle near the entrance is the tomb of Gregory X, who died at Arezzo in 1276. In the N. aisle is a Lady Chapel containing five terracottas by And. and Giov. Della Robbia, and farther on in the same aisle is the *Tomb of Bp. Guido Tarlati, by Agost. and Angelo di Ventura, with panels re- presenting the warlike life of this zealous Ghibelline (d. 1327),to Rome CAMALDOLI 40 Rte. 40T Between the tomb and the sacristy is a fresco of St. Mary Magdalen, by Piero della Francesco, (1466), and in the sacristy; an Annunciation in terracotta ascribed to Bern. Rossellino (1433). The *High Altar, by Giov. di Francesco of Arezzo and Betto di Francesco of Florence (1369-75), is covered with admirable reliefs of the life and death of St. Donatus (mar- tyred in 361), the patron saint of the city. Opposite the Duomo is the Palazzo Comunale of 1333, and in the middle of the Piazza a monument to Petrarch. We follow the Via Ricasoli and Via Piaggia di Murello, and then turn to the left along the Via Garibaldi, No. 73 ill which is the Museo Civico (gratuity). This contains some admirable examples of Italian majolica (three plates by Mastro Giorgio); Etruscan, Roman, and mediaeval antiquities, and (on the first floor), an interesting little Pinacoteca (Margaritone, several paintings; L. Signorelli, *Madonna and Child, with the Eternal Father, angels, and prophets; School of Fr a Bartolomeo, Madonna and saints; etc.). —To the S. is the Renaissance church of the Annunziata, by Bart, della Gatta* (1491) and Ant. da Sangallo the elder (c. 1517), with stained glass by Marcillat, —To the left, farther on, is the Badia, or abbey of Santa Fiora, rebuilt by Vasari, and containing a ciborium by Bened. da Maiano, good cloisters, and a refectory (now occupied by the Accademia Petrarca), in which is a Banquet of Ahasuerus by Vasari (1548). — Other points of interest are the vestiges of the Roman Amphitheatre (in the garden of San Bernardo, E. of the station), and, 15 min. beyond the station, the church of Santa Maria delle Grazie, with a very graceful loggia by Bened. da Maiano and a handsome marble and terracotta altar by And. Delia RobbiaJ From Arezzo to Pratovecchio-Stia, 28 m. (45 km.), light railway in If hr., ascending the *Casentino, or upper valley of the Arno, the domain of the Ghi- belline Guidi family, with whom Dante found refuge. The valley: is finely wooded and includes many interesting old townships; — 18£ m. Bibbiena (Hot. Amorosi, pens. 181.}, the birthplace in 1479 of Card. Bibbiena (Bern. Dovizzi), has two terracottas by the Delia Robbia in the church of San Lorenzo. About 7£ m. E. is the famous monastery of La Veroa (3700. ft.), the site of which was given to St, Francis of Assisi in 1218. Here are the church of the Stigmata, where St. Francis "da Cristo prese l'ultimo sigillo " (Dante, Par. XI, 107), and other spots associated with the saint. —*-22£,m. Poppi (Hot. Casentino, pens. 201.), the birthplace of Mino da Fi6sole (p. 383), has an old castle (1274) of the Guidi family. About 8 m. N.E. is Cam&l(|oli (2700 ft.; Grand-Hdtel), famous for the, monastery of an order founded in 1018 by St. Romuald of Ravenna for hej> mits living in entire isolation and silence.—-Just beyond Poppi the railway crosses the plain on which was fought the battle of Campaldino (1289; comp. p. 319). — 28 m. (45 km.) Pratovdcchio-Stia (Hot. Falterona, pens. 18 1.) is an interest- ing centre for excursions and a base for ascents in the Apennines. A., fine walk of 4hrs. leads N. to the Source of the Arno and thence to the summit of Monte Falterona (5426 ft.). A good drive crosses the Passo di Consupta (3435 ft.) and descends to Pontassieve (20m.; p. 405),408 Rte. 40 GXjBBIO From Florence From Arezzo to Fossato, 83i m. (134 km.), light railway in 7 hrs. (211. 50, 12 1.), an interesting route. — 24£ m. Anghiari (1400 ft.), once Castrum Angulare, was the scene of a victory of the Florentines over the Milanese (1440). —We cross the Tiber short of (28 m., 45 km.) Sansepolcro (Hot. Fiorentino; Roma), the birthplace of Piero della Francesca (1416-92), Raffaellin delColle (1490-1540), and Santi di Tito (1538-1603), the painters. The church of Santa Chiara contains a Nativity by the Delia Robbia. In the Palazzo Comunale is a Museo with two ♦Frescoes by Piero della Francesca, a standard of the school of Luca Signorelli, an Assumption by Perugino (1465-69), and terracottas by the Della Robbia. The Romanesque Duomo, built in 1012, but modernized, contains paintings by Santi di Tito, Raff, del Colle, and Perugino (a replica of his Ascension, now at Lyons). We enter Umbria (p. 316). — 38 m. (61 km.) Citti di Castello (Hot. Cannoniera; Tiferno), on the site of the ancient Tifernum, gave employment to many artists, among them Raphael and Signorelli, in the middle ages. The family of the Vitelli held the lordship in the 15th century. The Palazzo del Governo, with a 14th cent, facade, and the Palazzo Comunale, were built by Angelo da Orvieto (1240). The Duomo, by Elia di Bart. Lombardo (1482-1529), retains some fragments of an earlier Romanesque building; in the treasury is a silver *Altar Front presented by Pope Celestine II (1143). To the S.E. of it is the Gothic church of San Domenico. To the N. is the Pinacoteca, deserving a visit: Ghirlandaio, Coronation of the Virgin; Raff, del Colle, paintings; Ra- phael (?) and Evangelista di Pian di Meleto, ^Standard (1500); Delia Robbia, terracottas; L. Ghiberti, statuettes for a ♦Gothic Reliquary (1420).—52f m. (85 km.) Umb6rtide (Hot. Guardabassi; Eden) retains the church of Santa Croce, with a Descent from the Cross by Signorelli (1515-16). Railway to Todi and Terni, see p. 444. We quit the valley of the Tiber. 70 m. (113 km.) G0BBIO (1735 ft.; Hot. San Marco), a town (6284 inhab.) at the foot of Monte Ingino, grew up beside the ruins of the Umbrian city of Ikuvium (the Roman Eugubium). It was sacked by the Goths, but retained its indepen- dence until 1384, when it was surrendered to the Montefeltro of Urbino. The miniaturist Oderisio (d. 1299?) is considered as the founder of its school of paint- ing, which included Guido Palmerucci, Ottaviano Nelli, and Sinibaldo Ibi. Gubbio is famed for its majolica, the chief producer being Giorgio Andreoli da Intra, commonly called Mastro Giorgio, who discovered a peculiar ruby glaze. The picturesque procession of the Ceri (which may have a pagan origin) is held yearly on May 15th, the feast day of St. Ubaldo (d. 1160), its patron Saint and bishop, who saved it from Barbarossa in 1155. Many of the ancient houses of Gubbio have the curious ' Porta del Morto ' beside their principal doorway. The Via Baccarini, some distance to the left of which are ruins of a Roman Theatre, leads to the Piazza Vittorio Emanuele, in which is the church of San Francesco (1259). In a turning from the Via Paoli is the little Romanesque (11th cent.) church of San Giovanni. The ♦Palazzo dei Consoli in the Piazza della Signoria, is an admirable building of 1332-46, attributed to Ang. da Orvieto or to Matteo di Giovannello da Gubbio, known as Gattapone. On the S.W. side, which rests on a massive vaulting, it is 321 ft. high. In the interior is the Pinacoteca, with paintings of the school of Gubbio, and majolica, but most notable for the seven celebrated *Eugubian Tables in bronze, found in 1444 near the Roman theatre, and bearing inscriptions in the Umbrian lan- guage (five of them in Etruscan characters, the others in Latin characters). The inscriptions record the rules of a college of priests, and date probably from 200-50 b.c.. In the same square is the Palazzo Comunale, formerly the seat of the Podestk (1349) and, in the neighbouring Via dei Consoli, the Casa del Ca- pitano del Popolo, built for the 13th cent, governors. We mount to the Palazzo Ducale, by Luciano Laurana (1475-80), and the Duomo (1241), interesting for the works of art in its chapels, including a Pieta by Dosso Dossi, a Nativity by Eusebio da San Giorgio, a Christ and St. Mary Magdalen by Timoteo Viti (1521), a Madonna and saints by Sinibaldo Ibi, and (in the chapter-house) an admirable ♦Flemish Cope, designed by a disciple of Justus of Ghent and presented by Marcello Cervini (Pope Marcellus II). To the S.E. of the town is the elegant Qhurch of Santa, Mqriq l^uova (13th cent.), containing the Madonna of the Bel-to Rome CORTONA 40 Rte, 40$ vedere, the masterpiece of Nelli (1403), and outside the Porta Romana is the 13th cent, church of Sant'Agostino, containing frescoes by the same artist and his pupils. — We join the railway from Ancona to Rome at (83i m., 134 km.) Fossato (p. 440). The motor omnibus from Arezzo to (39 m.) Siena passes (13 m.) Monte San Savino, the birthplace of the sculptor And. Contucci, called Sansovino (1460- 1529). The church contains a group by Sansovino, and an Adoration of the Shepherds by And. Delia Robbia. From a tunnel beyond Arezzo we debouch upon the broad plain of the Chiana, with low hills on the left, some of which are planted with olives. In prehistoric times this valley was the bed of the Arno, which emptied itself not into the Tyr- rhenian Sea, but into the Tiber. The marshes left behind when it chose its new direction were drained by the efforts of Cosimo de' Medici and the house of Lorraine. Two branches of a canalized stream, the Chiana Toscanaand Chiana Romana, carry off the waters of the valley to N. and S. respectively. — Beyond (65f m.) Castiglione Fiorentino, with its interesting collegiate church on a hill, we pass the castle of Montecchio Vesponi. 72 m. (116 km.) CORTONA (3597 inhab.; Hot. Nazio- nale; Garibaldi, R. 6, D. 8, pens. 15 1.), a hill-top town, and the belvedere of Umbria and Tuscany, rises to a height of 1700 ft., with narrow winding streets covering the steep slopes. It is interesting for its Etruscan remains and for its works of art. Cortona (probably of Umbrian origin) was subjugated by Rome about 309 b.c. Its lands were wasted by Hannibal, and its territory thrice distributed among Roman soldiers. Its fame comes chiefly from Luca Signorelli (1441- 1523), the great precursor of Michael Angelo; another native painter is Pietro Berrettini (1596-1669), called Pietro da Cortona. Many of the old houses have the curious ' Porta del Morto.' The upper and central town is 2J m. from the station (omnibus five times daily). Half way up is the church of Santa Maria delle Grazie del Calcinaio (1485), and a few minutes to the W. of it an Etruscan chambered tomb known as the Grotta di Pitagora (Pythagoras, however, came from Croton, in S. Italy, not from Cortona). Near the entrance to the town is the church of San Domenico (early 15th cent.), containing a *Virgin and saints by Signorelli, a Coronation of the Virgin by Lor. di Nicold, and a Madonna and saints by Fra Angelico (c. 1414). The Palazzo Pretorio (1608), in the Piazza Signorelli, is occupied by a Museo Etrusco (open 10-1), containing a bronze Etruscan *Lamp and other antiquities. The *Duomo, to which we descend along the Via Casale, was originally built about the 10th cent., and some fragments of this date survive in its fa$ade; but it was enlarged in the 15th cent, by Fr. and Giuliano da San- 13 -a410 Rte. 40 CH1U SI From Florence gallo, arid afterwards much modified. It contains several paintings by Signorelli and his school, notably a Pieta (1502) and the * Institution of the Eucharist in the apse, and three pictures and a lunette in the sacristy; a Madonna and saints by P. Lorenzetti, in the S. aisle; and (in the treasury) a re- liquary by Giusto da Firenze (1457). The Baptistery (1505), opposite the cathedral, has a good painted wooden ceiling and an * Annunciation by Fra Angelico. Around the Porta Colonia are the most considerable relics of the Etruscan walls, and in this neighbourhood are also the churches of Santa Maria Nuova (1550-54) and San Francesco (begun 1245), the latter containing a Nativity by Signorelli. At the top of the hill commanding the town is the modernized church of Santa Margherita, preserving only a single rose-window of the original building (1297). The tomb of St. Margaret is by Angelo and Francesco di Piero da Cortona (1362), with a silver front added in 1651. The 16th cent. Fortezza (21B0 ft.), higher up, commands a splendid view. A little below the church are ruins of the Roman thermae (the so-called Temple of Bacchus), and the church of San Nicola, with a small double-sided painting by Signorelli and frescoes by the same master. 7£>f m. (122 km.) Ter6ntola is the junction for Perugia and Foligno (see p. 428). We presently reach the W. shore of Lake Trasimene and enter Umbria (p. 316). — 82 m. Castiglione del Lago (478 inhab.), with its castle, is pic- turesquely situated on a promontory. A little farther on we quit the lake. V 95f m. (151 km.) Chiusi (Rfmts.; Hot. Italia; Nuova Co- rona), where the line from Siena and I^mpoli (see Rte. 41) comes in on the right, is a pleasant little town (2307 inhab.) on a hill to the right of the railway. Chiusi is supposed to have been founded by the Umbrian Cambertes, whence its Etruscan name of Camars. It was one of the twelve cities heading the Etruscan league (comp. p. 315), and reached its greatest splendour about the 7th or 6th cent. b.c. Lars Porsena, the ' lucumo ' or king, attacked Rome in 520 b.c. (see Macaulay's ' Horatius '), but the town became subject to Rome after 295 b.c. and took the Roman name of Clusium. The neighbourhood of the pestilential marshes of the Chiana (comp. p. 409) brought decay to Chiusi, but the drainage Works undertaken by Cosimo I restored some degree of prosperity. Under the streets runs a labyrinth of Etruscan galleries. The Romanesque Duomo is built almost entirely of Etruscan and Roman fragments: in the sacristy are a number of illuminated antiphonals. The Museo Etrusco is interesting for its collection of ' finds ' in the neighbourhood. The church of San Francesco dates from the 14th cent., and the ruined Fortezza from the 12th. At the museum a guide may be hired for the exploration of the *Etruscan Tombs, no-to Rome ORVIETO 40 Rte. 411 tably the Tomba del Granduca or della Pacciarese (2-J m. N.E.), with eight cinerary urns remaining on their stone benches, and the Tomba della Scimmia (' of the apeljm. N.), of great interest for the paintings on its walls. Carriages for visiting the tombs may be hired at the station. From Chiusi to Santa Fiora, 43£ m. (70 km.), omnibus daily in 4J hrs. (211. 35 c.). — 7£ m. Sarteano (1670 inhab.) is noteworthy for the church of San Lorenzo, containing a painting by Sodoma, and for a collection of Etruscan antiquities (adm. granted by Cav. Bargagli). The neighbouring village of Cetona has an old castle and another Etruscan collection (Palazzo Terrosi). — 22£ m. Radicdfani (2930 ft.; Hot. Dante), on a conical basaltic hill, preserves some remains of the castle where Ghino di Tacco imprisoned the Abbot of Cluny. — 32£ m. Abbadia San Salvatore (Hot. d'lt&lia; 4129 inhab.), on the slopes of Monte Amiata, is a summer resort. — 35£ m. Pian Castagndio (2736 inhab.), amid groves of chestnuts, with the impressive Palazzo Bourbon del Monte (1604). — 43£ m. (70 km.) Santa Fiora (2605 inhab.), with terracottas by And. Della Robbia in its parish church. Another omnibus plies from Chiusi to Citta della Pieve (see below) and Perugia (p. 428). — Railway to Siena and fimpoli, see Rte. 41. Beyond Chiusi we follow the Chiana Romana (p. 409); — 98J m. Citta, della Pieve, situated 3 m. from the station, is the birthplace of Pietro Vannucci, called II Peru gin o (1446- 1524), and preserves some paintings by the master and his pupils. Beyond two tunnels we presently debouch in the valley of the Paglia, an affluent of the Tiber, and the isolated hill of Orvieto comes into view. 118 m. (190 km.) ORVIETO (Rfmts.; 1087 ft.), perched on a bold brown rock, 660 ft. above the valley, is an ancient town (7137 inhab.), remarkable for its Etruscan antiquities and its mediaeval aspect, and especially for the beauty of its cathedral. From the Railway Station, 2J m. from Orvieto by road, a funicular railway (612 yds.), in a tunnel below the citadel, ascends direct to the town in 5 minutes. Hotel omnibuses wait at the upper terminus (PI. B 5). Hotels. Palace (PI. a; B 2), Via Garibaldi, good; della Posta (PI. b; B 2), Via Luca Signorelli; del Cornelio (PI. c; B 2), Piazza Ippolito Scalzo; del Duomo, Via del Duomo (PI. B 3), with excellent restaurant. Restaurant, Del Duomo. — Caf£s in the Piazza Vittorio Emanuele. Motor Omnibuses ply to Pitigliano (p. 413), Todi (28m.; 111. 25c.), Viterbo (31 m.), Castiglione Teverina (12£ m.), and Marsciano (30£ m.). History. Orvieto represents the ancient Etruscan city of Volsinii or Vel- sina, the inhabitants of which, when conquered by Rome (280»b.c.), carried the name of their city to Bolsena (p. 413). The town that remained on the old site became known as Urbs Vetus (' old town '), whence the modern name is derived. In the middle ages Orvieto was a Guelph stronghold, and the popes frequently took refuge here from revolts in Rome. Angelo da Orvieto (14th cent.) and Ascanio Vittozzi (d. 1615), the architects, were born here. From the upper terminus of the funicular railway we follow the Via Cavour as far as the Torre del Moro (12th cent.), then turn to the left by the Via del Duomo to reach the412 Rte. 40 ORVIETO From Florence **Duomo (PI. C 3; Corpus Domini), one of the most beautiful and interesting churches in Italy, begun in 1285 by Pope Honorius IV to celebrate the miracle of Bolsena (see p. 413). The *Fa?ade, admired for its justness of proportion and purity of line, and for the general harmony between the architectural design and the polychrome effect of sculptures and mosaics, was designed and begun by Lor. Maitani da Siena (1310-30), continued by And. Pisano (1347) and Orcagna (1354), and completed in 1569. It is covered with delicate bas-reliefs in pale yellow marble, the work of the Nuti, distributed over the pilasters and representing the story of the Creation to the time of Tubal Cain, the stories of Abraham and David, scenes from the Life of Christ, the Last Judgment, Hell, and Paradise. In the lunette of the main portal is a Madonna by Maitani. The mosaics are chiefly reproductions. The portal on the S. side deserves notice. Interior (best light in the morning). The walls are lined with horizontal bands of white and grey. The nave is se- parated from the aisles by columns and piers, which carry round arches, over which a graceful triforium, with a clerestory above it, runs all round the church, except in the transepts. — In the Nave are a stoup and a Sibyl by A. Federighi (1451-56); in the N. aisle, near the entrance, a font of 1402- 1407, and close to- it a fresco of the Madonna by Gentile da Fabriano (1426).—The N. Transept contains the Cappella del Corporale, over the altar of which is the * Reliquary containing the corporal (linen cloth) of the miracle of Bolsena (p. 413), an admirable work in silver-gilt, with tablets of transparent blue enamel, by the Sienese artist XJgolino di Vieri (1337). It is enclosed in a casket, and is shown only at Easter and Corpus Domini (Thurs. after Trinity Sunday). On the walls are restored frescoes by Ugolino di Prete Ilario (1354) and a Madonna by Lippo Memmi. — The Choir is decorated with frescoes by Ugolino, Piero di Puccio, and Ant. da Viterbo; the carved Gothic stalls are the work of the Sienese artists Ant. and Pietro del Minella (1431-41). — The S. Transept has an altarpiece designed by Sammicheli, with bas-reliefs by Raff, da Montelupo, and another designed by Ant. da Sang alio. At the end is the *Cappella della Ma- donna di San Brizio, or Cappella Nuova, containing the *Frescoes by Fra Angelico and Signorelli which are the chief treasures of Orvieto. In 1447 Fra Angelico undertook the painting of the interior of the chapel, and he completed in the same year the two sections of the ceiling which represent the Saviour in Glory (the ninefold hierarchy of angels being by his fellow-worker Benozzo Gozzoli) and the prophets. He was recalled to Rome, and it fell to Luca Signorelli to complete the work (1499-1502) by painting the walls. On the Left Wall is the Sermon of Antichrist, with Fra Angelico and Signorelli as two solemn bystanders, and the figure of Dante as one of the crowd; on the Entrance Wall (inner side) the Prophecies and the Last Judment; on the Right Wall the Resurrection of the Flesh, and around the windows the Ascent of the Blessed, the Casting out of the Wicked, etc. On the lower partPWOPF..DEL T.C. Luto {// of/'" fjuadraia nu-lou P*3 Cassia *Ua Stax'i°ne Tomjta Etrusche ,Domenico Magg4op^^i J*L -7 fft %#i| - FX-' mm ¥o«*( icjiono Stafcionr %TF. SS. Purr. I/Alberino lajisi _ V^Rubifii P(\scai/r J'oiifcegmaUi RtiX'acciano ' Barr\0f S.Lorenzc Fontenova ♦ »w. sp,mu!u,io \ ., Ora'foinq £ diSJ3«rnurmuo Le Ldtffft LeMura ChieaaValdese 300 ^ l- Ce-wufc BiblioUl -j SiDoitttfnicO ^ Follonicu Fon:etiranHa Rifugio larvehi ■' 11 1 u > •osLferU, Jnuiifido $ ^*J3onsiguoH 1 rfot'' "S.Pietro i1 x-b.G cu seppt • ""SJiiicia *; o'rtp;. IU)t;uiic'o *\> ^ / -Ovtanzorii Afl a t o inico Laterina M;i nico in i b'pVa Rorfi ana S.Xiceolo Limit jto d?CnAe ;inotro fuyc, < Giaj'duio La Pia/ia. II Petticeio f$adcth.Lcco Cosralpii Cimhr.d. isericondia UFF CARTOGR. OEL T C.Vit (Streets): — Camollia 2 ABC — Canipansi 2B — Cantine (delle) 5EF — Capitano (del) 3E — Casato (del) 3EF — Castelvecchio 2-3F — Cavour 2-30 — Cerchia (delle) 3F — Citta (di) 3ED — Costone (del) 2E — del Comune 3-40 — del Re 3D — Piacceto 3DE — Diana (d.) 2FG — Dupr6 Giov. 3E — Fiera Yecchia 5E — Fontanella (di) 3-4F 4G — Fontebranda 2-3D 3E — Fortuna (della) 4E — Fosso di S. An- sano 2EF Franciosa 2E — Fusari (d.) 2-3E — Galluzza (della) 3D — Garibaldi 2C 2-3B Vie (Streets): — Gazzaui (d.) 2BC — Giglio (del) 3D 3-4C — Giuggiolo (del) 1G — Laterino (del) IF — Lombarde (delle) 3E — Magenta 30 — Malizia (di) 2A 3B — Mascagni Paolo 1-2F — Mattioli P. A. 3F 3-4G — Monte bello 2AB — Moro (del) 3D — Nuovo Asilo (del) 1-2F 2G — Olmera (d') 5E — Oro (d') 4E — Orti (degli) 3-40 — Paradiso (del) 2D — Pellegrini (dei) 3E — Pendola 2-3F — Peruzzi 2F — Pescaia (di) 1AB — Pignatello (del) 2B — Pispinl (del) 5E — Pittdri (del) 3D — Rialto (del) 4E — Ricasoli 4-5E Vie (Street#) : — Romana 5EF — Rossi (dei) 3D 8-40 — Salicotto (di) 4E — San Girolamo 5E — Sati Marco (di) 2FG — San Martino 4E — San Pietro (di) 3EF — San Quirico 2F — Sant'Agata 3F — Sarrocchi 3F — Scuole (delle) 2F — Servi (dei) 5E — Sole (del) 4E — Sperandie (delle) 2GF — Stalloreggi 2-3F — Terme (delle) 3D — Termini (dei) 3D — Trento 3-4D — Trieste 3D — Tuft (del) 4G — Val. di Montone 5F — Vallepiatta 2E •— Vallerozzi 30 — Yapore (del) 2-30 Villa Rubini SBto Chiusi PIENZA 41 Rte. 427 the Via Cavour, are the Palazzo Angelotti by Sangallo and the richly-decorated church of Gesti, by And. dal Pozzo. In the Via Poliziano are the 14th cent, house in which Politian was born and the small church of Santa Maria (13th cent.). Passing the Fortezza we reach the Duomo (1570-1680), with a painting by Taddeo di Bartolo on its high altar, and frag- ments of the tomb of Bart. Aragazzi, secretary to Pope Martin V, by Michelozzo (1427-36). In the same square are two mansions by Sangallo and (on the W. side) the 14th cent. Palazzo Comunale, containing a small gallery of paintings of the Tuscan and Umbrian schools, and terracottas by the Delia Robbia. The Via Ricci (Renaissance mansions) leads to the oratory of the Misericordia, with a 14th cent, portal. By way of the Piana we descend the hill to the church of the *Madonna di San Biagio, a very graceful Renaissance structure by Antonio da Sangallo the Elder (1518-37), with an admirable interior. Its plan is said to have inspired Bramante with his design for St. Peter's. Omnibuses ply from Montepulciano to (25\ m.) Montalcino via (9J m.) Pienza (Hot. Letizia), a charming little town (1123 inhab.), the birthplace in 1405 of ^Eneas Silvius Piccolomini, afterwards Pius II (comp. p. 421), who changed its name from Corsignano by a papal bull (1462) and charged Bernardo Rossellino to make it a centre of art. The chief * Piazza is a remarkable example of the 15th cent. Florentine style. The Duomo is noteworthy for its paintings by Matteo di Giovanni, Vecchietta, and Sano di Pietro, and its Gothic choir- stalls of 1462; in the baptistery below it is a font by Rossellino. The Palazzo Piccolomini, on the W. side, was begun by Pius II and finished by his nephew, Pius III; it was partly decorated by Rossellino, and has an interesting interior. Beside it is the Palazzo Newton, built by Card. Ammannati of Pavia. In the Piazza are also the handsome Palazzo Comunale (N. side), the Palazzo Vescovile (E. side), and (between the latter and the cathedral) the Palazzo dei Canonici, now the Museo (open 9-1 and 3-5; adm. 2 1.), containing tapestries, paintings of the Sienese school, an antiphonal illuminated by Sano di Pietro, and the ♦Cope of Pius II. To the S. of the little town is the Romanesque church of the Pieve (12th cent.), the sole relic of the earlier town of Corsignano. Beyond Montepulciano the small Lago di Montepulciano and Lago di Chiusi are seen on the left, joined by a canal. — 108 m. (174 km.) Chianciano (Grand-Hdtel, R. 10, D. 20, pens. 501.; Milano, R. 10, D. 15, pens. 35 1.; Centrale, R. 8, pens. 30 1.; Fonti, pens. 30 1.; etc.), lying 7 m. W. of the sta- tion (omnibus; services also to Montepulciano, 4 1., and Chiusi, 5 1.), is a frequented little spa with warm saline and chalybeate waters (visitors' tax 8-10 1. for the season, May-Sept.). —■ We skirt the marshy Lago di Chiusi, and soon reach (113J m., 183km.) Chiusi (p. 410).428 Rte. 42 PER CGI A Hotels 42. FROM TERONTOLA (Florence) TO PERUGIA, ASSISI, AND FOLIGNO Railway, 51| m. (83 km.) from Terdntola to Foligno in 2-4 hrs. (39 1. 65; 27 1., 16 1. 5 c.); to Pertigia, 26| m. (43 km.) in 50 min.-l^ hr. (211. 5, 14 1. 50, 8 1. 5 c.); to Assist, 41£ m. (67 km.) in l£-2^ hrs. (32 1. 25, 211. 85 13 1. 20 c.); The distance from Florence is 75f m. (122 km.) longer (see pp. 405, 410). Views on the right as far as Perugia, then on the left. Terontola, see p. 410. We enter tJmbria (p. 316) and skirt the N. shore of LagO Trasimeno or Lake Trasimene, a lake nearly 28 m. in circumference, with a depth (30-35 ft.) that is constantly diminishing owing to the formation of peat. At the S.E. end is a subterranean outlet constructed by the Romans and several times reopened. Beyond a tunnel we cross the plain between the lake and the hills where Hannibal gained his great victory over the consul Flaminius in 217 B.C. It is said that the name of the Sanguinetto, which we cross, commemorates the slaughter of 16,000 Ro- mans (' a name of blood from that day's sanguine rain '). — Near (5 m.) Tuoro we have a near view of two of the islands in the lake, the I sola Maggiore, with a Franciscan convent, and the I sola Minor e. — 7 J- m. Passignano stands on a promontory, with its fine old castle. We thread two tunnels and quit the lake. — 14 m. Magione retains an abbot's palace of the Templars. 26|m. (43 km.) PERUGIA (24,133 inhab.), one of the most interesting cities of Italy, alike for its works of art and historical associations, is situated on a hill-top 1620 ft. above the sea, and nearly 1000 ft. above the valley of the Tiber. The peculiar qualities of Perugian art are seen to full advantage in the Sala del Cambio and in the picture gallery - " la piu sentimentale d'ltalia." Railway Stations. Ferrovie dello Stato (PL G 1), S.W. of the town, to which passengers may ascend by tramway in 25 min. (85 c.); Ferrovia Centrale Umbra (PI. F 4), for the lines to Todi, Terni, and Umbertide. Hotels. Grand-Hotel Brufani (PI. a; E 3), R. 10, pens. 60 1.; Palace (PI. b; E 4), R. 10, D. 15, pens. 35 1., these two in the Piazza Vitt. Ema- nuele; della Posta e Gran Bre- tagna (PI. c; D 3), Corso Vannucci, simple but good, with excellent restaurant; Belle Arti, Via Bonazzi (PI. E 3), good restaurant; Vannucci, Via Boncambi, unpretending. Restaurants at the hotels; also Itdlia, Via Danzetta; Rosticceria, Via Alessi; Taverna, Via delle Streghe. — Cafes. Vitalesta (with tea room), Faid, and Vannucci, all in the Corso Vannucci.—Brasserie Al Trasimeno, Via Baglioni. Post Office, (PI. D 3, 4), Via Mazzini. Tramway from the station to the Piazza Danti (see above).—Motor Omnibuses to .kssm (61. 90), Chiusi via Citta della Pieve (13 1. 15), Gualdo Tadino (131. 50), Giibbio (13 1. 60), Montepulciano (161. 75), Todi vi& Deruta (111.), etc,History PER&GIA 42 Rte. 429 Theatres. Morlacchi (PI. C 3), the opera house; Pavone (PI. D 3), comedy and varieties. Information Bureau, ' Pro Pe- rtigia,' Borsa dei Mercanti (PI. D 3). English Church Service at the Hot. Brufani (Sun. 8 and 11, March- June, Aug.-Oct.). History. To the Etruscans, and not the Umbrians, Perugia owes its ancient walls and gates. It submitted to the Romans under Fabius in 310 b.c., and was afterwards taken by Octavius in his war with Antony (40 b.c.), when it was burned to the ground in desperation by a citizen, Caius Cestius. Augustus rebuilt the city under the name of Augusta Perusia. It is said to have been besieged by Totila in 547, and saved by the wisdom of its bishop, St. Ercolano. In 592 it became a Lombard duchy, and after the restoration of the Western Empire its history is one of obscure and intricate .vars with neighbouring towns in which it generally took the Guelph side. The first despot was one of the Raspanti (' scratchers the nickname of the burghers), named Biondo Mi- chelotti (1393), who murdered two of the noble family of the Baglioni, became leader of the Florentine army, and allied himself with Gian Galeazzo Visconti. The city passed to the latter family, and afterwards to Braccio Fortebraccio (1416-24), the famous ' condottiere ' and a wise governor. Perugia was sub- sequently torn by strife between the rival families of Oddi and Baglioni; and when the latter prevailed they in turn quarrelled, until the day (Aug. 14th, 1500) when all their leaders were massacred as the result of a conspiracy, with the exception of Gian Paolo, who revenged himself upon the murderers. Pope Paul III seized the town in 1535, and when it rebelled against his salt tax, built the ' Rocca Paolina ' on the ruins of the old Baglioni mansions. Thenceforward Perugia was ruled by a papal governor. In 1809 it was annexed to the French Empire, but in 1815 it was restored to the Church. In 1859 the papal Swiss Guards occupied the city after an indiscriminate massacre, but a year later they were expelled, and a popular insurrection destroyed the Rocca Paolina, the badge of subjection. Art. Perugia was the chief centre of Umbrian painting, which flowered in sweet calm through the storms of civic history. The Umbrian school took its rise in the 12th cent., but it was only in the 15th cent, that it became inde- pendent of Siena and Florence, producing such masters as Gentile da Fabriano, Ottaviano Nelli da Gubbio, Nicola da Foligno, Matteo da Gualdo, Bartolomeo Caporali, and Benedetto Bonfigli (c. 1425-96), the first great Perugian painter. His immediate follower was Fiorenzo di Lorenzo (1440-1522), but the greatest renown is that of Pietro Vannucci (1446-1523), born at Cittk della Pieve, but called II Perugino from his long association with Perugia. Among his numerous disciples of the Umbrian school alone were Bernardino di Betto (11 Pinturicchio or II Sordicchio; 1454-1513), Andrea di Luigi of Assisi (L'Ingegno), Tiberio Diotallevi of Assisi, Fr. Melanzio of Montefalco, Giovanni di Pietro of Spoleto (Lo Spagna), Bern, di Mariotto, Eusebio da San Giorgio. Domenico and Orazio di Paris Alfani, and Giannicola Manni, with the last-named of whom the school died out. The centre of the town, to which we ascend by a winding road past the Gothic tower of Santa Giuliana, is the Corso Vannucci (PI. E-D 3), an imposing thoroughfare. At its S. end, in the Piazza Vittorio Emanuele, on the site of the Rocca Paolina, is the impressive Prefettura (PI. E 3-4), the front of which bears the Umbrian griffin in bronze. Behind the building is a little terraced garden offering a *View from Monte Amiata to the summits of the middle Apennines, with Montefalco, Assisi, Spello, Foligno, Spoleto, etc. On the left of the Corso Vannucci is the *Collegio del Cambio (PI. D 3), the hall and chapel of the Bankers' Guild, by Bart.430 Rte. 42 PER tfGIA Coll. del Cambio di Mattiolo and Lod. di Antonibo (1452-57). The hall is decorated with frescoes painted by Perugino and his pupils for the merchants; who paid 350 ducats for the work. Adm. 1J1., 9-12 and 3-5 (10-2 in winter). Best light in the fore- noon, 11-12. Interior. In the Sala dei Legisti are walnut-wood carvings by G. Zuc- cari (1615-21). — The *Sala dell'Udienza del Cambio is painted with frescoes by Perugino and his pupils (1499-1507), representing Virtues and religious subjects, above portraits of classical heroes and Biblical figures. On the right is a gilded statuette of Justice by Bened. da Maiano. On the left wall are Pru- dence and Justice, with Fabius Maximus (Cunctator), Socrates, Numa Pompilius, Furius Camillus, Pittacus, Trajan, and Cato; and Fortitude and Temperance, with Lucius Licinius, Leonidas, Horatius Cocles (defender of the Roman bridge), Scipio, Pericles, and Cincinnatus. The elegant and languid figures are in the fashion of the painter's time. On the right wall are the Triumph of Religion, the Eternal Father, and the Annunciation, with Isaiah, Moses, Daniel, Jeremiah, Solomon, and the Sibyls. This wall and the paintings of Fortitude (see above) are by both tradition and modern criticism attributed to Raphael, then a youth of 17. On the ceiling are liberal arts and pagan divinities, by Perugino's as- sistants, arid on the middle pilaster is a portrait of Perugino by himself. The carvings and marquetery work, both here and in the adjoining chapel, are the Work of Ant. Bencivieni da Mercatello. The paintings in the chapel are mostly by Perugino's disciple, Manni (1515-18). Adjacent is the * Palazzo Comunale (PI. D 3, 4), formerly the Palazzo dei Priori, a massive structure by Giac. di Ser- vadio and Giovannello di Benvenuto (1293-97), afterwards enlarged, and completed in 1443. The whole has been well restored. The principal facade, overlooking the Corso, has a richly decorated portal; the other fagade, overlooking the Piazza del Duomo, has a flight of steps and a doorway surmounted by the bronze Perugia n griffin and the Guelph lion, bearing chains carried off from the gates of Siena by the Perugians after a vic- tory at Torrita (1358). To the right are three arches, probably from the church of San Severo, which was destroyed to .make room for the palace. We enter from the Corso. On the first floor is the Sala del Consiglio, with a handsome Renaissance doorway, sur- mounted by a Madonna by Fiorenzo di Lorenzo. For a long time it was known as the ' Sala del Malconsiglio,' from the ' ill-advised ' consent of the Perugians to spare the lives of the English soldiers of Sir John Hawkwood (p. 322), by whom they were afterwards defeated (1366). The *Sala dei Notari, or del Capitano del Popolo, on the same floor, contains frescoes attributed to Pietro Cavallini (13th cent.). We mount to the *Pinacoteca Vannucci, on the third floor, named in honour of Perugino, and founded in 1863 to receive the paintings from churches and monasteries suppressed by the State. Most of them are of the Perugian school, and the characteristic Umbrian gentleness is felt pervading the whole gallery. Adm. 21., 10-1 and 3-6 (winter 10-4); Sun. and holidays 10-1 and 4-6 (winter 10-12 and 2-4). A rearrangement isPinacoiecd PER liGIA 42 Rie. 431 contemplated by which R. XII will be devoted to Perugino, and R. XV to Bern, di Mariotto. Room I (beyond the great hall): 1. Meo da Siena, Polyptych; 6. ' Maestro di San Francesco ' (not Margaritone), Crucifixion with St. Francis adoring (1272). — Room II (once the priors' chapel): Bonfigli, Frescoes of the lives of St. Erco- lano and St. Louis, patron saints of Perugia (1454-96); stalls by Gaspare di lac. da Foligno and Paolino da Ascoli (1442); in a case, *Silver gilt chalice and paten (14th cent.) by Cataluccio di Pietro of Todi. — Room III: 14th cent, frescoes from the church of Sant'Elisabetta (p. 433). — Rooms IV, V: 14th cent, paintings by Bartolo diFredi and Taddeo di Bartolo (67, 62, 66); 14th cent. *Reliquaries in enamel and gilt metal. — Room VI: 124. Benozzo Gozzoli, Madonna and saints (1456); 111. Piero della Francesca, Madonna with saints, and the Annunciation (above); 129. Gentile da Fabriano, Madonna; *91. Fra Angelico, Madonna, part of a triptych, in the predella, Miracles and Death of St. Nicholas; Silver voting urns, with arms of the guilds, for the election of the Priors (c. 1450). — Room VIII: 147, 148, *150. Giov. Boccati da Camerino, Madonnas (c. 1450). — Room IX: Bonfigli, 164. Gonfalon of St. Bernard, 138. Annunciation, etc. — Rooms X, XI: Paintings by Fiorenzo di Lorenzo: 180. Adoration of the Magi, attr. by some to the young Perugino. — Room XII: *2-9. Miracles of St. Bernardine (c. 1473), attr. to Perugino (5 and 8), Fiorenzo (3, 4), Caporali (2, 9), and Pinturicchio (6, 7), and painted with great skill and minute accuracy. — Room XIV: 5. The Eternal Father, and other paintings by Perugino and And. d'Assist, from a large altarpiece in Sant'Agostino; on an easel, Perugino or Raphael), Pietk (c. 1505); glass case with Perugino's autograph. — Room XV: (1. Perugino (or Fiorenzo), St. Jerome. — Room XVI: Manni, 31. Madonna and St. John, and other paintings; paintings by Berto di Giovanni. —- Room XVII: 1. Pinturicchio, Large reredos; Perugino (?), 5. Transfiguration, 6. Annunciation, Nativity, and Baptism, 9. Madonna with SS. Francis and Ber- nardine; 11. Unknown (not Raphael), Eternal Father; 12. Eusebio da San Giorgio (after Pinturicchio), Adoration of the'Magi (1505); 14. Raphael (prob. an old copy by Eusebio), Madonna del Libro; Eusebio, 15. Madonna, 16. Monastic saints; 19. Spagna (?), Madonna and saints. — Rooms XVIII, XIX: Dom. Alfani, 38. Holy Family, copy of Raphael's painting now at Lille, etc. — Room XX: 10. Sassoferrato, Madonna; bronze bas-relief (Scourging of Christ or Martyrdom of St. Sebastian) of fine workmanship but doubtful origin (? Leo- nardo, Verrocchio, or Bertoldo). — Rooms XXI, XXII: Paintings of the Um- brian decadence; Deruta and Faenza pottery; Bened. Buglioni, Madonna in terracotta. On the same floor is the Biblioteca Comunale (1615; adm. 10-1, 5-7, closed in Oct.), with several illuminated MSS. — The 2nd door to the right of the main portal of the Pal. Comunale admits to the Sala del Collegio della Mercanzia (adm. 10-12, 3-6; gratuity), with early 15th cent, woodcarving and intarsio work. In the middle of the handsome Piazza del Municipio (PI. D 3), a square full of character, rises the *Fontana Maggiore, designed by Fra Bevignate (1277-80), with bas- reliefs by Nicola and Giov. Pisano and three nymphs by Arnolfo di Cambio. To the W. of the Piazza is the Arcive- scovado, and behind it the little church of the Maesta delle Volte (1567-90), named from a painting of the Sienese school. Adjoining it are a graceful portal and a 13th cent, tower, picturesque survivals of the Palazzo del Podesta, which collapsed in 1534. To the N. is the Cathedral (PI. D 3, 4; San Lorenzo), a Gothic building of the 15th cent, with an unfinished fa5ade. On the left side is an exterior pulpit432 Rte. 42 PER tfGIA Cathedral built for St. Bernardine in 1425. The cathedral is entered from the Piazza Danti, where stands a statue of Pope Julius III, by Vine. Danti (1555). The principal doorway (by Galeazzo Alessi, 1568) is at the E. end, and the apse and altar at the W. The Interior, imposing rather than harmonious, has columns painted in imitation of impossible marbles. The handsome Madonna delle Grazie on a pillar to the right of the nave is attributed to Manni. — The 1st chapel of the right aisle, beyond the tomb of Bp. Baglioni (d. 1451), by Urbano da Cortona, is the Chapel of St. Bernardine (1486), containing a Descent from the Cross by Barocci (1569; covered) and a stained glass window of 1565 designed by Henri de Malines; in the left aisle are two Madonnas of the 14th cent. Sienese school, bas-reliefs by Agost. di Duccio; the Redeemer and saints, by Lod. d'An- gelo (1488); and (the first chapel of the left aisle) the *Cappklla del Santo Anello, containing the supposed marriage ring of the Virgin Mary, formed of a sort of agate which is said to change its colour according to the character of the spectator. The ring was sold by a merchant of Jerusalem to a certain Judith, marchioness of Tuscany, and was piously stolen by the Perugians from Chiusi. It is kept in a chased and gilded reliquary (1498-1511) under 15 locks, and is exhibited 5 times a year. The stalls of the chapel were carved by G. B. Bastone (1520-29).—The Right Transept contains a Pietk attributed to Fiorenzo di Lorenzo (1486); in the Cappella di Sant'Onofrio, beyond, is a vigorous Madonna with saints, by Luca Signorelli (1484). — In the Choir are a *Bishop's Throne of 1520 and *Stalls of tarsia work by Giul. da Maiano and Dom. del Tasso (1486-91); in the Sacristy are inlaid cupboards by Mariotto da Giibbio (1494-97).—The Cloisters of the seminary contain antique and mediaeval marbles, and in the Seminary are ancient MSS. and choir-books. From the Piazza Danti we proceed by way of the Piazza Piccinino and Via Raffaello to the former Camaldulensian convent of San Severo (PI. C 4), now a college, in the chapel of which (entr. at No. 7, Piazza Raffaello, 10-12, 2.30-7; small fee) is a celebrated *Fresco by Raphael (1505; his earliest work of the kind), representing the Eternal Father, the Holy Ghost, and the Saviour with Angels and SS. Maur, Placidus, Benedict Abbot, Romuald, Benedict Martyr, and John Martyr. The composition recalls that of the ' Disputa ' at Rome, and the style shows the Tuscan influence of Fra Bartolomeo strengthening the artist's Umbrian effeminacy. Beneath it Perugino, already in decline (1521), painted SS. Scholastica, Jerome, John the Evangelist, Gregory, Bo- niface, and Martha. A little N.W. is the Terrazzo delle Prome (fine view), whence we descend a steep flight of steps to the *Areo d'AugUSto (Pl. C 3), a noble Etruscan gateway with an upper part added by the Romans in the 3rd century. The graceful loggia on one of the huge buttresses belongs to the early 16th century. In the Piazza beyond the arch is the Palazzo Gallenga (PI. C 3), formerly Palazzo Antinori (1748-58). We follow the Corso Garibaldi to the N., and then turn to the left along the Via Fabretti, which leads to the University (PI. B 2-3), founded in 1307, and transferred to the present building, a monastery of Olivetan monks,U niversity PERTJGIA 42 RU. 433 after their suppression by Napoleon, On the first floor is the important * Museum of Etruscan and Roman antiquities, open weekdays 10-1, Sun. and holidays 10-12 (adm. 2 1.). Staircase: Etruscan inscriptions; 26. Sphinx of the 6th cent. b.c. — Vestibule: 32. Inscribed cippus with 151 words (1st cent. b.c.). —The Gal- lery contains cippi, cinerary urns in alabaster and terracotta, etc.; Roman sculptures. — The small rooms off the gallery are opened by the custodian. Room I. Weapons in stone, copper, and bronze; R. II. Attic and Etruscan vases, including ' buccheri' from Chiusi; R. III. Roman terracottas; R. IV. Etruscan bronze and gold work; RR. V and VI. Metal work, including three ' cottabi' (comp. p. 353); RR. VII-IX. Guardabassi collection, including Etruscan mirrors (a Bacchus or Bacchante on a panther), amber necklaces, gems, etc. — RR. X-XI. Cypriote antiquities; RR. XII-XIV. Ethnogra- phical collection and coins. — The Church (apply to the porter) contains a 10th cent, ciborium and sculptures by Arnolfo and Agost. di Duccio. The Viale Z. Faina zigzags up from the University to the Porta Sant'Angelo (PI. A 2), at the extreme N. of the city, with a tower belonging to a castle built by Fortebraccio. Near it is the church of *Sant'Angelo (PI. A 2), a round Romanesque building of doubtful date (? 5th cent.), said to stand on the site of a temple, and containing 16 columns, evidently antique. The church is open in the mornings only (at other times apply to the sacristan at No. 10 Via del Tempio). Almost opposite the church is the nunnery of San?Agnese, containing frescoes ascribed to Perugino. Thence we return by the Corso Garibaldi. Near the S. end of the Corso Garibaldi (p. 432), to the right, is Sant'Agostino (PI. B 4), noteworthy for its admirable choir sculptured by Baccio d'Agnolo (1502-32). — From the Arco d'Augusto (p. 432) we follow the Via Pinturicchio to the church of Santa Maria Nuova (PI. C 4), containing good woodcarvings and a *Gonfalon by Bonfigli (1472), in which the Saviour is darting arrows at the Perugians, with their towers in the background. Near by is the Porta Pesa, so called from the weighing of produce brought in from the country, and £ m. farther on is the church of the Madonna di Monte- luce (PI. B 6), dating from 1219-1451, with a good rose-window and double portal in its facade. Starting once more from the Arco d'Augusto (p. 432), we turn W. by the Via Goldoni, the Via Sant'Elisabetta (on the right of which, in the church of Sant' Elisabetta, is a Roman mosaic, to be visited by permit from the Sopra- intendenza dei Monumenti, 1 Via Bontempi), and the Via Pascoli. The * Oratorio di San Bernardino (PL C 2) is a building of 1451-61 with a lovely facade decorated with mannered but delicate bas-reliefs by Agost. di Ant. di Duccio, and rich in polychrome marbles. We turn S.E. past the church of the Madonna delta Luce (PI. D 2), with a graceful Renaissance fa$ade (1512-18), and enter the Via dei Priori, near the beginning of which are the Arco di San Luca (Gothic, with an Etrusco-Roman base) and the mediaeval Torre degli Sciri (PI. D 2). We ascend the steep street for the whole of its length, passing on the right the Via della Cupa, leading to the Via Deliziosa, No. 5 in which is the House of Perugino (PI. D 3). Beyond the Corso Vannucci (comp. p. 429) is the Piazza Garibaldi (PI. D 4), built in part on the foundations of Etruscan walls. Here are the Tribunali, installed in the 14434 Rte. 42 PERtJGIA Prom Florence old university buildings (1483-1515) and in the former Palazzo del Capitano del Popolo (1472-81), with a good portal; and (at the corner of the Via Commercio) the mutilated facade of the Palazzo del Collegio dei Notari (15th cent.), with admir- able windows. The Via Baglioni leads S. to the Piazza Vittorio Ema- nuele (p. 429), at the corner of which we turn to the left along the Via Marzia, skirting the former walls of the Rocca Paolina (p. 429). Of the Etruscan Porta Marzia (PI. E 4) only the arch remains. The gate originally stood farther W., but when the citadel was built the stones were removed by Sangallo and rebuilt in the present position. In the Viale Carlo Alberto, farther on, are the most considerable remains of the Etruscan Walls. The little Gothic church of Sant'Ercolano (PI. E 4), near the meeting of the Viale C. Al- berto with the Corso Cavour, dates from 1297-1320. We follow the latter street to the church of San Domenico (PI. E 4-5), originally a Gothic building of 1305, but rebuilt without taste in 1632. The fourth chapel of the S. aisle, a relic of the earlier church, has a terra- cotta frontal by Agost. di Duccio (1459), and in the N. transept are the *Tomb of Benedict XI (d. 1304) and that of Bp. Guidalotti (1429). In the choir are good carved stalls and an immense stained glass window (1441),measuring 75 ft. by 83 ft. Farther on we pass under the Porta San Pietro, by Agost. di Duccio and Polidoro di Stefano (1473), and reach the Benedictine church of *San Pietro dei Cassinensi (PL G 6), i.e. of the monks of Monte Cassino, belonging to a convent (now an agricultural college) founded by San Pietro Vincioli at the end of the 10th century. The building (several times remodelled) has a graceful 14th cent, tower. We enter by a 16th cent, portal on the left of the convent courtyard. The Interior is basilican, with a nave and aisles separated by very ancient marble and granite columns. — The nave contains eleven paintings by L'Aliense (1592-94), a pupil of Tintoretto. In the S. aisle are the Madonna with SS. Mary Magdalen and Sebastian, by Eusebio da San Giorgio, and St. Benedict (3rd altar), by the same artist (1492-93); in the N. aisle an Adoration of the Magi, likewise by Eusebio (1508), a Pietci by Perugino, a bas-relief (in the Cappella Vibi) by Mino da Fiesole (1473), and (in the Cappella Ranieri) Christ on the Mount, by Guido Reni (?).—The sacristy (opened by the sacristan) contains admirable woodcarvings of 1472, panels of *S. Costanzoby Perugino (1496), a Head of Christ, by Dosso Dossi, illuminated choir-books, and remains of a pave- ment of Deruta majolica (1546). — In the choir are stonePERUGIA. Accademia di Belle Arti 1*20 Accorc. del Caval- laccio 2F Accorc. del Bucaccio 2F Acquedotto 1A Alberghi (Hotels): — Brufani 3E,a — Gran Bretagna 3DE,c — Palace 4E,b Arcivescovado 3D Arco di Augusto 3-4C Banca d'ltalia 3C Borgo XX Giugno 5F5-6G Borsa 3D Carceri 3E » 3F Casa del Perugino 2-3D Oase Popolari 2B Caserme {Barracks}: — Fortebraccio (Di- stretto) 3-4B — Miehelotti 4-5E — Regina Marghe- rita 4-6F — Umberto I 4-5F Oasino Ricciuoli 2G Casino Rossi 4H Cattedrale 3-4D Chlese (Churches) : Cattedrale 3-4D —1 Gesu 4D -1- San Benedetto 3B — San Bernardino 20 —- San Cristoforo 3B — San Domenico 5E — San Filippo Neri 3D San Fiorenzo 4D •— San Francesco 20 — San Pietro 6G — San Severo 40 — Santa Giuliana 3F •— Sant'Agostino 4B — Santa Maria Nuova 40 — Sant'Angelo 2A — Santa Teresa 2-3D — Sant'Ercolano 4E — Santo Spirito 3E Collegio del Cambio e della Mer- canzia 3D Coral s (Avenues): r — Bersaglieri 5B0 — Cavoar 4E 4-5F — Garibaldi 2A 2-8B — Vannueci 3DE Distretto (Caserma Fortebraccio) 3-4B Filanda Faina - 1-2B Fontivegge (le) IF Giardino del Fron- tone 5-6G Intendenza di Fi- nanza 30D Istituto Sup. Agrario 6G Macello 20 Madonna dei Cen- ciarelli 3-4 A Madonna della Luce 2D Madonna di Monte- luce 5-6B Manicomio Provin- cial 5D Monte Ripido 1A Ospedali fHospitals): — Civile 4E — Militare 3G — Nuovo 6B Palazzl (Palaces): — Oapitano del Po- polo 4D — Comunale 3-4D — Gallenga 3-40 Piagigia Oolombata Piazze (Squares): — Carmine 50 Danti 3-40 — d'Armi 8-4F ^ del ^funicipio 3-4D — Fortebraccio 3-40 — Garibaldi 4D — Giordano Bruno 4E — Miehelotti 40 — Morlacchi 30 — Picoinino 40 — San Francesco 20 Umberto I 3-4D — Vittorio Eman II 8-4E Podere Faina 2-3 H f*orte (Gates): — Bulagaio 4B — Conca 1-20 — Eburnea 2-8E — Eke 1-2B — Marzia 4E — Pesa 50 -r San Coetanzo 6GH — San Pietro 5F — Santa Croce 8-4F — Santa Margherita 4-&D — Sant'Angelo 1-2 A — Sant'Antonio 5B Porte (Gates): — Susanna 1-2D Poste, Telegrafi e Telefoni 3-4D Prefettura 3-4E Regione la Cupa 1-2E 2D San Galigano ID San Prospero 2E Scuola Tecnica 2D Seminario 30 Stazione Ferr. Oen- trale Umbra 4F Stazione FF. SS. 1G Teatri (Theatres): — del Pavone 3D — Minerva 3E — Morlacchi 30 — Turreno 3-4C Tiro a Segno 5-6F Torre degli Sciri 2D University 2-3B University Yecehia 4D Viali (Alleys): — Antinori 1C 1-2 D — Carlo Alberto 8-4E — Pellini 2-3DE — Roma 4FE 5FG Vie (Streets) : — Alessi 4t> — Baglioni 4DE — Bartolo 40 — Battisti 80 — Bortazzi sDE ^ Bontempi 40 ■—- Cartolari 40D —- Cialdini 5-6B — Oupa (della) 8DE — Dal Pozzo 5-60 — Elce di sopra 2-3B — Elce di sotto 2-3B 30 — Fabretti 3B0 — Imbrian! 50 4D —■ Marzia 4E — Masi 8F3-4E — Monteluce 5BC — Oberdan 4DE —. Pascoli 2-30 Pinturicchio 40 — Priori (dei) 2-3D ->—• XIV Settembre 4ED5DC — Sant'Elisabetta 30 — Sapienza (della) 3E — Sposa (della) 2b — Veccbia , SO — XX Settembre 1-2-3-4FG 4E — Viola (d.) 40PROPR. DEL T.C.I.- RIPROD. VIET. Lat.iiti i>i/'ii ato-m .:i(K> Acsjuedotto Mad .d .Cencia pell i Metj'i Trhirivies Monte H4pi do * S.Crist/>fort) «<© - CcLse .•-?}<. & PopOlXXyTV ] 'ilanua., 7 . 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