Columbia ?anibers(itp in tlje Citp of igeto gorfe LIBRARY GIVEN BY estate of Prof. W.A. Dunning / THE INDEX GUIDE TRAVEL AND ART-STUDY IN EUROPE: A COMPENDIUM OF GEOGRAPHICAL, HISTORICAL. AND ARTISTIC INFORMATION FOR THE USE OF AMERICANS. ALPHABETIC ALL Y ARRANGED. LAFAYETTE C. LOOMIS, A.M., M.D. ^ITH PLANS AND CATALOGUES OF TPi^ 'JHIEV A1^ 'GfALLERIES^ TABLES OF ROUTES, MAPS, AND ff'O ILLUJTR^.IfOji'JS. NEW ♦yORK CHARLES SCRIBNER'S SONS 1891 1' CoPYBTGHT, 1882, 1886, 1888, 1890, by CHARLES SCRIBNER'S SONS TROWS PRINTING AND BOOKBINDING COMPANT, NEW YORK. (- TO THE FRIENDS WHOSE KINDLY AID HAS RENDERED THE LASOR OF PREPARING THESE PAGES A PLEASURE; TO THOSE WHOSE COMPANIONSHIP IN TRAVEL HAS LEFT A THOUSAND HAPPY MEMORIES OF EUROPE, This Volume IS AFFECTIONATELY INSCRIBED CONTENTS PAGE Preface, ....... vii List of Galleries, ..... ix List of Routes, ...... xi List of Maps and Plans, . . .' . xiii Introduction, ... . . . , xv PART I Scenery, Art, History, Legend, and Myths, . 1-413 PAET n. Catalogue of the Noted Works of Art in the Principal G-alleries op Central Europe (with Plans of Galleries), . . . 415-500 PAET III. Routes, embracing the Principal Through Lines of Travel in Great Britain, France, Bel- gium, Switzerland, Italy, Germany, and Aus- tria, ....... 501-571 PREFACE. The following work has been the outgrowth of wants experi- enced in repeated visits to Europe. The requirements of the American in Europe at the present day, are essentially different from those of twenty-five years since. The desirable routes, the localities to be visited, and the ob- jects to be seen, are all comparatively well known. Railway and hotel oificials, and, to a large extent, tradesmen and servants, have become so Anglicised as to have removed the principal im- pediments offered by a foreign tongue. That large portion of a Guide-Book devoted to this desirable information is, therefore, no longer needed. At the same time, the American public has be- come aware that, to the intelligent visitor, the supreme attrac- tion of the Old World, centres in its great Collections of Art — a source equally of pleasure and culture which his own country cannot bestow. The want of the American is, therefore, less as to routes, hotels, and cost, and more as to the Arts, Galleries, and Masterpieces. The question was, however, whether by the omission of what is unimportant, a fair summary of that v.hich is so desirable, could be comprised within reasonable limits ; whether the fifteen full volumes of Murray, or the nine of Baedeker required between Edinburgh and Naples, could be reduced to one of companionable dimensions. Those who have visited Europe know full well that, however good may have been one's knowledge of history, mythology, and art, he is met at every turn by some object whose story he can- not recall, by some work or name with which he is not familiar. viii PREFACE. It would be beyond reasonable anticipation that any suitable Iland-Book could meet all such exigencies. But by discarding the unfrequented routes, the localities rarely visited, and the numberless objects paraded as of vast importance by local guides and books, but of no greater interest or value than multitudes of similar ones in our own country, a larger amount of the more indispensable information has been crowded into a single volume, than was at first deemed possible. In the Galleries it has been the endeavor to select the works which, either from historic note or artistic excellence, are re- garded as specially important to be recognized and remembered by the American visitor. The cuts or illustrations are intended simply as aids to identi- fication in preparatory reading, and in retaining a distinct impres- sion of the masterpieces when once seen. In the references to the works of art, it has been deemed of importance to the student, to add the criticisms of well-known scholars and acknowledged authorities. With regard to the formulas of pronunciation, it may be proper to say that the English language having no sounds corre- sponding to those of the French u and n^ and some others, any attempt at figuring the pronunciation of such sounds, must, at best, be but an approximation. In the compilation and condensation of such a multitude of facts, many of which are wanting in the united support of any two authorities ; and of figures, many of which refer to elements in themselves constantly fluctuating, it is impossible that tin occasional error should not escape the closest scrutiny. The author trusts, however, that such instances will rarely be found, and that the work will prove a helpful companion to many a pil- grim to the home of History and the abode of the Arts. L. C. L. ApRLL, 1888. LIST OF GALLERIES WITH THEIR ABBREVIATIONS. PAGE Albani Villa, Rome Alb. Villa 417 Amsterdam, Rijks Museum Rijks 417 Antwerp Museum Ant 419 Barberini Pal. , Rome Barb 420 Berlin National Gallery Berlin N. G 420 Berlin Royal Mus Berlin 420 Bologna, Acad, of Fine Arts Bolog 422 BoRGHESE Gallery, Rome Borgh 423 Borghese Villa, Rome Borgh. Villa 424 Brera, The, Milaii Brera 424 British Museum, London Br. Mu 426 Brussels Museum Bru.ss 431 Capitoline Mus. , Rome Cap 432 CoBSlNi Pai-ace, Rome Corsi 434 DoRiA Palace, Rome Doria 434 Dresden Gallery Dresd ^35 DuLWiCH Gall., London Dul 437 Florence Acad, of Fine Arts Flor. Acad 438 Florence Nat. Mus Flor. Nat. Mus 439 Glyptotiiek, The, Afunich Glyp 440 Hague, The, Museum Hague 441 Hampton Court, Lond Hamp. Ct 442 Hermitage, The, St. Petersburg .... Hermit 443 Lateran Museum, Rome Lat. Mus 444 X LIST OF GALLERIES. PAGE Louvre, The, Paris Louvre 445 Madkid, The Prado Madrid 456 National Gall., Lond Nat. Gall 457 Naples, Nat. Mus Naples 461 Palace or the Conserv. , Jiomc Cap 463 PiNAKOTHEK, New, Munich New Pina 465 Pinakothek, Old, Munich Munich 467 PiTTi Gallery, Florence Pitti 470 S. Kensington Mus., Lond So. Kens 473 Spada Palace, Rome Spada 473 ToRLONiA Gallery, Rome Tori 473 Uffizi Gallery, Florence Uff. 474 Vatican Picture Gall., Rome Vat 478 Vatican Sculptures, Rome Vat 479 Venice, Acad, of Fine Arts Venice 485 Versailles ( Paris) Versail 488 Vienna, Belvedere Belv. .,,, 497 LIST OF ROUTES. See pages 501-573. KOUTE Alessandria — Genoa 52 '• Milan 5:3 Antwerp — Brussels 16 " Cologne 17 '* London, yia Queen- boro lUC " Lond. via Harwich lOB Steamer 10 A " Rotterdam 15 Arena — Lucerne 55 Milan 44 " Brieg 35 Bale— Berne 32 " Heidelberg 22 " Lucerne 23 " Zurich 27 Belfast— Dublin Berlin — Cologne " Dresden Berne — Bale " Interlaken " Lausanne Bingen — Mayence— Heidelberg Bologna — Florence MUan " Turin " Venice Brieg — Arona " Geneva Brussels — Antwerp " Cologne " London " Paris Chamonix — Geneva Marti gny 2 59 GO 32 31 : 33; 21 ! 49 47 1 42 1 48 1 35 i 34 10 19 11 18 36 ROUTE Coire — Como 29 Ziirich 28 Cologne — Antwerp 17 Berlin 59 '' Brussels 19 " Mayence 20 Como— Coire 29 " Milan 45 Cork— Dublin 1 " Queenstown 1 Danube, The 63 Dresden — Berlin 60 " Prague — Vienna... 61 Dublin— Belfast 2 " Cork — Queenstown.. 1 Edinburgh — G 1 a s g o w , via Lakes 3A Glasgow direct 3B,C,D '' London, Micllancl. 5 Gt.K.. 6 Florence — Bologna 49 Pisa 51 '* Rome 50 Geneva — Chamonix 36 " Lausanne 34 " Paris, via Macon.,. 39 " Fontarlier 38 " Brieg 34 " Turin 40 Genoa — Alessandria — Milan.. 52 Pisa 53 Glasgow — Edinb'gh, via Lakes 3 A '« direct 3B,C,D London,/., d: y. W. 4 Heidelberg- Bale 22 LIST OF ROUTES. ROUTE Heidelberg— Mayence—B i n - gen 21 " Munich 56 Interlaken — Berne 31 '■' Lucerne 30 Lake Brienz 30 " Como 29 '' Geneva 3-1 " Lomond, Katrine. 3A " Lucerne 25 "■ Maggiore 25 '' Thun 31 Lausanne -Berne 33 Geneva 34 Paris 38 Liverpool — London, L. &, N. W. 7 " " Midland. 8 Gt. W. .. 9 London — Antwerp, steamer . . 3 OA " " via Harwich lO'B " " Queenboro \^Q " Brussels 11 " Edinburgh, Midland 5 Ot. K.. 6 'i Glasgow, L. & N.W. 4 i Liverpool, L. tfc iV. IF. 7' " " Midland .. 8 Gt.W..... 9[ " Paris, vi'^ Dover 12 i " " Folkestone 13 " " Neiohaven 14 i Lucerne — Arona 25 ' Bale 23 " Interlaken 30 , Rigi 24 Zurich 261 Martigny — Chamonix 37 j Mayence — Bingen 21 j Cologne, The Rhine 20 I " Heidelberg 21 1 Milan — Arona 44 ■ " Bologna 47 ; Como 45 " Alessandria — Genoa . . 53 " Turin 43 ROUTR Milan — Venice 4(i Munich — Heidelberg 56 '' Verona 58 " Vienna , 62 " Zurich 57 Naples — Rome 55 Paris — Brussels 18 Geneva, via Macon ... 39 " " Poniarlier 38 " Lansanne 38 '' London, via Boulogne. 13 " " Calais... 13 " Dieppe .. 14 Turin 41 Pass, The Brenner 58 Brunig 30 Simplon 35 Splugen 29 St. Gothard 35 Tete Noire 37 Pisa — Florence 51 " Genoa 53 " Rome 54 Prague — Dresden 61 " Vienna 61 Queenstown — Cork — Dublin.. 1 Rigi— Lucerne 24 Rome — Florence 50 ' ' Naples 55 Pisa 54 Rotterdam — Antwerp 15 Spain and South of France. . . 64 Turin — Bologna 42 Geneva 40 " Milan 43 " Paris, 41 Venice — Bologna 48 Milan 46 Verona — Munich 58 Vienna — Munich 63 " Prague — Dresden 01 Zurich— Bale 27 Coire 28 ' ' Lucerne 2(i " Munich 57 LIST OF MAPS AND PLANS. PAGE Atlantic Ocean xiv Amsterdam 14 AXTWEKP 21 Austria 580, 583 Belgium 520 Berlin 4'2 Berne 47 Bologna 52 Brussels 58 Catacombs, The 70 Cologne 87 Copenhagen 93 Dresden 117 Edinburgh 121 England 577 Europe 574 Europe, Southern 585 Florence 133 France 520, 583 Frankfort 139 Geneva 143 Germany, Central 582 Glasgow 1 55 Heidelberg Castle 161 Holland 520, 584 Italt, Northern 578 Italy, Centrai 559 PAGE Ireland .... o7G Lakes of Killarney. . .... 507 Lake of Lucerne .... 531 Liverpool .... 193 Liverpool, Environs . .... 515 London, Environs .... 196 Lucerne . . 202 Milan . ... . 246 Munich .... 254 Naples, Environs .... 259 Norway 586 Paris, Environs 294 Pere Lachaise .... 301 Prussia . ... . 584 Queenstown, Environs .... 507 Rhine, The .524, 527 Roman Forum .... 335 Rome 340 Russia 587 Scotland 575 Scotland, Central . . . .... 509 Sweden .... 586 Switzerland .578, 582 Turin .... 386 Venice .... 390 Zurich .... 412 . ^> o ■^ "ft »niN it; t" 3! S o o 'O/ cv s^ t- » -^ => THE INDEX GUIDE, INTRODUCTION. Preparation. — For a tour of three to six months in Europe, comparatively little preparation is necessary. Passports, though no longer required in any of the countries of Central Europe, are yet desirable, especially for those travelling alone. They serve the purpose of identification in calling for let- ters pofite rcstante, and Avill frequently gain admission to buildings otherwise closed to the public. For entering the territory of Russia a passport is indispensable. The passport should always be carried upon the person ; not in the trunk or valise To procure a passport, address a letter to the ''State Department, Washington,'" asking for "passpoit- blanks," and the requisite papers and instructions v/ill be for- warded. Wakdrobe — Ladles : For the voyage, a half- worn silk or worsted dress, a warm woollen wrapper, a close hood or nubia, warm knit slippers, and a carriage robe. For travel, a dres-s suitable for the cars and for galleries, a drawing-room dress, win- ter underwear even in summer, linen for two or three weeks, a warm shawl, a gos.-anier waterproof, a duster, strong, easy boots, small, light toilet articles, and no excess of anything. Gentlemen need a thick, strong, woollen business-suit, one extra suit, a duster, winter underclothing, linen for two or three weeks, a light woollen and a gossamer overcoat. Whatever may be required beyond this outfit can readily be supplied as occasion may demand. Ladies usually over-estimate the requisites in respect to wardrobe, and quite as much under- estimate the annoyance of constant packing and unpacking of needless clothing. Luggage. — Excess of luggage is a constant weariness, and on the Continent, a constant expense. Take what is absolutely needed, aud nothing more. A supply against future possible xvi INTRODUCTIOX. needs is not economy, as every article required can be purchased as cheap as here, or cheaper. In Italy, and some portions of Germany, no lugg-age is free. " The warning cannot be too often repeated or too emphatically enforced on the traveller, that, if he values money, temper, comfort, and time, he will take as little luggage as possible." — Murray. j Trunks, — The best trunk is known as a " steamer trunk," and should be about 33 inches by 15 or 18 wide, and 12 or 15 deep, with a flat top. It should have a thoroughly strong lock, one or two good straps, firmly attached, and the owner's name (not ini- tials) painted on the ends. Expenses. — The cost of a tour may be estimated, all told, at from $G to ^10 per day. For purchases, at lease three times the amount one thinks of spending. Funds are best taken in a letter of credit, by which any de- sired amount may be drawn at any large city on the route. Noth- ing is gained (but worriraent) by taking American gold. A Steamer Chair will be found desirable for the voyage. It should be marked with the full name, and can be stored until the return, at small cost. State-Room. — The most desirable location of state-room is aa near the centre of the ship as possible. Outside rooms are usu- ally preferred ; in some of the recent steamers, however, the in- side rooms are among the most desirable, being equally well lighted and ha,ving better ventilation and less motion. Steamers having the saloon and state-rooms midship are much to be pre- ferred to those having them aft. A state-room near the propeller is to be avoided unless one is absolutely proof against sea-sickness. Embakcation. — Be on board at least one hour prior to the time announced for sailing. Have all that you wish to use on the voyage in one trunk, marked with the number of your state- room, and see that it is labeled on the dock, " Wanted,''' and the other trunks, '"'Not Wanted,''^ or ''■ Beloio.-^ Have the wanted trunk sent to your state-room ; the others, below. In the confu sion of starting, guard well all small packages. As early as possible arrange with the steward for a seat at the table. The most desirable places are promptly engaged. * At Sea count upon sea-sickness, and take it philosophically, 'it can neither be prevented nor cured, nor is it so dreadful. Keep on deck and in the open air as much as possible. Have a supply of brandy, lemons, and fruit. To protect the face from the effect of the sun and salt air, some starch or rice- powder, glycerine, and a thick, dark veil will be found very desirable, A Grulf Stream fog will often blister the face as effectively as a clear sun. Sluggish digestion should be promptly corrected. The stewardess or person who may attend upon one, should be re- warded according to services rendered — one to five dollars. INTRODUCTION. Atlantic Steamship Lines. Anchor Cunard Guion Hamburg Inr.iaii Natiojinl N. G. Lloyd . . Red Star . .'/' at Shaftsbury House, W. Brompton; d. 1719, at Holland House, Kensington, London; lay in state in the Jerusalem Chamber, and was buried in Westminster Abbey, Chapel of Henry VIL, n. aisle. Monument in the Poets' Corner, s. aisle, representing him in his dressing-gown and sur- rounded by the Muses. Adonis (a-doe'-nis\ myth; beloved by Venus ; died from a wound received in the chase. From his blood sprung the ane- mone. So great was the grief of Venus at his death, that Adonis was permitted to spend G months of each year in the upper world ADOR and the remaining G with Proserpine in Hades, thus typ'fjiug summer and winter. Statuks : Berlin, 104, Wi: Naples, Capuan ; Vatican, 896, *443 ; Spada, 6ti. ♦Adoration of the Lamb, a celebrated painting by the van Eycks— in the Cathedral of St. Bavon, Ghent. It consisted of 2 principal pictures, each covered with double panels ; in all, 24 Adoration — van EycTc. pictures. The upper central portion was of 3 sections, God the King-, and on the sides, the Virgin and John Baptist ; on the in- side of the wings are angels singing, and Adam and Eve. The lower central portion is an extensive scene with the Lamb in the centre, and groups of martyrs and saints in the foreground, and towers in the distance. In the 4 sections of the wings are groups coming to worship. Beneath was a representation of Hell. The panels, when closed, presented 8 sections, in which were single iigures of angels and saints. Altogether, there are exceeding iENEA Adoration {Close 300 weli-fiuibhed heads. The various parts of this picture are now dispersed, G panels beiug in the Berlin Museum (for which $75,000 were paid) ; 2, " Adam and Eve," in the Brussels Muse- um ; whilst the ''Hell" is lost. The other portions remain in Ghent. Napoleon carried the pic- ture to Paris, but it was restored iu 1814. Of all the w^orks attri- buted to Hubert van Eyck, this alone is known to be genuine. A century after its completion, a copy was made for Philip II. of Spain. A second coj^y of the in- ner picture is now iu the Antwerp Museum. "That this wonderful performance, when finished and exhibited, should have been looked at with exceptional interest, is not surprising. It was the finest pic- ture of the age in Belgium ; remarkable for its perfection of technical handling, and eminently calculated to captivate a public full of the fervor of religion. When open, it represented the "Sacrifice of Christ," and the "Triumph of the Church Militant;" when closed, it displayed, in prominent positions, the portraits of the donors."— C'r«2oe and Caval. ^neas (e-nee'-as), myth; son of Venus; the leader of the Trojans in the Trojan war. The hero of Virgil in his ^neid, who, lleeing from burning Troy, went to Italy and found ed Rome. ^schines (ess'-ke-neez), an Athenian orator, B.C. 389. He delivered a celebrated oration against Demostbene.'^, to which tho latter replied iu his more celebrated oration *'0n the Crown." Statues: Cap., IV. 61; Hermit., CO Naple.=, 573 (315); ( ). **Marblc Btatue, found at Herculanoum It represents an Athenian orator, clad in a mantle with the r. arm across the breat t, as if in the act of pronounc- ing an oration. "The noble statue of yEschines is the finest work of the whole collection, the prandest embodiment of high intelloctual power nnd calm dignity of character that ever was exprcRsed in marble. The attitude .iTSschi ncs — Naples. ^scu the simple and expressive aisposition of the drapery, and the elevated uir oi the head, makn this statue one of the most precious legacies which antiquity has bequeathed to us." — Jlillard. x^sculapius (ess'-cu-la pe-us), myth', the god of medicine whom Jupiter killed, fearing lest by his arts men might escape death. Represented with the serpent ( 'J^^ coiled around his staff ; usually draped to the chest or shoulder. Statces: Berlin, 17, 41, 64, 76, 87, 276 ; Cap., III., 5; Conserv., 86: Naples 123 (94); Tori., 92; Vat. (Br.). 17, (Chi.) 113, 444, 454. Agamemnon (ag'-a-mem'-non), myth ; married Cly temnestra ; a leader of the Greeks in the siege of Troy. Having killed a stag sacred to Diana, the goddess sent a pestilence into the army. To ap- pease her anger, Agamemnon consented to sacrifice his daughter Iphigenia, who, how- ever, at the moment of sacrifice, was res- cued by Diana herself. Agaslas (a-ga'-se-as) ; Hegasias, Greek sculp.: 1. Agasias, son of Dosi- theo.?, about 400 B.C., sculp, of the Bor- ghese Gladiator in the Louvre. II. Agasias, son of Menophilus of Delos, about 100 B.C. III. Agasias, father of Heraclides. Ageladas (aj-e-la-das), Greek sculp., 540 B.C.; the instructor of Phidias, Myron, and Polycletus. Agesander (aj -e-san'-der), of Rhodes, who, with his sons Polydorus and Athenodorus, sculptured the Laocoon. Agnes, St., 304 A.d. ; a Roman maiden, who, declining the suit of the sou of the prefect, was ordered to become a Vestal *Virgin. Declaring she would serve none but the Lord, she was 'sent to a house of infamy, where the soldiers stripped her of her garments. Praying for protection, her hair immediately grew and covered her whole person. The prefect's son now coming in, in answer to her prayers, he was struck with instantaneous blind- ness. Upon this she was condemned to be burned, but the flames did her no harm, whilst they consumed her executioners. At last an end was made to her life by the sword. She was buried where the Ch. of St. Agnes now stands, beyond the Porta Pia, Ecme. Usually represented with a lamb. ^sculapius— -Bej'iin. AGNE ^ Agnes, St., Catacombs of; Rome; 1 ml. beyond the Porta Pia, and i ml. beyond the ch. of St. At,mes. Stairway sup- posed to be of the time of Constantine. The galleries are hol- lowed into loculi of various sizes. Farther on will be observed ase- dia, or seat of the priest, cut in the rock ; an altar, a credence table, and many paintings. Few of the sarcophagi now contain remains. Agnes, St., Fuori !e Mura, ch., Rome ; 1 ml. beyond the Porta Pia. One of the least changed of the ancient churches of Rome. Founded, 324, on the spot where the remains of St. Agnes were discovered. Recently restored, and now one of the most beautiful churches of the city. The festival of St. Agnes takes place on Jan. 21st, in which occurs the ceremony of blessing two lambs, placed upon the altar and decorated with flowers. Agonal is (ag-o-nay'-lis), Circus, Home ; the modern Piazza Kavona, which still shows the elliptical outline ; built by Alex. Severus. See Navona. Agostino, S. (ag-os-tee-no) ; ch., Rome, 1483, restored 1740, contains a * fresco, Isaiah and 2 angels, by Rapha'el, on the 3d pilaster on the 1. of the nave. R. transept is St. Augiistin by Guercino ; near the entrance is a * group of the Virgin and Child, by Sansovino. The Madonna over the high altar is a Greek work from Constantinople. Thi.s was the first Roman ch, w^ith a dome. Agrippa, M. V., u.c. 63-12, Roman Consul. Commanded the fleet at Actium ; built the Pantheon, B.C. 27 ; married Julia, dau. of Augustus, by whom he had 2 daughters, Julia and Agrip- pina, and 3 sons. Baths of, see Pantheon. Agrippina ;ag-re-pi-nah) ; (I.), dau. of Agrippa and Julia, gd. dau. of Augustus, wife of Germanicus, mother of Caligula and Agrippina II. ; starved by Tiberius. Agrippina (II,), mother of Nero ; married Emp. Claudius, whom she poisoned to make way for her son, A. D. 54. Assassinated by Nero in 59. Aix-les-Bains (akes'-lay-bafi ; warm springs), Fr. ; the Ro- man Aquai Allobrogum, or Aquae Gratinae ; pop. 4.000. Trium- phal arch erected by L. Pom. Campanus in 3d or 4th cent. Tem- ple of Diana in the Presbytery garden. See Route 40, Note 3. Aix-la-Chapeile (akes'-la-sha-pel). See Aachen. Ajax, Greek. In the Trojan war, second only to Achilles; conquered by Ulysses. Statues : Naples 240, Aiban Hills, Ttal., about 18 mis. s.e. of Rome, site of Alba Longa ; on the summit was t1ie temple of Jupiter Latiaris, 1* 10 ALBA Albani, Francisco (al-bah'-nee), or Albano -, 1578-1660, Bolofjud. Friend of Guido, Studied in the Sch. of the Carracci ; assisted Au. Carracci to decorate the Farnese Palace. He after- ward decorated the Verospi Palace, now Torlonia, and j ainted in Turin and Bologna. Subjects are landscapes and figures, both re- ligious and mythoiogical. The latter was especially adapted to his talent, which had mere of beauty and grace than power. He de- lighted in painting children, disposing them in groups about the principal figures. His religious pictures are numerous. His espe- cial favorite was an Arcadian landscape with gods, goddesses, and amori in repose ; his skies are usually a deep blue. His works are to be found in all the principal galleries. Teincipal Works: Bolog., Kos. 1,82, Borgii., 11-14, The Seasons: Brera, 823, 450; Cap., 9, 142; Dresd.. 494-5-6-7, 500-2; Hermit., 20:3-4; Louvre, 1, 2, 11, 12 ; Munich, 1235 ; Turin, 260-4, 2T1-4 ; Uff., 1044, 1094. Aibani Villa (al-bab'-nee), Rome. Tu. by permit from Palace Torlonia, Piazza Yenezia, No. 135, The Aibani family having dis- pleased Napoleon I., he caused 294 of the finest statues of their collection to be carried to Paris, which, though restored to the family by the treaty of 1815, were never brought back. This collection, now scattered, was the basis of Winckelmann's studies. The present collection embraces a limited number of fine works. Albano (al bah'no), ItaL; on the Alban Hills, 18 mis. from Rome, on the Via Appia ; modern town built on the ruins of the villa of Pompey. Albert Hall of the Arts and Sciences, Land., opposite the Albert Memorial, Hyde Park. Seats for 15,000 ; used for grand concerts and exhibitions. **Albert Memorial, in Hyde Park, Land.; erected to the memory of Prince Albert ; one of the most imposing monuments in the world. It. is in the form of a Gothic canopy surmounted by a spire rising to the height of 175 ft. Under this canopy is a gilt bronze sitting stat. of the Prince Consort, 15 ft. high. The monument is supported by a base 130 ft. sq. , approached on the four sides by steps. Upon the corners of the base are four fine marble groups : ""* Europe^ by McDowell; Asia;\>y Foley; Africa, by Theed ; and ** America, by Bell. Above these are smaller groups : Agri- culture, by Marshall ; Manufactures, by Weeks ; Commerce, by Thomycroft ; Engineering, by Lawlor. Around the basement, above the steps, are over 200 life-size figures' of renowned artists, philosophers, scholars, and authors. ALBE U Albertviile, Fr., 14 mis. by rly. fom Chamouset, on the Pari.s-Turin Illy. Pop. 4,500. Carnage -road to Sallanches. Alemanni (al-e-man'-ni), a confederation of German tribes from the Danube to the Main, who first met the Romans in the time of Caractdlu. Aletsch Glacier (ah-letsh glas'-e-a\ Sicitz., amid the peaks of the Bernese Oberland ; extending 15 mis., and being the largest ice-field of the Alps. Fine view of the glacier from the Furca and the Simplon Passes. Approached from Brieg, Inter- laken, and Meiriugcn. Alexandra Palace, Land.; a popular resort for amuse- ment. iNfuswell Ilill, 6 mis. from Lond. by rly. from Moorgate Street Station. Alfanl (al-fah nee), Dominico di Paris, 1183-1554 ? b Perugia, Ital. Pupil of Perugino. Little originality. Aihambra. See p. 571. Allori (al-lo'-ree), I. Alessandro, 1535-1 GOT, b. Florence. A painter of portraits and horses. II. Angiolo, called Bronzmo. III. CiirsTOFOKO, 1577-1G21, son of I. : painter of portraits and landscapes. He executed a number of pictures for the Medici. His most celebrated work is the Judith, in the Pitti, No. 69. Replicas exist in the Belvedere and USizi. His portraits arc re- markable for beauty of color, and he was equally happy in his landscapes. Some of his copies of Correggio's Magdalen for a long time passed for duplicates by the master himself. The Uffizi has IG Al. Alloris, and 9 Cr. Alloris. Alps, The. The principal divisions of this extensive range of mountains are the Maritime Alps, extending from the Mediter- ranean Sea, near Nice, to ]Montc Viso against the sources of the Po ; the Cottiaii Alps, from Monte Viso to Mt. Cenis ; the Graian Alps, from Mt. Cenis to Mt. Blanc ; the Pennine Alps, from Mt. Blanc to Monte Rosa ; the Lepontine Alps, from Monte Rosa to Mt. Bernardin ; the Rhetian Alps, from Mt. Bernardin to Mt. Croce ; and the Caruic Alps, from Mt. Croce to the river Mur, constituting the Central Chain. Also a northern branch, compris- ing the Bernese Alps, extending from Mt. Blanc to Lake Lucerne ; the Alps of St. Gall, from Lake Lucerne to Lake Constance; and the Norio Alps, from Lake Constance eastward to Vienna. The Alps are diviiled into tho Low Alps, i.e., below 5,500 ft. in height ; the Miilflle, 5,500 to 8,C00 ft., and the High, above 8,0C0 ft., o? above the Bnow« Ime. Munch Alt. ft. 13,468 Schreikhorn " " 13,886 Eiger " " 13,041 13 AMBR The Principal Peaks of the Central Ctiuin are : Mont Blanc Alt. ft. 15,781 I Dom Alt. ft. 14,941 Monte Rosa '• " 15,C61 I Gt. Matterhorn " •' 14,7U5 Of the Bernese Alps : Finsteraarhorn Alt. ft. 14,026 Aletschhorn " " 13,773 Breithorn " " 13,685 Jnngfrau " " 13,671 Principal Passes over the Central Chain are ; French.— The Cornice Road, from Nice to Genoa, along the Mediterranean. The Mont Cenis, from Modane to Susa, road built by Napoleon, 1802; alt., 6,950 ft. ; little nsed at present, from the mountains being tunnelled for the railway. The Little St. Bernard, from Chambery to Aosta ; alt., 7,240 ft. ; probably the route of Hannibal, B.C. 218. Swiss.— The Great St. Bernard, from Martigny to Aosta; alt., 8,110 ft. Little used at the present time. The Simplon, from Brieg to Milan ; alt.. 6,51)4 ft. ; see Route No. 35. The St. Gothard, from Lucerne to Milan : alt., 6,936 ft. ; see Route No. 25. Now tunnelled for the Gothard railway. The Bernardino, from Coire to Lake Maggiore ; alt., (i, r 'S fz. The Spliigen, from Coire to Milan, via Como ; alt., 6,945 ft. ; see Route No. 29. Austrian.— The Engadine, from Innsbruck to Como; ^It., 5,941 ft. The Stel- vio, from Innsbruck to Como; built 1820, by Austria; alt., 9,045 ft., being the highest pass over the Central Chain traversed by a carriage-road. The Brenner, from Innsbruck to Verona, the only pass over which a railway is carried ; alt., 4,485 ft. ; see Route No. 58. Passes of the Bernese Alps. Among the more noted Bernese Passes are : The Briinig, from Lucerne to Inter- laken ; fine carriage-road ; alt., 3,395 ft. ; see Route No. 30. The Col de Balme, from Martigny to Chamonix ; mule-path ; alt., 7,231 ft. The Col de Forclaz, fronj Martigny to Chamonix ; carriage-road ; alt., 5.020 ft. ; see Route No. 37. Th^ Furca, from Andermatt to Brieg, along the valleys of the Reuss and Rhone ; car- riage-road, passing the **Rhone Glacier; alt., 7,992 ft. The Gemmi, from Thun to Leuk ; bridle-path ; alt., 7,553 ft. ; fine viowof the Rhone Valley. The Grim- sel, from Meiringen to the Furca, pas--4 hrs, $1.25; $1. To Antwerp, 33^ hrs., $3.75 ; $2.86. Principal station on the .=.e. margin of the city. Andrea dell a Fratte, S., ch. Rome, via da Capo di Case. In 2d chapel, r. is a mon. to Lady Falconet, by Miss Hosmer ; on the last pillar, r. , tomb of Schadow, the sculptor; in ud chapel, 1., tomb of Angelica Kauffman. Andrea della ValSe, St., ch. Borne, 1591, near the Piazza Xavona ; celebrated for the frescoes hy Domenichino, in tbe tri- bune — among his finest works. The church and adjacent houses are supposed to staud on the ruins of the Theatre and the Curia of Pompey, the place of Cce.«ar's assassination. Andrew, St., represented leaning on his cross, with a book in his hand. Patron saint of Scotland, Burgundy, and Russia. Angeli, S. M. degli (dale'-ye), ch., Piazza di Termini, one of the most imposing in Rome, arranged by M. Angelo, 1555, out of the great hall or Cella Calidaria of the Baths of Diocletian. It has since been much altered. The pavement is now 8 ft. above that of the Thevmns, and the columns are buried to that extent, only 8 of which are antiques. In the vestibule is the tomb of Salvator Rosa. In the Transept, r. *statue of St. Bruno, by lloudon, of which Clement XIV. said : 'It would speak, if the rules of his Order did not prescribe silence." " I thought it good, but scarcely worthy of vast admiration." — Haicthorne. Of the many paintings, Domenichino's St. Sebastian is among the most noted. " I think this really a great picture."— //iato .•"r^-!!.^ Michael Angelo. 18 ANGE " TJrgccl on by a strong subjective impulse, he scorned to follow the laws of archi- tectural creation, composed only on a grand scale, aimed at a strong general effect, and cared little for the form of the details.'' — Lubke. " Beauty, repose, symmetry, and grace, he eschewed ; expression and individu ality he aimed not at ; detail of drapery or ornament he scorned. We arrive, therefore, at some estimate of the stupendous nature of that power and subjective Instinct which, in the absence of all these qualities, still takes our admiration by etorm . " — Kugle)\ See 3foses, Sistine Cha'pel, Last Judgment, and Medicean Chapel. *Angelo, House of, near S. Croce, Florence, via Ghibellina, M. and Th. , ^ f r. ; contains many sketches, designs, and models by Angelo. Bust in bronze taken after death. AngeBo, S., Castle of, Rome ; the tomb of Hadrian, by whom it was erected, a.d. 130. It is a circular tower upon a quadrangular base, in imitation of the tomb of Augustus. Origi- nally the tower was two stories in height above the base, and was covered with Parian marble. The remains of Hadrian, Lucius Verus, the Antonines, M. Aurelius, Commodus, and Sept. Severus, were deposited here. In 498 the Pope removed the bronze fir-cone to St. Peter's, afterward to the Museum of the Vatican. In 423 the tomb was converted into a fortress ; 537, besieged by Vitiges, and in the de- fence, its statues and cornices were hurled down upon the be- siegers. From the 9th to the 13th century it was the stronghold of the popes, and was the scene of constant intrigue and crime. Beatrice Cenci v/as confined here for 12 months before her ex- ecution. As now seen, only the basement is of the structure of Hadrian. The tower was erected by Urban VIII. , and the top added by Paul III. There is little to be seen within. Anna, St., the mother of the Virgin Mary. Her reputed body was brought to Constantinople from Palestine, 710. Anthony, St=, Egypt.'^bl. Renouncing the world, he lived so pure and holy a life, as a hermit, that Satan sent demons to tempt him. These assumed the forms of dragons, imps, scorpions, monsters, and lovely women — all to no purpose. The Temptation of St. Anthony is a favorite subject of Teniers. Antinous (an-tin'-oo-us), a youth of great beauty, the favor- ite and companion of Hadrian; drowned in the Nile, A.D. 122, and, l>y order of Hadrian, enrolled among the gods. Bas-Reliep: Villa Alhani; ** Antinous Crowned. " After the Apollo and the Laocoon, this is perhaps the most beautiful monu ment which time has transmitted to us." — Winclelmann. Statues: Berlin. 2?/.. 26:^-4-.5 ; Br. Mn.. 20; Cap., I. **13 ; VI. 54; Louvrw '■ ); Naples,* 104 (114), 349: Vat,, 540. 5i5; Lateran, *head. ANTl 19 ♦The Antinous of the Capitol. Hall of the Gladiator, No. 13, was found at Hadrian's Yilla, 1730, "This exquisite statue has commanded the admiration of all critics by Us exceeding beauty." — Murray. "The statue of Antinous is not merely beautiful, but it is beauty itself. Like all hi.s busts and statues, the e.xpression is that of Elysian beaut}-, melancholy grace. He has the air of a man ever looking into his own grave. The limbs, the figure, the turn of the head, which droops as if with a weight of unshed tears, are so admirable that they can only be praised in su- perlatives. He wears an air of languor and satiety, as if he were weary of the sunshine in which he bask- ed, and felt the serpent's siing under the flowers.— HiUard. ** Vat. Gall of Sculp. No. 540, a colossal 8tat.,nude, in a pensive attitude, with both arms extended downward, and the left foot partly raised. Somewhat resembles Meleager. Hair knotted in the Koinan style. The drapery, the original of which was probably of bronze, is a modern restora- tion of inferior marble. Formerly kno\ATi as the Braschi Antinous. Found at Pales- trina, 1773. " Characterized by an expression of ihoughtful mel- ancholy in the drooping head, by brows overshadowed by clustering curls, and by a suggestion of .sadness in the curve of the voluptuous mouth."" — Li'ibke. Vat. Gall, of Sculp. No. 545, bust, found at Hadrian's Villa, 1790. An-ti -o-pe, myth., mother of Amphiou and Zethus, wife of Lycus, King of Thebes. See Farne.se Toro. An-to-ni -nus, M. Aurelius, Column of. 'S^qq AiireUus. Antoninus Pius. Rom. Emp., a.d. 138-lGl ; one of the best rulers that ever sat upon a throne. His reign was a sus- pension of war, violence, and crime. Antony, Marc, Antonius; Rome, b. b.c. 83. His mother was Julia, sister of Julius CaBsar. He pronounced the oration over Ca3sar's body ; was one of the Second Triumvirate ; became enamored of Cleopatra : being defeated at Actium by Augustus, he put an end to his own life, B.C. 30. Antwerp {on the wharf), Antwerpen, Anvers, Belg., is situated on the Scheldt, GO ml.s. from the sea. In the lOlh cent. Antwerp was the loading commercial city of Europe, having a thousand business firms, and the Scheldt often tloatiug at cue Antinous — Vatican. 20 A.NTW time not less than 2,000 ships. Since that time the city has eX' perienced numberless misfortunes from civil and religious wars, jealousy, and tyranny. In 1790 the population, which two cen- turies before had reached 200,000, numbered but about 40,000. Under Napoleon the domination of the Dutch was broken, 1794, and Antwerp began to recover that importance as a seaport which her excellent situation naturally bestows. At the present time her pop. is upward of 160,000, and the number of vessels visiting her port nearly G,000 annually. In Art, Antwerp is second only to Florence, claiming among her distinguished masters, Rubens, van Dyck, Q. Matsys, Teniers, Jordaens, de Grayer, and Snyders. Frincijml Objects of Interest : The Cathedral, the Museum, the Churches of St. Paul, St. Andrew, St. Jacques. The visitor, however, will find in the general appearance of the old city, its narrow, crooked streets, its quaint architecture, and tlie peculiar dress and manners of the laboring classes, an unfailing source of interest. **The C.^tiiedkal. — This great Gothic structure is the chief attraction of the city. It is nearly 400 ft. in length, 175 in width, or 215 including the transepts, having six aisles. The tower is 402 ft. in height, and has a chime of 82 bells. The building was commenced in 1322, and completed in the IGth cent. Except upon the s. side, it is so hemmed in that no satis- factory view of its massive proportions can be gained. * The Interim'. — Admission until 12 and after 4, free, but the great pictures are not then shown. From 12-4, adm. 1 fr. Sun- day free. Entrance is usually made from Place Verte, on the south, to the S. Transept, which contains **E,ubens's Descent from the Cross, regarded as his master-piece. See Descent. On the wings, inside, are the Salutation and Presentation ; outside, a Hermib and St. Christopher carrying the infant Jesus. Here is also a St. Francis, by Murillo. Over the high altar is the Assumption, painted in 16 days. In the N. Transept is the ^Elevation of the Cross, both by Rubens. The second Chapel, near the S. Transept, contains his *l{esur- rection. The Choir-Stalls are very richly carved, illustrating, on the s. side, the history of the Virgin ; on the n. side, that of Christ. Pulpit of wood is elaborately wrought. In the n. aisle, near the principal entrance, are several life-size statues in wood. At the AXTW 21 U' ^aiH 'Aivl^'n'^ ■ '■^''')V^^^j3 /h^S05W---ri^-- ^ ; ^^2^.::^:-^^J .J^^VorrA. ooiuh.i^ n APEL upper end of the same aisle, on a pillar, is a Head of Christ, on marble, by da Vinci. I?i front of the Cathedral^ upon an iron canopy over a well, is Quinten Matsys' iron statue of Brabo, the legendary hero who cut off the hand of the giant Antigonus. Andrew, St., Ch. of, contains a very elaborately *carved wood pulpit, representing the Calling of Peter p.nd Andrew. The figures are of life-size, standing in a boat ; beside them is the net with fishes. Jacques, St., Ch. OF(zhack), 1429, contains chapels and burial- vaults of the most distinguished families of Antwerp. Tomb of Rubens in the Choir, back of the high altar. The altar-piece was painted by Rubens expressly for this purpose. St. George is the portrait of himself ; Martha and the Magdalen, of his two wives ; St. Jerome, of his father ; Time, of his grandfather ; the figure in blue, of his niece, whilst his son figures as an angel. The Steen in Kas Str. , on the river bank, formerly a prison, is now a Museum of Antiquities, consisting of armor, furniture, carved work, instruments of torture, etc. The dungeons and cells of torture are an interesting, though horrible exhibit of mediasval civilization. Museum ; see Part II., yl«^^^6r;). P. 419. In Place Verte, on the s. side of the Cathedral, is a bronze statue of Rubens. The House of Rubens is upon Place Mier, jSTo. 52, a short distance beyond the Royal Palace, upon the top of which may be seen his bust. lioiites : To Brussels, 1 hr., $0.75 ; §0.60 ; see Route 16. To Rotterdam, 3 hrs., |2.20 ; $1.75. To Cologne, 7>^ hrs., $5.40 : $4.10 ; see Route IGto Brus- sels, and Route 19 Brussels to Cologne. To Paris, 7>j' hrs., $S.4C ; $0.^5 ; see Route IG to Brussels, and Route 18 Brussels to Paris. To London, via Ostend- Dover, 11 hrs., $1-2.00 ; $8.00 ; see Route 16 to Brussels, and Route 11 Brussels to London. By stecwiet\ direct, 20 hrs., $G ; see Route 10 A. Via Harwich, 14 hrs., $6.25; §5.25; see Route 10 B. "via Flushing-Queenboro, 16 hrs.. $G ; $5; sec Route 10 C. Union station for all rlys., on the e. margin of the city. A-pel'-8es (-lees), the most celebrated painter of Greece. The only one by whom Alexander the Gt. would permit his por- trait to be painted. No work of his now remains. Apennines, MtS., ItaL, extending the entire length of the peninsula, from Nice to the Straits of Messina. Generally barren, and above the altitude of 3,500 ft., devoid of forests or vegetation. They yield few metals, but have extensive deposits APHK of suit near Cosenza. and of marble at Carrara. Serravezza, and Siena. Highest point, Monte Corno or Gran Sasso, near the e. coast, opposite Rome, attains an altitude of 10,20(3 ft. Aph-ro-di -te. See Venus. Apollo, mi/th, son of Jupiter and brother of Diana. His special powers were to punish, to help, and to protect. He was the god of prophecy and song, and hence called Musagetes, the leader of the jMuses ; and also CytharcEdus, the lyre-player. He was the protector of flocks and cattle, the founder of towns, and the god of the sun. Statues: Berlin, 11, 51, S2, 103, 119, 122, 2-35-9, 242, 260 ; Borgh. Villa, V. ( ). VITI. 4 : Br. Mn., 105, 115 ; Cap. III. 15, 2(j ; Glyp., 41. 97 ; Louvre, 75-6 ; Naples, 8o (92). 527 (.2t;2), o'lS (2U3) ; Vat. (Br.). 95, **9"2 Belvedere. ♦* Apollo Bel-ve-de-re, Stat, in the Vatican Gallery, No. 92, the chef-d'oeuvre of the collection ; found in Nero's Palace, Rome, near the end of the loth cent. Although it has held the place of the finest piece of sculpture known, it is believed to be a copy of a bronze, probably by Calamis. Represented nude, with his chlamys thrown back over both shoulders and partly on the left arm ; standing upon the right foot, the left nearly raised, the right hand spread, the wrist rest- ing upon the trunk of a tree up which a serpent is crawling ; the left arm extended and the hand grasping a fragment of some un- known object. The pose and ex- pression are those of exi)ectancy. From the time of its discovery to the present, the purport of thia statue has been a source of almost uninterrupted discussion. The ear- lier solution was that the left hand held a bow, and that having just discharged his arrow, he was in- tently watching its flight. This theory was, however, set aside by the discovery of another statue, now in the St. Petersburg Gallery, 1792, almost identical in action and position, displaying in his left hand an regis with the head of Medusa, the emblora of thunder, lightning, and earthquake. Apol.'o Belvedere — I'aticati. 24 APOL This rendered it probable that the statue was in commemoration of the defeat of the Gauls, B.C. 280, in their attempt at the pil- lage and desecration of the temple of Delphi, when in the midst of the struggle Apollo appeared, and, shakmg his asgis before the face of the enemy, struck terror into their hearts. — Iliad, xv., 318. With regard to the origin of the statue, little is known upon which even to base conjecture. It is thought to have been brought, along with 500 others, from Greece, by Nero. Both arms are restorations by Montorsoli, pupil of M. Angelo. "Too fair to worship ; too divine to love." " The A.pollo has a face which I have never seen in any cast or copy.''— Haw thorne. " There is something wonderfully striking, bold, and full of action in the im- pression that the work produces. SchnaaKe rightly calls the Apollo the most bril- liant piece of sculpture of ancient times."' — Liibke, "There is— shall I speak the word— a little of the fine gentleman about the Apollo, and in the expression there seem.s to be a gleam of satisfaction reflected from the admiration which his beauty awakens. There is not enough of the serene uncon- sciousness of tlie immortal gcds. There are, doubtless, finer statues in the world than the Apollo, but there are none more fascinating. In this statue, more than in any other work in marble, we recognize the grace and ani- mation of a living form — a sympathetic charm which every one can feel." — IHllard. Statues: Br. Mu., No. 114, found at Gy- rene, 1S61, in 123 fi-agments ; similar to those in the Cap. Mus, and Naples. Apollo CytharcedLss (sith • a-ree'-dus), stat., Vat. Hall of Mu- ses, No. 516, in a long, flowing robe, playing a lyre ; copy of origi- nal by Scopas ; found at Tivoli. Stat. Glyp. No. 90, for a long time known as the Barberini Muse. Regarded by Winckelmann as a model of the Greek style of the epoch preceding Phidias. This about A.D. 200. The r. arm and 1. Apollo Cytharoedus — Munich. stat. is believed to date hand are restorations. Statues: Berlin, 6, 68, 112, 997; Br. Mus., *114, 1S8 ; Glyp. *90 ; Cap., I. 2, III. 8: Nap., 242, 509 (244). 92 (67), and a green basalt ; Tori., 280 ; Vat. (Ch.), a42 (P. C), 395, 380, 516, 582. APOL 25 *Apollo Sauroktonos (saw-rok -to-uo3 : lizard- kilhr), stat. in the Louvre ; copy of original in bronze by Praxiteles ; found on the Palatine Hill, 1777. The youthful pod, with his right hand partly extended and his left resting against a tree, is watching a lizard climb- ing, which he is about to thrust with an arrow. Statues : Alb. Villa, *bronze, '.)52; Louvre, TO; Vat., 264. The bronze in the Albani Villa is regarded by Wiuckelmaun as the original of Praxiteles. **Apollino, or Young Apollo, stat. in tne Tribune, UfBzi, No. olo, called the ApoUino or Young Apollo, to distiuguish it from the Apollo Belvedere, Mengs remarks that this is a model of grace and beauty, as that is of grandeur and sublimity. Its resemblance to the bronze Young Apollo of Praxiteles in the Albani Villa h:;s led to the surmise that it might be the work of that mas- Apollo Sauroktonos — ter ; but the statue has so close an analogy of style to that of the Venus de Medici, that these two are believed to be the work of the same hand. It has been observed that if the Venus had not the p; e-omi- nence of subject, the Apollo would yield to it neither in grace nor beauty. A-pol-lo-do -rus, Greek painter, B.C. 400 ; discoverer of chiaroscuro. A-pol-lo'-ni-Lis, Greek sculp., B.C. 200. See Fiirncse Tow. Apollonius, Greek, B.C. 300; sculptor of the Belvedere Torso. Apostoli, SS., Ch. in the Pi. de Apostoll, Rome, to the 1. of the Corso, s. end ; founded Gih cent. ; rebuilt 1420. and again 1002. Only the vestibule remains of the earlier structures. Under the portico, *Eagle with wreath of oak- leaves, from the Forum of Trajan ; mon. to Volpato, by Canova. Over the sacristy door la the tomb of Pope Clement XIV., by Canova. A-pox-y-om'-e-nos, an athlete scraping the dust from his arm with an iron called the strigilis. 2 26 APSL ** Statue in the Vatican, No. 67 ; found in the Trastevere, 18-46 ; copy of a bronze by Lysippus, which was placed by Agrippa in front of his baths near the Pantheon, and which Tiberius at- tempted to remove to his residence, causing a tumult of the popu- lace, who forbade it. Apsley House, London, Hyde Park Corner. Residence, 1820-53, of the Duke of Wellington. Gallery of a limited num- ber of pictures, but some very fine ; among them Correggio's Christ on the Mt. of Olives, his most celebrated work in England. Aqueducts, i?(9me.— Aqua Alsietina ; constructed by Au- gustus ; restored by Trajan. On the w. side of the Tiber, 30 mis. long, leads to the fountains of St. Peter's ; now called Aqua Paoli, sometimes Aqua Trajana. Aqua Anio Novus; constructed by Claudius ; 62 mis. long; alt., 212 ft., being the most elevated of all the ancient aque- ducts ; enters at Porta Maggiore above the Aqua Claudius. Aqua Anio Vetus ; constructed by Dentatus, B.C. 272 ; 43 mis. long; alt., 149 ft. ; enters the city at Porta Maggiore, beneath the Aqua Marcia. **Aqua Claudia ; commenced by Caligula, completed by Clau- dius, A.D. 50 ; 46 mis. long ; alt., 203 ft. ; crossed the Campagna above the Aqua Marcia, upon a series of arches for 10 mis., of which 6 miles are still standing, forming the grandest ruin outside the walls. Was repaired by Sept. Severus and Caracalla. Aqua Felice, 13 mis. long, modern, 1583 ; crosses the Cam- pagna on a series of unbroken arches ; now supplies the Fontana di Termini and 24 other fountains. Aqua Julia; constructed by Augustus, B.C. 34 ; alt., 191 ft. ; built above the Aqua Tepnla. **Aqua Marcia; constructed by Q. M. Rex, B.C. 145 ; restored 1869 ; is 56 mis. long ; alt., 173 ft. This aqueduct crosses the Campagna on an **arched way and enters the city at Porta Pi a, and brings the purest water in Rome. *Aqua Virgo ; constructed by Aug. or Agrippa, for his Baths of the Pantheon ; 14 mis. long ; crosses the Campagna on 700 arches, and enters the city near the Pincian Hill. This aqueduct now supplies the Fountains of Trevi, Piazza Navona, Piazza Far- nese, Piazza di Spagna. and others ; now called Aqua Vergine. Arabesque (ar-a-besk). Style of ornamentation adopted by the Arabs, in which flowers, fruits, and mathematical figures were inwoven in beautiful and grotesque combinations, but from ARA J 7 which forma of auimals and animate beings were excluded. A good exaujple is the Alhambra Court, Crystal Pal., Loudon. *Ara-Coeli, S.M. di, (ahr -ah-chel -le), ch. on the Capi- toline Hill, Rome. This ch. is built upon the site of the temple of Jupiter Capitolinus. It was at the head of the stairs to the L of the Senator's Palace that 'I'iberius Gracchus and Valerius, the Consul, were -killed ; and within the ch. that Gibbon first con- ceived of his Decline and Fall of the Roman Empire, Oct. 15, 1764. Within are 22 columns of diverse lengths, from various ancient structures The floor is covered with mosaics called Opus Alexaiidrinum. This church is in especial esteem among the Romans from its fa- mous miracle-working baby, the Saniissimo Bambino, 1. aisle, 2d Chapel, closed except at Christmas. It is a fantastic doll, carved from olive-wood and painted by St. Luke, gaudily dressed in gold and silver tissue, and bedecked with jewels. Formerly it was in great request to work miraculous cures, and at one time its income, as a medical practitioner, was greater than that of any physician in Rome. It was never left without a guard. In the 1. transept is the tomb of St. Helena, mother of ConstantJne. **Arc de Triomphe de i'Etoiie (ark-dehtree-oamf-deh- lay-twahl), Paris ; w. end of the Champs Elysees. Triumphal Arch of the Star — so named from the star formed by the 12 avenues radiating from this point. Dedicated by Napoleon I. to the glory of the French armies; corner-stone laid 180G; com- pleted 183(j, under Louis Philippe; designed by Chalgrin ; 160 ft. high, 140 ft. wide, 72 ft. deep; cost $2,000,000. It stands on the most commanding site in Paris, at a distance of about 3 mis. from the Louvre. On the e. face are alto-reliefs ; r. below, Departure of Troops, by Rude ; above, Obsequies of Marceau, by Lemaire ; 1. below, Napoleon I. crowned, by Cortot; above, the Pasha taken Prisoner at Aboukir, by Seurre. On the w. ficc^ r. below, French meet- ing the Invaders, by Etex ; above, Bridge of Areola, by Feucheres; 1. below. Peace of 1815, by Etex; above, Taking of Alexandria, by Chaponniere ; nortJt cnd^ Battle of Austorlitz, by Gechtcr ; south cud, Battle of Jemappes. by Marochetti. Upon the frieze are represented: e. side, the Departure; w. Bide, the Return of the French Armies. On the cornice are 30 shields inscribed with victorious battles ; and on the vaulting, 886 names of Generals, the under line indi' 38 ARCH eating those who fell in battle. Ascent may be made by stair in the s. side; fee 25 centimes. ** View from the summit is one of the most commanding in Paris. Archstecture.— I. Grecian Akchitecture embraces three principal orders: the Doric, the Ionic, and the Corinthian, of which the leading characteristics are : ^^mMSMmm^i^m'^ Doric Portico. Ionic Capital. Doric Portico. — Entablature : that part of a building resting upon the columns, divided into three parts : 1, the architrave (A A), resting immediately upon the capitals ; 2, the frieze (F F), or middle portion, often ornamented with sculp- tures, of which the Elgin Marbles from the Parthenon are examples; and 3, the corvice (C C). The frieze is also divided into triglyphs, small sections having three perpendicular grooves and metopes (M M), the space between- the triglyphs either sculptured or left a plain panel. 1. The Doric : the length of the column being 4 to 6 times its diameter, with 20 shallow flutes coming to an edge, a plain capital, the frieze divided into metopes and tryglyphs. 2. The lonii : height of column about 9 diameters ; the capital surrounded by a row of water-leaves ; 24 flutes separated by a fillet ; capital with volutes at the corner parallel to the en- tablature : plain frieze. 3. The fjorinthian : height of column about 10 diam- eters ; the capital surroundeii by a row of water-leaves, and a second row of acanthus leaves, and having the double-faced volutes projecting diagonally. II. Tuscan Order. — Height of column 7 diameters •without flutes, and with no ornament. III. Composite, or Roman Order : a mixture of Ionic and Corinthian, capital has two rows of acan- thus leaves, and in general more ornamented than the Corinthian. IV. Gothic. — Arch pointed ; column ribbed and often branched in the vaiilt- ing; adopted in the 12th cent, and prevailed until the loth cent., during whicli period the principal cathedrals of Europe were founded. About 1300 the Gothic was adopted as the style of early castles. Corinthian Capital. ARGE 2fl V. English.— 1. OldSaxo/i Style: semi circular arch; very narrow windows l6 inches); walls very thick; no buttresses; columns Z}4 diameters high on a square plinth. 2. Norman Style : arch semicircular; in second tier one larger arch frequently spans one or two smaller ones, in the third it spans three arches; over doorway grotesque reprcsentiitions of men and animals ; columns large, close-set, fluted and Bculptured ; windows, narrow with semicircular heads ; ceilings of timber, except in the crypts, without tracery. 3. Early English (1150) : arch sharply pointed and lofty. In the upper tiers two or more comprehended under one ; columns, slender and clustered ; capital, decorated with foliage ; windows, lancet-shaped ; rcof, high ; ceiling, vaulted ; walls thinner, with buttresses. 4. Enrj'.ihh Ornamented : arches less sharp, more open, and windows larger, divided by mullions ; east and west windows large and splendidly decorated; vaulted ceiling with springing ribs, subdivided and covering the whole with tra- cer}', niches, and sculptures. 5. Florid English (Tudor) : arches flat ; ceiling spread into network ; flying but- tresses, ornamented ; external face of the wall highly ornamented. VI. Renaissance (reh-na'-songs), the name given to the style following upon the decline of the Gothic, which comprised an indiscriminate combination of Gre- cian, Roman, and Gothic. Argent.iere (ar-zhawn' -tee-air), Fr., the uppermost village of the valley of Chamonix ; at the foot oC the Glacier of Argen- tierc, amid peaks ri.sing to the height of 14,000 ft. See Route 37. Ariadne (a-re-ad -ne), mytJi^ daughter of Minos; enamored of Theseus when sent by his father to con- vey the tribute to the Minotaur, and gave him the clew of the thread by which he found his way out of the labyrinth. The- seus, in return, prom- ised to marry her, and she accordingly left Crete with him ; but, on tlicir arrival in the Sleeping Ariadne- P'o/fcan. island of Naxos, he deserted her, where she was found by Piony- eius (Bacchus), who made her his wife. Statues : Berlin, 154, 983 ; Cap., II. 23, head; Tori., 237. 297; Vnt. (Ch.), 510 ^P. C), ♦*414. **Arladne, Sleeping, .sif^/;^. in the Vatican, No 111; found 1503. Represented at the moment of her deijertion when asleep. 30 ARIA Tlie right arm is thrown over the head, which rests upon the left hand. The drapery has hardly a parallel in any statue known. "The position is perfect, the drapery is a masterpiece, and the restless sleeif is most admirably rendered." — Wood. " The position is graceful, almost mannered." — Amph'e. "Although the size is colossal, the delicacy and grace of the female figure are not impaired ; but it is especially admirable for the drapery, which hangs in the most natural folds, revealing the fine outline of the limbs which it veils, but manngcd with great refinement.'" — Hillard. **Ariadne on the Panther, sfrirf.; Dannecker's master- piece ; in the Ariadneum, Fra,nkiort. Germany. This is con- sidered one of the finest of modern sculptures, although the idea seems to have been borrowed from the fig- ure of a woman seated on a lynx, an antique in the Lateran Mus., Rome. Arsenal, Venice^ at the e. ex- tremity of the city. Admission 9-8, Commenced 1104, and in the 14th cent, employed 16,000 men. The walls are attributed to Andrea Pisano. The principal gateway, 14C0, is surmounted by the statue of St. Giustina. Near by are the Colossal Lions, brought from Athens, 1687. The erect one stood at the entrance of the Pirceus, and is hence called Porto Leone. It has been conjectured that it was originally erected on the Field of Marathon. The inscrip- tions upon the sides remain uninterpreted. The Intekior contains an innumerable collection of military Implements, weapons, instruments of torture, punishment, etc. Among them, remains of the Bucentoro, the State Barge ; armor of Henry IV, of France ; banner of the Turkish Admiral at Le- panto; helmet of Attila; bust of Admiral Emo, by Canova. **Assumption, Titian's, Acad., Venice, No. 24. "When I stood before Titian's Assumption and felt as if lifted off my feet by the power and beauty of that incomparable picture, I could not lament that I did not see the slight imperfections in drawing and design, which more trained and more fastidious eyes detect in it.''''— Hillard. "Overhead, midway in the air, rises the Virgin in the midst of a halo glowing like the vapor of a furnace ; she is healthy and vigorous, unecstatic, and without the mystic smile, proudly intrenched in her red mantle, which is enveloped by cue of blue. The stuff takes countless folds in the movements of her sui)erb form," Kn^AnQ— Frankfort. ATAL 31 It is a Vene- her attitude is athletic, her expression grave, and the low tone of her features comes out in full relief against the tiaming brilliancy of the aureole. "Nothing is effeminate or languid ; grace here maintains its sway, beautiful pagan festival, that of earnest force and beaming yontlifulness. tian art centres in this work, and per- haps reaches its climax.'"— J«/Me. " Beyond that even of any other work of Titian."— P/ii7^iJ. •' The mo-t divine work ever produced by the hand of man." — }feudel^suJui. Atalanta, myth. Abandoned by her parents, she was nursed by a bear. Having grown to ma- turity, she slew the centaurs who pursued her, and was the first to wound the boar in the Caly- donian Hunt, When desired to marry, being the swiftest of mortals, she offered to accept whoever should outrun her. Mi- lanion, taking three golden ap- ples and dropping them during the race, she was so charmed by their beauty and detained in gathering them, that he reached the goal before her. A-the -na. See Minerva. Augustine, St., b. in Xumidia, a.d. 354. Went to Rome, became a lawyer ; went to Milan and was converted by St. Am- brose ; made bishop of Hippo ; d. at seventy-five. Regarded as the father of the Latin Church. August! n, St. (saft-o-goos-tafl), ch. Paris. Dome 80 ft. in diam. , 100 ft. high. Romanesque style. Over the portal are the Apostles ; the interior is harmoniously decorated ; the canopy over the high altar, the Chapel of Notre Dame, and the dome, merit special notice. Augustus Caesar, grandson of Julia, the sister of Jidius Cxsar, b. u.C. 03. Ilis original name was C. Octavius, but in 13. C. 27 the Senate conferred upon him the title of Augustus. On the death of his great-uncle he hastened to Rome, and after a little time was elected Consul. Afterward he united with Antony and Lepidus in the Second Triumvirate, by which it was agreed that their respective enemies should be slain, among whom wer« Assumption — TUiaii, 83 AUGU Cicero, 300 Senators, aud 2,000 citizens. Dissensions soon aris. iujj, Lepidus and Antony were conquered in turn, and Augus- tus became master of the Koman Empire. He continued hia reign 44 years, dying at the age of 70. Having only one child, Julia, who married Agrippa, be adopted as his successor Tibe- rius, the son of his liist wife by a former husband. He resided many years in his palace on the Palatine Uili ; and is said to have slept in the same room for forty years. His long reign was that of peace and pros- pevity. Statue.s : Berlin, 239, 365A ; Cap., V. 2; Glyp., 200; Hermit., 193; Loiivi-e ( ) ; Nap., bronze, colosFal ; Vat. (Br.), **14, 102; (Ch.)401, 281, 555, 559, 597. **I. Vatican (Br.), No. 14. Found, 18G3, Villa Li via, 9 mis. from Rome. Upon the richly sculptured cuirass are bas-reliefs of the achievements of the Emper- or. Augustus, as the Sun, stands in his chatiot preceded by Aurora and Phoiiphorus. In the centre is a warrior saluting the Sun. A Legion- ary stands before him with a dog, symbolizing the fidelity of the army. On the r. and 1. are seated figures repre- senting Hispania and Dalma- tia, provinces conquered by Augustus Below them are an Apollo seated on a griffin, and Diana on a stag, representing the victory over the fleet of Antony, and the recovery of Sicily, sacred to Diana ; and on the shoulders are two sphinxes, in indication of his conquest of Egypt. " Without exception the finest imperial portrait statnc which has come down to as." — Shaks. Wood. " Unsurpassed for the nobleness of its conception and the delicacy of its artistio execution; well preserved." — Liible. 11. Vatican (P. C), No. 559, half draped; remarkable for iiv^ likeness to Napoleon. Vaticaii. AUGU 88 Til. Louvra, Salle d'Auguste, at the extreme end ; in his im- perial robes. Young Augustus, Br. Mu., 8, 4; Vat. (Br.), 14; (Chi.) 401, 416; Glyp., 209. **IIcad of; Vat. (Chi.), Xo. 410. Found at Ostia, 1808; Parian. " One of the most beautiful heads in the Vatican, and, without question, a truthful portrait of the young Emperor at about the age oi 17." — Wood. " The bu* of the young Augustus is one of the most beautiful things in Rome. It represents him about sixteen or eighteen years old. The face is of delic.ite and dreamy beauty. The brow is intellectual and thoughtful, but the chief charm of the work is in the exquisite refinement of the mouth." — Eillard. Augustus, Tomb of, Home, Via del PonUfici, Xo. 57. Founded by Augustus, u.c. 27. It was a circular building, 255 ft. in diameter, raised upon an elevated foundation of white marble, and surmounted by a bronze statue of the Emperor. Auionj^ those whose ashes were deposited here were : Augustus, Marcellus, Octavia, Agrippa. Livia, Drusus, Germanicus, Agrip- pina, Tiberius, Caligula, Drusus the younger, Claudius, Britanni- cus, and Xerva. The Mausoleum was devastated, first, by Alario in search of treasure ; again, by Robt. Guiscard ; occupied in the 12th cent, by the Colonna family as a fortress, and attacked and destroyed by Fred. Barbarossa. The ruin was used as an amphitheatre for bull-fights, and is now used as a theatre for day representations. It is so surrounded by houses that little can be seen of what remains. Aurelius, Marcus, M. Aurellus Antoninus, b. a.d. 121; Rom. Enip. 161-180; adopted son of Ant. Pius. On coming to the throne, he admitted to an equal place with himself, Lucius Aurelius Verus, also an adopted son of Ant. Pius. In philosophy he was a Stoic, and wrote a work in Greek, en- titled " Meditations," still extant, of which it is said that no work of antiquity presents a nobler vie^v of philosophical heathenism. **Aurelius, Marcus, fttat.. Piazza Cajdtoline, Pome. Bronze equestrian, formerly gilt The only perfect equestrian statue now in existence of the 22 that decorated Ancient Rome. It was erected in front of the Arch of Sept. Sevcrus, between A.D. 161 and 181. In a.d. 1187 it was removed by Sergius III. to the front of St. John Lateran, and in looS. upon the completion of the Piaz:;a Capitoline. at the wish of Michael Angelo. it was trans- ferred to it.<; present locati n. In the gen-^ral crusade against 2* 34 AURE heathen art it was spared through the error of supijosing it to be the statue of Constantine, a Christian Emperor, •• It is the most majestic representation of kingly character the world has ever seen. A sight of the old heathen emperor is enough to create an evanescent senti- ment of loyalty even in a democratic bosom, so august does he look, so fit to rule, so worthy of man's profonndest homage and ohedience." —iraicthor7ie. It is related of this statue that M. Angelo upon one occasion became so lost in its contemplation, that, wishing- to observe the horse in another position, he called out to the animal "cam"' — go on ! *Aure!ius, Column of, ia the Piazza Coloima^ Rome; com- posed of 28 blocks, around which is a spiral of bas-reliefs of wars upon the Danube ; erected to M. AureJius by the Senate, a.D. 174. Heig-ht of base 25 ft., shaft 97. May be ascended by an interior flight of steps. For a time this was erroneously supposed to be the Column of Ant. Pius, erected to him by his two sons, M. Aurelius and L. Verus ; and when Sixtus V. restored the column and placed the statue of St. Paul upon the summit, he caused an inscription to that effect to be placed upon the base, whence it came to be known as the Antonine Column. Aurora, myth, Greek, Eos, goddei^s of the dawn; dau. of Hyperion. At the close of the night she arose and ascended the heavens to announce the coming of the god of day. ** Aurora ; I. Painting, by Guercino, in the Villa Ludovisi, Rome. Ar.rora is mounted in a two-horse cliariot, and attended A-xxi-Qvii— Guercino. by two winged figures— one with a wreath, the other with flow- ers ; before her are female figures representing the fleeing Hours or fading Stars. Behind is Tithonus. The work is full of the charm of Guercino's powerful coloring. AVEN 35 II. Painting ; masterpiece hy Guido, in the Rospigliosi Pal, Rome. Phoebus is seated in a chariot surrounded by tlie Hours, with Cupid above as the Morning Star, whilst Aurora leads the cortege scattering flowers. See Fronti^ncce. " The noblest work of Giiido, It is embodied poetry. Nothing is more ad- mirable in this beautiful composition than the motion given to tlie whole.'" — Eaton. '' Cupid, Aurora, iind Phoebus form a climax of beauty, and the Hours seem light as the clouds on which they dance." — Forsijth. " Worth a journey to Rome to see." — Byron. ''Certainly, taking all in all, the most perfect painting in the last 200 jjcars." — DurckhanU. " The picture is as fresh and brilliant as if he had painted it with the morning sunshine which it represents. It could not be more lustrous in its hues if he l;ad given it the last touch an hour ago. The alacrity and movement, briskness and morning stir, and the glow of the picture, are wonderful." — Uaicthorne. Aventine Hill, Home., lying on the extreme southern border of the city, between the Palatine Hill and the Porta San Paolo. Avignon, Fr. Seep. 572. Ayr, Scot., 40 mis. from Glasgow by rly., is noted espscially as the birthplace of P»urns, the poet ; as also the place where Wm. Wallace was imprisoned. The town is divided by the river Ayr, over which are the " twa brigs " of Burns. The Burns Cot- tage, or birthplace, the scene of his *' Cottar's Saturday Night," is two mis. s. of the town, and is now used as a public house. It contains few articles associated with Burns. AUouj(Uj Kirk, mentioned in ** Tarn O'Shantsr," or what re- raaans of it, is one-half ml. s. of the Cottage. Near the church are the Burns monument, a circular shaft GO ft. in height, erected 1820, and the Boon, immortalized in the "Banks and Braes of Bonny Doon." Burns died at Dumfries, where he had lived three years, and was buried in the churchyard there. Nineteen years later, upon the completion of the monument to his memorj*. his body was exhumed and placed within the Mausoleum at Dum- fries. Bacchus, Dionysus of the Greeks, the god of wine ; in art represeuted as a beautiful youth of manly tigure, approaching effeminacy and voluptuousness. The expression of the face ia that of the languid pleasure of one lost in sweet reverie. Mar- ried Ariadne. Bacchus was a favorite subject with the Greek sculptors, as was Bacchus and Ariadne with Renaissance painters. Statues: Berlin, C2, 113, ll"', 154. 15S, ICfi. l^iT. 173, 177, 17'^. 2^2. 223. 225. 2-i-l, 040; Br. Mu«..1in. *1.4n. llfi. l.sO. la"!; Cap.. I. 4; II. 5, rolossal hn»«) 36 BADE Olyp., 51, 103, 108; Louvre, 204. 217; Naples (Faniese), 192 (120), 534, 195; Vat (P. C), 397, (Ch.) 588. ^Baden-Baden (bah-dn; the Oaths). The Aiirdiu Aquensis of the Ilomaus; one of the most noted German watering-places. Nearly destroyed in the Thirty Years' War. Number of visit- ors reaches 50,000 annually. The hot springs, 13 in number, yield •a mineral water of temperature varying to 150^ Fahr. Leopolds-pldtz contains a statue of the Grand Duke Leopold. The NtiD Cdstle. above the town, 1479, is now occupied by the Duke as a summer residence. Among the environs of Baden, which abound with most delightful views, are the Fel.-:en, com- manding an extensive view, and Alt Eberstein, the ruins of a Roman watch-tower. See Route 22, Note 9. Rouiea : To Heidelberg, 2 hrs., §1.40 ; $0.95 ; gee Route 22. To Bale, 4 hrs., $3.30 ; ^2.20 ; see Route 22. Bai^ (bay'-ye), Ital, 10 mis. w. of Naples ; in Roman times one of the most luxurious watering-places of the Empire. Ruins of the Temple of Mercury — probably a bath — and of the Temple of Venus and Diana, yet remain. Bakhuisen, Ludolf, BACKHUirsEN, Bakiiuysen, Backy- SEN, 1631-1708 ; b. at Emden, in Westphalia. Without a master, or having had any instruction, he drew pictures of ves-els which he saw in the port of Amsterdam, with such fidelity that some of them were purchased at the price of 400 florins. Resolving to become a painter, he studied under van Everdingen. In order that he might render sea-scenes, and especially tempests, with the utmost effect, he often exposed himself on tee most tem- pestuous sea in a small boat, until at length he produced marine views which have rarely been equalled, and were in demand in all the Courts from St. Petersburg to Italy. " Comparing Bakhuiseu's dark and rather hard treatment with the transparency of Willem van de Velde, a critic says, ' Baklmi- aen makes us fear the sea, van de Velde makes us love it.'" His later productions are characterized by gray skies and a general cold, red tone. His works number about 200. Principal Works : Amst. Hoop, Nos. 4, 5 ; Ant., 7 ; Belv., two ; Borgh., XII. 23; Hacrue, 5; Louvre, 5, 7; Nat. Gall., 204, 818, 1000; Rijk?, S, 9, 11. Balbus, Theatre of, Home. A small portion of the ruins are visible near the gate of the Ghetto, below the Cenci Palace. The Castor and Pollux at the Capitoline steps were found here. BALE .37 Bslle (bahl), Fi'.; Basel (.bah-zl), Ger. (the Queen); Horn. Baftilea. A city of Switzerland, situated on both sides of the Rhine, at the point of junction of Germany, Switzerland, and France ; that portion on the Swiss bank being called Bale, or Basel, and thiit upon the German, Klein Basel. Pop. 50,000. Bale was a Roman military post as early as B.C. 27. In 1481, the Great Ecclesiastical Council of .jOO members, which had for its purpose the purification of the church, commenced here its ses- sion. After 17 years' deliberation, and accomplishing little, the members themselves all being excommunicated by the pope, the Council was dissolved. Bale is the birthplace of Holbein and Euler, and the place of the death of Erasmus, 1530. The Ml'XSTEU. formerly the cathedral of the See of Bale, was huilt by Emp. Henry II., lOlO ; burned, and rebuilt in 1185 ; de- stroyed by an earthquake, 1050 ; restored in Gothic style ; sacked la the religious disturbances of 1529 ; redecorated with great richness and elegance, 1852. The Ml'SEU.M contains a Collection of Natural History and a C-allery of about 400 pictures, among which are numerous works of Holbein the Younger. Routes : To Heidelberg (and Frankfort), G hrs., §5; $3.40; see Route 22. To ScHAFFHAUSEN, 2 hrs., $2 50 ; $1.50. To Lucerne, 3 hrs., $1.20 ; $0.75 : see Route 23. To Zurich, 2;^ hrs., $1.25 ; §0.80 ; see Route 27. To Berne, 3 hrs., $2.20 ; $1..50 ; see Route 32. To Paris, 10 hrs., $12.50 ; $9.30, via Belfort. Fast train, usually first-class only. Principal station for the e., s. and \v. in Bale ; for the north in Klein Basel. Bailoch, Scot., foot of Loch Lomond. See Route 3. ♦Baptistery, The, or Church of St. John Baptist, Florence; is situated in front of the Cathedral, and is one of the most an- cient structures in the city. It was erected in the Gth cent., upon the site and from the materials of a pagan temple — probably of Mars — aiid had an open dome like that of the Pantheon at Rome. In 1293 the brick walls were encased with the present marbles, and in 1550 the dome was surmounted with a lantern. The celebrated Bronze doors of this building hold a distinguished place in the history of Art. 2Vie South door, by Andrea Pisano, 1330, represents the life of St. John; the side decorations are by Ghiberti. **The Eant door, that facing the Cathedral, by Lorenzo Ghi- berti, 1452, represents 10 scenes from the Old Testament : 1. Creation and Fall ; 2. Cain. Adam tilling the earth ; 3. Noah ; 4. 88 BARB Abraham ; 5. Jacob and Esan ; 6. Joseph ; 7. Giviu^ the Law ; 8. Jericho ; 9. Battle of Ammonites ; 10. Queen of Sheba. The side decorations are also by Ghiberti. " In his baa-reliefs there are numerous female figures which, in the nobleness of their sihape and of their head, and in the calm F.implicity and development of their attitude, seem to be Athenian masterpieces One of the youth- ful soldiers seems to be an Alcibiades ; before him marches a Roman Consul ; blooming young women of incomparable freshness and vigor turn half round, gazing and extending an arm, one of them like a Juno, and another like an Ama- zon ; all arrested at one of those rare moments when the nobleness of physical life attains to its plenitude and perfection without an effort and without reflec- tion." — Taiiie. The Baptism, above the door, is by Sansovino. The two por- phyry columns, at the sides, were presented to Florence by Pisa, 1200, in gratitude for assistance in a war against Lucca. The North dooi\ also by G-hiberti, 1427, represents the history of Christ, the Apostles, and the Church to the time of St. Augus- tine. Above is the preaching of St. John, by Rustici. The Interior contains little of interest. On the pavement are ancient mosaics. On the r. of the high altar is a bronze statue, by Donatello, erected to Pope John XXTII., who was deposed by the Council of Constance. The Baptismal Font is said to be by Giovanni Pisano. " The kneeling figures on Corinthian capitals is one of the first purely artistic conceptions of the 1.3th century." Barbarossa. See Fred. I. Barberini, Palace. See Part IL, Barherini. P. 421. Baroccio, Federigo (-ok'-chee o), 1528-1612, b. at Urbino, • Italy. Painted at Rome, but his best works are to be found at Ur- bino and Perugia. Like Correggio, whom he particularly studied, he became a master of chiaroscuro, but was less successful in drawing and composition. Bartolommeo da Pa'-gho-lo, Fs'a, II Frate, Baccio DELLA Porta, 1469-1517, b. at Soffignano, Ital. Pupil of Co- simo Roselli, friend of Albertinelli, and follower of Savona- rola. He was early noted for the beauty of his Madonnas, but under the influence of Savonarola, was led to abandon his pursuit of art. and to destroy all his works upon profane subjects. Becoming a monk, after a time his superior ordered him to resume his former pursuit, which he did with little spirit. Making the ac quaintance of Raphael, then in the height of his power, he was BASI 89 awakeued lo a uew euchu.siusm. uud at the begiuuing- of the li)th cent, shared with del Sarto the rank of the tirst muster of the Florentine School. He was the first of modern painters to make use of lay figures. "Fra Barti)lommeo'.s peculiar sphere is devotional painting ; nnrl here he stands the equal of the greatest and noblest masters. His figures are full of deep sensi- bility, and at the same time free in their action, nobly draped, and of a ripe beauty. But Tvhat, above all, contributes to the impressiveness of his pictures, ic the magnificent grouping, the well-balanced composition of the whole."— LUbke. '• The Pietii of the Pitti Gall, is the most purely beautiful PietA ever painted." —RadrUffe. "His favorite compositions are generally simple Madonnas surrounded by niigels, but he renders them imposing by splendid architecture and a skilful dis- pobition of the groups. He delights to introduce boy angels, sometimes seated and playing on instruments, sometimes hovering around the Madonna, supporting her mantle or the canopy of the throne itself Few pictures give a finer idea of the Mother than the Presentation in the Temple, now at Venice, with the figure of Simeon standing with unparalleled dignity." — Kugler. Principal Works: Belv., one; Berlin, 24U? Borgh., II. 40? Cap., I. 27? Corsi., III. -2(5; Flor., Acad., Gli-O, 78, %% 23; Hermit., 2U ; Pesth, 163; Pitti, 64, 125, 15U, 2(J8, 25(5, 3:7; Uffi., 112(5, 1130, llGl, *12G5. Basilica, a larg^ public hall. They were first erected by the Romans about c.c. 200, having- a length twice the breadth, with an open centre, the side aisles being covered, and a dais at the end opp. the entrance, sometimes in a circular apsis. Early adopted as the most convenient form for the Christian Church, and re- tained in its essential features to the present time. Some of the ancient churches are still called basilicas. Churches having the aisles separated from the nave by columns and having flat ceilings, are said to be in basilica style. The seven basilicas of Rome are : SS. Peter's, John Lateran, M. Maggiore, Croce in Gerusalemme — all within the walls ; out- side the walls, Paul's, Sebastian, and Lorenzo. Basilica. See Constantiiie.^ Palatine Hill., and Rom. Forvm. Bassano, Jacopo da Ponte, Iol0-lo92, genre painter ; excelied in portraits, animals, and landscapes. Studied with his father, Francisco. Had four sons, all painters, who adopted the style of their father. (Francisco the Younger, 1548-lo91 ; Gio. Battista, 1553-lOlJ] ; Leandro, 1558-1023 ; Girolamo, 15G0- 1022). Madrid has 35 of his pictures. Bassano ranks as the first Ital- ian genre iminter ; he created a taste for cattle soenea and pas- toral landscape:!, to which he gave a peculiar silver-gray tint. 40 BAST His coloring is strong, especially his greens, and in his masterly handling of light he recalls the style of Rembrandt. Principal Works: Borg., No. 1'.); Biera, 219; Naples, 3; Pitti, 11 ; Turin, 167, 215; Uffi., 51)3,595; Venice, 484. '^Bastiliey Place de la, Paris. The Bastille was built in the time of Ch. V. Upon tbe removal of the ancient fortifica- tions of the city, the Bastille St. Antoine was retained as a state prison. In the First Revolution, 1789, it was captured and de- stroyed by the populace. Napoleon intended to erect here a huge bronze elephant, 78 ft. in height, of which a plaster model was for some time kept in a shed erected here for its preservation. After the Revolution of 1830, the remains of the "July heroes" were interred in this spot, and the present July Column erected, 1840, to their memory. The monument consists of a shaft 75 ft. high, 12 ft. in diam. , standing upon a circular base, and sur- mounted by a gilt globe bearing a statue of Liberty holding in her hands a torch and fragments of the chains of despotism. The entire height of the column is 154 ft., and bears G15 names of the victims who fell in the Revolution. The foundation of the monument was laid by Louis Philippe, in 1831, and, 17 years after, his throne was burned at its base. In 1871 the place was strongly barricaded by the communists, and captured only after a very sanguinary conflict. It was their intention to destroy the column, and to this end powder had been placed in the vaults beneath ; but, as in the defence of the place the powder was consumed, the column was fortunately preserved. Bedford, Eng.^ 45 mis. n.w. from Lond. ; pop. 15,000. Has, in proportion to its inhabitants, more public endowments than any other town in England. Sec Route 5. Note 14. J Belfast^ Ireland, 113 mis. n. of Dublin ; the second city in [size in Ireland, having a population of about 150,000. The city possesses a large foreign commerce, and is the seat of extensive linen manufactories, some of which, it is said, employ, more or less directly, exceeding 20,000 persons. It has also large works for iron steamship building, the steamers of the "White Star Lino being built here. In general, the city presents a cleanly, busi- ness-like, modern appearance. RoiUes : Steamers leave usually every day for Dublin, Liverpool, Fleetwood, Port Patrick— nearest point of Scotland, and Greenock— Glasgow. BELL 41 By raihoriij—To Dublin, 4 hrs., §5; $4. To FoRTRuan. for the Gianfs Causi> waj-, 2.45 hrs., $3; $2.12. To Larke, for tteamerd ot the State Line, 1 hr., ^0.87; $0.65. Stations on opp. sides of the citj'. Bellini (bel-lee'-nee), L, Jacopo, 1394-1470, Venice. "Ho attained a middle place between the conventionalism of art which pre- ceded him and the naturalistic art which followed him. " He worthily commenced what his son Giovanni and Titian perfected." His sketch book of 99 pages is now in the British Museum. II. Gentile, son of Jacopo, 1421-1507, Venice, with hia brother Giovanni, hiid the foundation of Venetian art, and exer- cised an inliuence throughout Italy and Germany. In 1479, upon request of the Sultan, the Doge sent Gen- tile to Constantinople. He remained a year, and returned with great honor. His works now remaining are not numerous. His subjects were mostly historical, as his brother's were Biblical. Principal Works: Bergamo, No. 193: Brera. ir.4; Cap., 13(5: Louvre, 59, (iO ; Liecht., 35; Pcsth, .2») : Venice, 5*^9, 543, 555. III. Giovanni (jo-van-ny), 1427- -516, son of Jacopo and the most celebra- ted of the family. '* His Madonnas are amiable beings imbued with a X)fty grace : his saints are powerful and noble forms ; his angels cheerful boys in the full bloom of youth." " In him Venetian coloring attained, if not its high- est truth of nature, at all events its greatest intensity and transparency. Many of his draperies are like crystals and gems of the clear- est and deepest color." — Kngler. " By grand nobleness of expression, solemn bearing, and the excellent arrange- ment of drapery, he reached a dignity which has been ranly surpassed.— Z//We. Principal Works: Barb., 58? Bulv., two; Bergamo, 4, 21(;: Berlin, 4, 11, 2^: Borgh., 27. 31, 30; Brera, 278. :291 ; Cap., 79, 87, 132, 207: Dresd., 210? Hamp. Ct., 117: Hermit., 4: Louvre, 01 ; Madrid, 60; Munich, 1190?: Naples, 7: Nat. Criill., 189. 280, 094 ? 720. 80.^ 812; Parma, 180: Turin, 77U; Uni., ::54, 583. 031 : Venice, 38, 94, 2:J4, 2J.S, 313, 372, 424, 4:^.0; Verona. SO. Bello SguardOy in the environs of Florence, afifording amost commanding and charming view of the city, especially at sunset. In the Villa dcgli AU^izzi, nearby, Galileo often resided. Berchem, Nicholas, Bicughem, 1620-1083; h. at Haarlem, Hoi. lie received his Hn^t in.struction from his father, a painter of little note, afterward from Jan van Goyen, and lastly from Weenix. His early picturda have some resemblance to those of Madomin Gi. Boilini — S. Giobbe, Venice. 42 BERL Weenix. although touched with more delicacy, aud, like the paint- ings of that master, represent seaports and embarkations. He afterward formed a stylo for himself, representing landscapes of most delightful scenery, enriched with architectural ruins and decorated with charming groups of figures and cattle. His pic- tures of those subjects are superior to any painter of his country, except Both. In general tone his pictures resemble those of Both, particularly in his cattle. His works are stated to num- ber exceeding 400. " The style o£ Berghcm is excellent ; he painted with surprising facility, yet his pictures have all the finish that could be wished. Extremely happy in the choice and arrangement of his compositions, he has given a singular grace and beauty to his figures without departing from the propriety of costume. The conduct of light and shadow is masterly and intelligent ; the light floating of his skies, tho transparency of the water, have never been surpassed by any painter of his country. — Bryan. Principal Works: Amst. Hoop, 10; Bel v., two; Berlin, 287, 296; Bruns.. 54G ; Bruss., 410 ; Cassel, 518 ; Dresd., 1404-5-G-7 ; Dul., 17, 160, 200, 200 ; Hague, lU, 12 ; Hermit., 1070-2-3-4-5-6-7-8, lOSl-2-4 ; Liecht., 216, 781 ; Louvre, 17, 18, IVt, 21-4-5-7 ; Munich, 223-8, 1023-27-30 ; Nat. Gall., 240, 820 ; Pesth, 336 ; Rijks, 27-9, SO-31. BerBirt; Prussia, is situated on both banks of the Spree and several islands ; pop. 1,122,000. The central point of the city is the Schloss, on the north of which is the Lust Garten and the Royal Museum. To the westward from the Schloss is Unter den Linden, the principal street of the city, extending to the Brandenburg Gate, about one mile. Immediately on crossing the Schloss Bridge will be seen, r. the Barracks, opp. to which is the Pal. of Pr. Fred. Wm. ; next on r. the King's Gua'.d House and the University, opp. to which are the Opera House, the Bibliothek, and Palace of the Emp. Wm. In the centre of the street is the statue of Fred, the Gt. Beyond this, on the r., is the Academy ; thence to the Brandenburg Gate the street is devoted to business. The principal cross-street of the city, crossing Unter den Linden about midway, is Friedrichs Strasse, extending from La Belle Alliance Platz, on the south margin of the city, to the Oranienberg Gate, on the north. Regarding Unter den Linden as the " Broadway " of what Bae- deker styles "one of the handsomest cities in Europe," its ap- pearance will assuredly be somewhat disappointing. The newer and more elegant portions of the city are beyond and to the s.w. of the Brandenburg Gate. Directly to the west ^'^^^Wesi. East.t^gr BERL 43 of the Gate extends, for some miles, the delightful Thiergarteu or Public Park. The city is intersected by several canals which, as well as the small river Spree, are navigable only for canal- boats or tugs. The Principal, Places of Interest are the Schloss or old Royal Palace, the Royal Museum, the University, the Anatomical Mu- seum, the Aquarium, the Botanical Garden, and the Zoulogicnl Museum ; and in the environs, Charlottenburg, Sans Souci, Pots- dam, and Babelsberg. **TnE Royal Palace (old), daily 10-4; ticket office in the court. Visitors wait in the ante-room until called by the atten- dant. Full explanation (in German) made of all the apartments and works of art. The rooms of greatest interest are the Picture Gallery (modern works), used also as an assembly hall on festive occasions; the White Saloon, with statues of the 12 Branden- burg Electors; the Ritter S'aal, Hall of the Knights, with the royal throne and gold and silver ware, and the Chapel. **TriE Royal Museum. M. and Sat. 10-4 (winter 3) ; Sun. 12-2. Strangers admitted also on V/., Th,, F., 10-4, by the en- trance to the Xew Museum in the rear. **The Old Museum comprises paintings and sculptures, and is connected by a covered passage across the street with the Xew Museum, which contains casts, models, antiquities, drawings, and engravings. Taken together, the Museums constitute one of the most extensive and valuable collections in Europe, any adequate study of which will require several days. Pictures recently re- arranged. **XATioNAii Gallery (new), adjacent to the new Museum on the east, d.-xily, ex. M. 1 1-3 ; Sun. 12-2 ; free ; opened 1S7G ; con- tains a collection of about 500 pictures, works of modern Ger- m:in artists of the Munich and Diisseldorf Schools. Each pic- ture bears the name of the subject and artist. Catalogue 1 mk. ^''TiiE Museums of the Uis'ivehsity. The Zotouy, one sq. s. of the Clock Tower, free Tu., Sat., Sun., other days \ fr. ; contains a fine collection of Swiss animals, especially bears. The Cathedral. In front is the bronze statue of Rudolph von Erlach, hero of the battle of Laupen, 1339. The Cathedral, 1421, restored 1850, tower yet unfinished, is specially noticeable for the balustrade of the roof and for its decorations. The Interior (30 c.) contains little of unusual merit. The Organ, regarded as superior to the famous Freiburg instrument, is played every evening in summer, 1 f r, ; families 2 fr. *The Cathedral Terrace^ s. side of the Cath., with bronze statue of Berthold von Zahringen, the founder of Berne, presents a fine view of the Bernese Alps, the Jungfrau, Munch, Eigei*, Finster- aarhorn, Schreckhorn, and Wetterhorn, from r. to 1. ** Best seen at sunset, when the Alpgliihen, or Alp-glow, and the Nach- gliihen, or after-glow, is peculiarly beautiful. BERN 48 BIBL Tlie Bears' Den^ across the Aare, at the extreme e. end of the city, IS a municipal institution, the boars being supported at pub- lic expense, in consideration of their having furnished the heraldic emblem of the city. *ScHANZLr, n. of the city, across the Aare, affords the finest view of Berne, its environs, and the Bernese Oberland. RoxiUs: To Bale. 3 hrs., $2.20; §1.50; fgo Route o2. To Thun, Interla- KF.X, 3 hrs., %\ ; $U.TO ; see Rouic 31. To Lausanne, 3 hrs., $:2.20 ; $1.50 ; see Route 33. To Paris, 12 hrs., $14 ; $10.30 ; either by Bile or ronturlier. Union Station on the w. margin of the city. BibMotheque Nationale (bib'-le-o-tek nah-see-o-nal'), Paris^ Rue RirJielieu ; daily, 10-4, ex. Sun. ; the most exten- sive collection of books in the world. In 1050, King John is believed to have left a royal library of 8 or 10 volumes. To these Charles V. added until h!s collection numbered 910 volumes, which he deposited in the Louvre, and to which free access was permitted at all times. Charles VI. having scattered the greater portion of this, Louis XI. recom- menced collecting. In 149G the library was removed to Blois by Louis XII., and greatly augmented. In 1544, Francis transferred it to Fontainebleau — now numbering 1,890 vols. To these Cath- erine de Medicis bequeathed the collection she had brought from Florence. In 1594, Henry IV. brought it again to Paris. In the time of Louis XIII. it numbered 10,746 volumes, and upon the death of Louis XIV., 70,000. At the present time it numbers over 2,000,000 books, 150,000 MSS., and 1,300,000 engravings. Every facility is extended to strangers wishing to make use of the library. In the Salles des Globes arc two copper globes nearly 21 ft. in diameter. Among the MSS. are those of Galileo, the original of Feuelon's Teleraacbus, letters of Henry IV., Louis XIV., etc. *Biga, The (bee'-gah), au antique sculpture in the Vatican Gall.; stood in an ancient temple of the Sun. The body of the chariot was, for several centuries, used for au episcopal throne in St. Mark's Church, Rome. The principal part of the horses and their trappings are restorations. Birmingham (bur'-ming-um; hroom-plncediDelUng)^ regarded as one of the most salubrious towns of England ; occupies the slope of three hills descending to the river Rea. The central portion is handsomely built, the Town Hall having few superiors in architectural excellence. It was celebrated for its manufac- ture of arms prior to the Roman invasion ; was the capital of the ELAC 49 Saxon kingdom of Mercia ; owes its modern prosperity to the de- mand for arms caused by the American and French wars of the latter part of the last century and the beginning of this. See Route 9, Note 12. Homes : To London, 3 hrs. To Liverpool, 2 hrs. Several statiuiis. Black Forest, Ger., extending eastward from the Rhine through Central Europe and lying between Bale and Darmstadt. See Route 22, Notes 7, 15, 19. Blanc, Mont. See Chamonix. * Blenheim (-im), Eiig., the seat of the Duke of Marlbo- rough; is most conveiAnLly reached by carriage from Oxford, a distance of nine miles. After the great victory of Blenheim, Parliament voted this du- cal residence, at a cost of nearly three millions of dollars, besides a perpetual pension of $500,000 to the Duke, in consideration of the Nation/\l regard for his services. The Park comprises nearly 3,000 acres, and is filled with every device of ingenuity and taste. A column loO ft. in height, surmounted by a statue of the Duke, stands on the lawn. The Palace is a magnificent structure and decorated with great elegance, and contains a choice collection of paintings and statuary, especially of works by Rubens. Bo'-bo-ll Cardens, in the rear of the Pitti Pal., Florence ; open to the public Sun. and Th., from noon till dusk ; entrance through the arch at the 1. of the Pal. ; laid out under Cosmo I., 1550 ; adorned with statues, fountains, and grottos, and com- mands a fine view of the city and environs. *Bols de Boulogne (bwa -deb boo-lone), Paris, im\. beyond Arc de Trioniphe ; tramway and omnibus to the Arc, steam tram- way beyond ; most satisfactory, however, to take carriage. Being beyond the fortifications, the tarift' for 2 or 3 persons is 2.1 fr. first, and 2 fr. each subsequent hour ; 4 or 5 persons, 2^ first, 2^ afterward. If retained over two hrs., the driver is entitled to 20 minutes rest. This forest, comprising 2,500 acres, derived its name from a vil- lage to the K. w., which, from time immemorial, had been noted as an evil resort. In 17S9 it was cleared in part, and in 1814 the wood was entirely removed as a measure of defence against the Allies. In 1815 "Wellington was encamped here. Under Louia XVIII. and Charles X. it was restored as a park, and, in 1830, 50 BOIS presented to the Municipality of Paris, and the cascades and lakea constructed and mounds erected, with a view to make it vie with the noted parks of other cities. In 1870 the siege of the Prus- sians rendered the clearing away of the forest a necessity for the defence of the city. Much of its former beauty is therefore ■wanting at the present time. The principal points of attraction are the artificial lakes. Lac Inferieur is §- ml. long and Lac Superieur I ml. Within the first are islands (1 fr.), with cafes, restaurants, and varioua amusements. Between the lakes are the cascades, one of which is called the Source. ^f The Pre Catelan, formerly the centre of attraction, is now chiefly us^d as a concert saloon. The Race-course of Long Champs^ named from the Abbey de Long Champs, founded here in 1261, by Isabella, sister of St. Louis, is on the n. side, near the Seine, not far from which is the Cascade de Long Champs, 27 ft. high. At the extreme north end of the Bois is the Jar din a) Accll- matatioii^ which see. The best display of equipages is seen from 3-5 o'clock. Bois de Vincennes (bwa-deh-vi^-sen), Paris, Ih ml. be- yond Place du Trone ; by rly. from PI. de la Bastille, horse-car from the Louvre, or omnibus from PI. des Arts and Metiers. Louis le Jeune here made his residence, 1137; a century later, St. Louis held here a court of justice under an oak, the site of which is marked by a pyramid in the centre of the Rendez-vous- de-Chase. It was also the residence of Philip Aug., Louis le Hutin, and Charles le Bel. The chateau was erected by Philippe de Valois, 1333. 27ie Donjon, with its four towers, constructed of stone, is of four lofty stories, with walls 10 ft. in thickness. It was a royal residence till the time of Louis XL, since which it has been used as a prison. Among those who have been confined here are Henry IV., Conde, Prince Ed. of Eng., and Due d'Enghein. Upon the ground floor is the Salle de la Question, or room of torture, a place of total darkness. A hole in the wall indicates the bed of the victim. The Chapel, 1248, is noted especially for its fine vaulting and its windows. In a window on the 1., among the celestial figures, is Diana of Poictiers, distinguished by the blue ribbon in her hair. In the Sacristy is a mon. to the Due d'Enghein, who was unjustly executed by Jfapoleou I. The statue of the Due is sup* BOL 51 ported by Religion, while France below is weeping, and Ven- geance is supplicating Divine justice. ("A magnificent monu- ment." — Galiffiiani. "A poor work." — Baedeker). Bol, Ferdinand, 1611-1680, b. Dordrecht, Hoi. ; d. Amstcr- dam ; painter and engraver. He was one of the best pupils of Rembrandt, whose style he imitated well. He painted historical pictures and portraits. " He must not be confounded with Hans Bol, miniature and landscape painter." Bologna (bo-lone'-ya), Itali/.^ the FeUina of the Etruscans and the Bo)ionia of the Romans. Its university, established 1119, is among the oldest known, and in the 13th cent, numbered 10,000 students. Anatomy and dissection were here first taught, and here Galvani made his first studies in galvanism. In painting, Bologna holds a rank scarcely second to Florence in the eminence of its masters, among whom were Fr. Francia, the Carracci, Guido, Albano, Domenichino, and Guercino. The general architecture of its principal streets, massive and palatial, with arcades covering the sidewalks, gives a peculiar and some- what sombre aspect to the city. It affords, however, an agree- able protection from the heat of summer and storms of winter. Hie Principal Objects of Interest are the Academy of Art, the Museo Civico, the Piazza Vittorio Emanuele, the Leaning Towers, the Campo Santo, and the Churches of S. Petronio, S. Pietro, S. Domenico, S. Stefano, and S. Giacomo. The Piazza Vittokio Emanuele, the ancient forum, in the centre of the city, is of great historic interest. On the w. is the Pal. Pubblico, or Governor's Palace, 1290, the grand staircase of which was designed by Bramante ; on the e. is the Pal. del Po- desti, 1201, in which the young King Enzio was, during his life, kept a prisoner ; and where, also, the conclave for the election of Pope John XXIII. was held, 1410. On the s. is the Ch. of S. Petronio, 1390, designed to be nearly 600 ft. in length. In 16.^)9, the completion of the vast plan was abandoned, the work having only reached the transept. Windows from Cartoons by Raphael. The Piazza is adorned with a fountain surmounted by the celebrated bronze *statue of Xeptune by G. da Bologna, 8 ft. in heiglit, and said to weigh 10 tons(?), and is regarded as one of the most meritorious achievements of modern art. " Not nn antique god. calm and worthy of adoration, but a mythological god, serving a*} .-m ornament, naked, and displaying his musclef. Under the feet of the god arc four females displaying the magnificent nndity of their bending forms. 53 BOLO 'V .^^ TJ'e^t BOLO 63 the open sensuality of their bold heads:, uud closely clasping their swoUen breast:' to force out the jutting water.'" — Taine. TnE Leaning Towers. Three squares to the e. of the Pi Vit. Em. is the Torre Asinelli (1109), 275 ft. in height, overhang ing o ft. 5 in. ; and the Torre Garisenda (1110), 13b ft. in height, overhanging 8 ft. in. The Campo Santo. One and a half nil. from the Porta Sara gozza. S.W., is the Campo Santo, a burial-place of much interest. A covered gallery of 635 arches leads from the Porta to the Cam- po and to the Church of the Madonna de S. Luca, situated upon the summit of Monte delia Guardia, 2^ rals. dist. The church contains little of interest, but the height commands a magnificent view of the city, its environs, the Apennines, and the Adriatic. Routefi : To Turin, 7 hrs., $,7.60 ; $5 ; see Route 42. Tp Milan, 5 hrs., §4.60 : §3 ; Fee Route 42 to Piacenza, and 47 Piaccnza to Milan. To Venice, 4 hrs., fo.70; §2.00 ; see Route 48. To Florence (Rome), 4 hrs., ^3 ; §2.10 ; see Route 41). Union sUition on the n. margin of the city. Bologna, Jean (Giovanni) de (zhan-deh-bo-lone'-yah), IL FiAM MINGO, 15oO?-lG08 ; b. at Douai, Flanders. He went to Rome, and, devoting himself to the study of the great masters, jiarticularly Michael Angelo, early took a high rank as an artist, and fcoon achieved a place amoug the first masters of sculp- ture. His four great works, each of which is a masterpiece, are the Great Fountain at Bologna ; the Statue of Cosmo I., on the Piazza del Grand uca, Florence ; the Rape of the Sabine Women, in mar- ble, under the Loggie, Florence ; and Mercury in the Xat. ]Mu- peum, Florence, formerly in the Uffizi. Sec Mercury. "I think there has been no better sculptor since the days of Phidias." — Ilaio- tharne. Bonifazio Veneziano (bo-ne-faht'-zee-o), 1491-1553. Pu- pil of Palma Vccchio. Subjects usually religious. Excelled in Saints and Holy Families. Principal Works: Florence, Last Supper; Milan. Finding of Mnses — longf ns(Til)ed to Giortrione— and Christ at Enimaus; Paris, Raising of Lazarus; \'cnicf. The Rieli Man's Fea.st, The Magi, The Virgin and Four Saints. Bordone, Paris (bor-do'-nay), 1500-1571 ; b. at Treviso, lUi'y ; studied in the school of Titian ; became an imitator ol Titian and Giorgione. He is distinguished for portraits and fine heads, which have often been mistaken for Titian's. His llesh- tints are ro.'^y, his draperies purple and crimson, with numerous 14 BORG small, broken folds. He was iixvited to I ranee by Francis I. His works are not numerous. Principal Works : Belv., three; B'era, 208; Drcsd.. 250: Edinb., 106, namp. Ct., lis, 182, 235?; Hermit., 110, 111 ; Louvre, 82; Nu,L. Gall., 637, 674; Ufli., 007, and several portraits ; Venice, 428, 429. Borghese Palace (bor-gay'-say), via Fontanella, Bome, an immense structure commenced in 1590. The court is sur- rounded by a portico of 96 columns. The Gallery. See Part II., Borghese Gallery, p. 423. Borghese Villa. See Part II., Borghese Villa, p. 424. Borgognone, Ambrogio (bor-gon-yo'-nay), Am. Fossano, 14o5-1525. Milan. Painter, most successful on heads. His Ma- donna^are of a peculiarly beautiful type, gentle and devout. His pale, delicate flesh-tints are masterly. Bor-ro-me-an Isles, Lake Maggiore. See Route 25. Both (boat). I. Andreas. IGIO ?-lG45 ?, b. at Utrecht, Hoi. Studied under Bloemart, and travelled in Italy. Andreas rarely painted complete pictures, more usually devoting himself to the figures and animals in his brother's landscapes. II. JAN(yahn),lG10?-lG5G? Studied, travelled, and painted with his brother. In Italy the brothers imitated the taste and style of Claude, and devoted them.selves to Italian scenery. Jan's landscapes are characteristic, with lofty trees, sparse foliage in the foreground ; high, rocky precipices, with distant mountains, a wide-stretching plain intervening, with a warm, soothing sun- set, and frequently a brigand-looking traveller, a muleteer, and a couple of weary, miserable mules. Principal Works: Amst. Hoop., Nos. 21-2; Ant., 26; Berlin, 863; Bruss., 124; Dresd., 1272; DuL, 30, 30, 41, 199, 205; Hague, 17, 18; Louvre, 43-4; Munich, 173, 330, 479, 970; Nat. Gall., 71, 209, 959; Testh, X. 349; Rijks, 49, 51-2 ; Rotterdam, 25. Botticelli (chel'-ly), Sandro, Filipepi, 1447-1510, b. at Florence ; was the pupil of Fra Lippi, and became one of the first painters of his time in the expression of vigorous and im- petuous movement, in which respect lie is allied to Angelo and Signorelli. In contrast with Angelico his angels are well-formed and vigorous muscular youths. Among his most important works are his frescoes in the Sistine Chapel. His masterpiece is the Calumny of Apelles, in the Uffizi. BOUT 55 Bouts, DIerIc dear-ik boots;, erroueously Stuerbout, 1891 ?-147o ; b. at Haarlem, Hoi '' Though a Dutchman by birth, he is entirely a painter of the Flemish School of van Eyck." His two greatest works are the Triumph of Justice and a Last Sup- jier, in Louvain. His devotional iiictures are severe and some- what melancholy ; his coloring is of high merit, especially in his green and red draperies. Braccio Nuovo, Museo. See Vatican Sculptures. P. 479. Bramante d'Urbino, Do^•ATo Lomazzo. Place and date of birth unknown. In early life studied painting. Some of his frescoes remain in Milan. His more important Avorks are archi- tectural. He was appointed architect of St. Peter's, Rome, and erected the four great arches supportmg the dome. After his death the plan of the church was changed. Michael Angelo said of him : " Bramante was one of the most able architects since the days of the ancients." Buried in St. Peter's, 1514. Age about 70. Brenner Pass. See Route Xo. 58. See also Al2)s. Brera Ca I lery, . !//.'«//. See Part II.. 7i;'^?-a. P. 424. *Bridgewater Gallery, Bndgeicater Ilouse^ St. Jameses, London. Upwards of auO pictures; M., Tu., Th., and F., lO-o, by card obtained of ]Messrs. Smith, 137 New Bond St. Catalogues at the Gallery. See Madonnas, Xos. 17, 18, and 19. " There is .1 dcficionrty of examples of the older Italian and German Schools in this collection ; but from the time of Raphael the series is more complete than in any private gallery I know. The Carracci School can nowhere be studied to better advantage." — J//.;. Jumeson. BrI! (breel), Paul, 155G-1G2G ? ; born at Antwerp. He painted principally at Rome, and is said to have made es.scntial advance in the art of painting and to have beneficially inlluonced Rubens, An. Carracci, and Claude Lorraine. His principal work is a fresco in the Vatican, ('>8 ft. long. He painted with equal success land- scapes and figures. The Louvre has 8 of his works. Bristol (chasm), Eng., 118 mis. w. from London (3 hrs.); pop. 175,000; on the Avon. "Was fortified in the 5th cent.; castle built in time of Henry I. Birthplace of Sebastian Cabot, Chat- tcrton, Southo}', and Bagley the sculptor. British Museum. ^eeVaxt^l., British Museum. P. 42G. Brouwer, Adrian (brow-wer), lGOS-1640 ; b. Haarlem (or Oudenarde), IIol.; d. Antwerp ; painter and engraver. " He cominonced by desipning flowers and birds for his mother, who cmbroid- frcd for a living. Entering the school of Hals, yonng Brouwcr's proffress wa« 56 BRTJE rapid ; but he was not able to endure the ill-treatment of his master, v/ho appiv- priated his works, Belling them at high prices. Escaping from the house, ho visited .successively Amsterdam. Antwerp, and Paris." He painted in a superior manner peasant-scenes, luins, guard- houses, fetes, and gamblers. In quaint conception and facile de- lineation he is nearly the equal of his master. His pictures are seldom met with, and are now highly prized. The largest number known in any collection is that at Munich, nine, of which six are masterpieces. Recent research has shown Brouwer's life to have been much less irregular than has gen- erally been stated by biographers. Principal Works: Berlin. 853 B ; Cassel, 380-1; Dul., 54; Frank., 233,234. 231 A; Hermit., 937, 941; Louvre, 47, 44; Madrid, 1219; Munich, 273, 1107; Pesth, 611 ; llijks, 64-5 ; Ufr., 959. Brueghel, Breughel (broy'-gel) : I. Pieteu, the Elder, known as Peasant Brueghel ; 1520-15G9 ; b. at Brueghel, Hol- land. His subjects were peasant life and scriptural scenes. At- tained to no great eminence. His best works are at Vienna. II. PiETEH, the Younger, 1504-1637 ; son of I. ; delighted in representations of the infernal regions, and hence is frequently mentioned as " Hell Brueghel," He possessed little power as an artist. His sky is peculiarly green, and his landscapes dotted with figures. III. Jan (yahn), son of I., known as " Velvet Brueghel ; '' the most eminent of the family, 1569-1G42 ? ; b, at Brussels. Subjects were landscapes, marine, genre, biblical, fruit and flowers. His touch vigorous, his management of light and color highly eSec- tive and masterly, and his works are fi.nely finished. He often painted the landscapes in the works of Rubens, van Balen, and Rottenhammer, and figures for de Steenwick and de Momper. His landscapes frequently have an excess of blue. Brun, Charles !e (broofi) ; lGlO-1690; b., Paris. He early displayed great talent, .and at fifteen painted his Hercules and the Horses of Diomedes. At 22 he was sent to Italy to study, where he spent six years. Returning to Paris, he became painter to Louis XIV., and was employed in decorating the royal palaces of Versailles and the Louvre. Under his influence the king estab- lished the Royal Academy of Art. The Louvre has 26 of his pic- tures, besides the mural decorations. He has been criticised as a theatrical and showy decorator. Brun, Elizabeth Louise !e, 1755-1842 ; h., Paris. She painted portraits with success at the age of 15. Disturbed at the BRUN 57 revolutionary course of public affairs, she went to Italy and theuce visited nearly every country in Europe, returning' to France in ISOI. She was elected a member of the Acatiemies of Rome, Parma, Bologna, Berlin, Geneva, St. Petersburg, and several others. Her works number over 000 portraits and 200 land- scapes, many of which have been engraved. She has six Avorks in the Louvre. Her portrait of herself and daughter, in the Louvre, is a favorite subject with copyists. Drunelleschi (-ke), Filippo, 1377-144G, Florence. To no one of the early masters is modern art more indebted than to Brunclleschi, He has been called the Father of the Renaissance. He was among the first of modern artists to feel the inspiration of the remnants of Ancient Art, and the first to reapply geometry to architecture. Masaccio, following his example, applied it to painting and mosaics. Visiting Rome, he studied with the greatest assiduity and en- thusiasm the marvellous ruins which met him on every hand. Commissioned by the Government of Florence to undertake the completion of their great cathedral, he designed and erected the magnificent dome, one of the boldest masterpieces, and at that time without a parallel. He also designed the church of San Lorenzo, the Capella Pazzi, the Courts of Santa Croce, and the Pitti Palace, a structure which still remains a niouel of the high- est architectural taste. '•As an architect he was not exactly the originator of tlie new style which sup- planted the Gothic, but he was certainly the master who, by his grreat power, stamped that superiority as a fact." — Grimm. BriJnig Pass, Switz. Sec Touts 30, and also Alps. Brussels, Bkuxelles (brook -zel', house on the marsh), Bdg. The city, containing a population of nearly 400,000, is divided into the upper town, occupied by the nobility and foreign resi- dents, and the lower town, the residence chiefly of artisans and traders. The business portion of the city lies on the slope be- tween the two. L'pon the brow of the upper town is the Park, adjacent to which are the Royal Palaces. In the general appearance of its streets, parks, and buildings, Brussels much rcscmblca Paris ; the French language is also used by the upper clasess. The Principal Places of JntereU are the Park, the Palais du Roi, the Palais Ducal, the Palais de l;i Nation, the Palais do Tln- dustrie, Ancier.no Cour. IFtcl do Villc. ]\ru^'o Wierl;:, ; t. Cudule, 3* 58 BRUS c ^lartyrs' Mon. , Colonne du Congres, and. iu ihe enviroiis, tho Porte de Hal, the Bois de la Cambre, and the Field of Water- loo. The Park, on Rue Royale, is tuc fashionable promenade at sunset and on Sunday.s. To the 1. is the Palais de la Nation, on the r. is the Palais du Iloi, and above this last, at the s.e. corner of the Park, the Palais Ducal. The Park is adorned \vith foun- tains and statuary. *Military music Sundays 1-3.30, and on summer evenings at G. The Palais du Koi, s. side of the Park, has little of interest^ Residence of Napoleon and Josephine, 1S03. Permission obtained from the iutendant. The flag announces the king at his palace or at Laclceu. The Palais Ducal, formerly of the Prince of Orange, is now a Museum. The Palais de la Natiox, opp. the Palais du Roi, was erect- ed, 1779, by Maria Theresa as a Parliament House, and is now occupied by the Belgian Parliament. Sessions from 12 to 5 P.M. Admission for the public at the rear, in Rue de TOrangerie. Gu-DULE, Ste., et St. Michel, Cathedral of Brussels, lOth cent., not yet finished. Closed from 12-4, but admission may be gained on payment of 1 fr. *The magnificent windows arc the chief attraction, especially those of the Chapel of the Sacrament, devoted to the Royal Family. *The Pulpit represents, iu carved wood, the Expulsion from Paradise, among the animals are the bear, dog, cat, eagle, vul- ture, peacock, owl, dove, ape, etc. The Museum { U Ancienne Coiir) contains a collection of Nat. History, a Galerie Historique, and the Musce de Peinture. See Part II., BniHsds Museum. P. 431. The Palais de l'Industrie, near the Ancienne Cour, con- tains the royal library. The II'jTEL de Ville, in Grande Place, near the centre of tl e city, 1402. is regarded as architecturally one of the finest struc- tures in Europe. Its tower rises to the height of 370 ft., and is placed somewhat to one side of the centre of the buiUling. Thk Musi';e WiEiiTZ (vee'-ertz>, on the eastern margin of the city, is a small collection of pictures by Wiertz, several of which are of remarkable ingenuity and power; 10-3. The Mautyhs' Monument, in Place des Martyrs, was erected, 1838, iu memory of the patriots who fell in the s'ruggle for iude- 60 BUCK pendence in 1830. In the gallery below are the names of th« 448 slain. The Colonne du CongrjIs. in Place du Congres, two squares n, from the cathedral, was erected, 1850, in honor of the adop- tion, in 1831, of the present Constitution of Belgium. This is surmounted by a statue of the king. At the corners are allegori- cal' figures of Liberty. Environs : The Forte de llal^ or Museum of Mediasval Anti- quities, 2 mis. s.w. of the Hotel de Ville, is an interestiug col- lection of arms, weapons, carved work, shrines, etc. Open daily, lO-o, free ; small gratuity to the custodian. Criminal executions take place in the space in frout of the building. * The Bois de la Camhre^ a delightful park of 450 acres, one-half ml. otitside the city, on the south. May be reached by tramway from Boulevard de Waterloo. The Field of Waterloo, 12 mis. to the s. of Brussels, is most easily visited by taking omnibus from the Hotel de Saxe at 9.30 A.M.; fare, round trija, 5 frs. Also by railway at 9.30, Chemin- de-fer du Luxembourg to Groenendael, thence by omnibus. Fare, 4 frs., but time more limited. Return by either route. Roxites: To Antwerp, X lir-. ^•''o I ^-fiO: see Route 16. To Cologne, 6 brs., $4.70; $3.40: see Route 19. To Paris, G hrs., $(>.90 ; $5.i>0; see Route 18. To London, via Ostend, 11 hrs., §11.50 ; $8.25, Stations on the n. and s. margins of the city. Buckingham Palace, London, w. end of St. James's Park, town residence of the Queen ; occupied first as a royal residence by Geo. III.; afterward by Geo. IV. Contains a lim- ite.l, but valuable collection of paintings, permission to visit which may be obtained of the Lord Chamberlain on written ap- plication, but only during the Queen's absence. The Royal Mews, or Stables, to the s. of the Pal. , may be visited upon ap- plication to the Master of the Horse. Buonarroti, '^ee Angelo. Buttress, a structure of masonry upon the outside of a building to support the walls. Flying Buttress, a buttress stand- ing at a distance of several feet from the wall and carving over in a semi-arch and striking the wall at considerable height. Burns, Robert, ^ee Ayr. CseciiJa IVietella, dau. of Q. C. Metellus, consul B.C. 109; Vife of Crassus. Her Tomb., on the Appian Way, 2 mis. from C^S 61 the Porta S. Sebastiano, is one of the finest and best-preserved mouuments of ancient Rome ; 70 ft. in diam., standing on a square base. It was stripped of its outer coating" by Clement XII., and the present battlements were added by Boniface Vllf. in the l;]th cent. Caesar, Augustus. See Augustus. C£@sar, C. JuiiuSj, b. July, B.C. 100. At 17. married Cor- nelia, dau. of Cinna ; at 22, was renowned as an orator ; at 38, formed, with Pompey and Crassus, the First Triumvirate ; at 40, was elected Consul, and the provinces of Gaul were assigned to him for 5 years. Gave his dau. Julia in marriage to Pompey, The following years he was in Gaul — twice crossed the Rhine, twice landed in Britain, b. g. 5o and 54. Julia having died, Pompey joined the aristocratic party, and endeavored, through the Senate, to take away Cffisar's command. Learning this, Caesar marched upon Rome. • Pompey and the Sen- ate fled to the south of Italy, thence to Greece, and collected an army. At the bat- ^ ^ . _, ,. .-,,>, J- Cte~ar — Aanics. tie of Pharsalia, B.C. 40, Caesar was com- pletely victorious, and thus became mast'ir of the Roman Empire; p.t the age of 52. He exercised the greatest clemency, and governed with great wisdom. The aristocracy, however, resolved on his assassina- tion, which occurred on the 15th of March, B.C. 44, in the Curia of Fotnpei/, where the ch. of St. Andrea della Vcdle now stands. His body was burned in the Forum. Sec lioman Forum. Statues: Berlin, 291, 2!t5, .jSO ; Br. Mu., 2; Cap. W 1; Hermit, 210; Loi.vrc, •*( ) ; Naples, 29 (103), 215 (1G2); Torlo., 110 ; Vat., 2S2. Caesars, Palace of the. See Palatine Hill. Caius Cestius (kay-yus sess-tc-us), Tomb of. Jioi/:<, near the gate of Saji Paolo : a pyramid, 114 ft. in height and 90 on c;ich side at the base. It contains a chamber, 13 ft. in length, ornamented with arabesques. The structure is of the time of Augustu.s, and was erected, as the inscription states, in 330 days. It was incorporated into the city wall, as at present seen, by Au- reliau when he constructed his line of fortifications. Caligula (ka-lig -u-la), b. A.D, 12, a son of Germauicus and \u'rij)pina; succeeded Tiberius, a. D- 37. lie had reigned a few 62 CALT months, when a serious illness seems to have weakened his men< tal powers. His subsequent reign was extravagant and wantonly cruel. He exhausted Italy by his extortion, and then marched into Gaul, which he wasted also. Returning to Rome, he was Boon after murdered. Caligula, Palace of. See Palatine lElL *Calton Hill (call-ton), Edmhurgh, at the eastern end of Princes Street. Alt. 350 ft. Upon the hill, adjacent to the stairs, is Dugald Stewart's mon. at the 1. ; to the n,, is the Old Observatory, and the New Observatory with a small dome. At the s.e. of the Observatory grounds is a mon. to Piaj'fair. To the s. is Nelson's mon., 102 ft. high, surmounted by a time -ball. The unfinished colonnade is a part of a structure in honor of Waterloo, intended to be a copy of the Parthenon at Athens. The foundation was laid 1822, but, proving too costly, the pro- ject was abandoned, having cost thus far about $80,000. **The view from the summit of this hill is scarcely to be sur- passed. To the n. is what may be called New Edinburgh, ex- tending toward Granton and the port of Leith. Across the Forth, is Fifeshire. Following down the Forth is, first, the isl. of Inch Keith, Portobello, Bass Rock,, and the Isle of May farther at sea. Toward the s. and w. the Burns mon. ; Holyrood immediately below ; Salisbury Craig and s. , Arthur's Seat, 820 ft. ; thence to the n. the Old Town, commanded by the frowning Castle. Cambridge, Eng., 51 mis. from London ; may be reached both by the Gt. Northern and the Gt. Eastern rlys. It is situ- ated on the river Cam, whence its name, and has a pop. of 30,- 000. The town was burned by the Danes, 871, and again in 1010 ; Wm. the Conq. built a castle here, of which nothing now remains but the gate-house. The University consists of 17 colleges and halls, dating, accord- ing to Hullam, from 12;^1. All the present colleges and halls have been founded since the time of Ed. I., as follows: St. Peter's, 1257; Clare Hall, 1326; Pembroke Hall, 1343; Gonville and Caius, 1349; Trinity Hall, 1350; Corpus Chrisfci, 1351 ; King's, 1441 ; Queen's, 1446 ; Catharine Hall, 1475 ; Jesus, 1496 ; Christ's, 1466; St. John's, 1511 ; Magdalen, 1542 ; Trinity, 1546 ; Em- manuel, 1584 ; Sidney Sussex, 1598 ; Downing, 1800. Campagna, The (cam-pan '-ya), Italy, that portion of the western coast lying between Cape Linaro, near Civita Vecchia, and Terracina, about 90 nils. s. ; its greatest breadth is about 25 CAMP 6S mis. In the times of the Empire it was densely populated with numerous villages ; it is now mostly an uninhabited waste. Dur- ing the summer it is subject to malarial influences. Campanile (-pah-nec-ly). A bell-tower frequently discon- nected from the church or cathedral. See Cathedrals of Florence, St. Mark '5, and Fisa. Canova, Antonio, 1757-1823; b. at Possagno, Italy. His father having died, ho was remitted to the care of his grand- father, a stonecutter, and at the age of nine years began to ex- hibit that genius for which ho was afterward distinguished. At sixteen he produced his Eurydice, his first original statue ; soon after ^Esculapius, Apollo, and Daphne ; and at twenty-two, Dicdalus and Icarus. Invited to Rome, ho executed an Apollo and a Theseus, which gave him an unquestioned rank among the Masters. Soon after he was commissioned to execute a mon. to Pope Clement XIV., now in the church of the Apostles; and also one to Clement XIII., now in St. Peter's — one of his finest works. He also was commissioned by the Senate of Venice to erect a mon. to the Ad- miral Emo, for which he was awarded a gold medal and a life annuity. In 1800 he completed his masterpiece, Christ from the Cross, which he presented to the church of his native village. His Per- seus was i>laced in the Vatican gallery by public decree — an honor hitherto denied modern art. In 181G the Pope ordered his name to be enrolled in the Golden Volume of the Capitol, and a pension of 3,000 crowns a year. Among his other noted works arc a colossal statue of Napoleon, Marie Louise, Venuti from Pauline Bonaparte (see Venus)^ and Washington, the first commission of the New World to the Old. Entombed at Possagno, the magnificent monument he had de- signed for Titian was erected in his honor in the church of tho Frari, at Venice. (See Frari.) "He attained an especially pleasing grace in the representntion of womanly bcanty, somewhat marred, however, by a certain elegant smoothness ; but falls altogether into the theatrical manner when he attempts heroic themes, as lh* Boxers and Perseus."— Z-(76^e. "The vile classicality of Canova." — liuskiii. Capitollne Galleries. See Part II., CapitoUne and Palact of the Conservntora. Pp. 432 and 4G3. * Cap -l-tO'llne Hill, Rome. From the southern end of th« 64 CAPI Pal, of the Senator. Piazza del CampIdogUo. Corso, the approach to the Capitol is through the small Piazza Ara Cceli. At the foot of the hill the long flight of steps to the 1. leads to the ch. of S. M. Ara Coeli (15). To the r. is the carriage-way, and in the centre, La Cordon- nata^ the grand staircase (1) leading to the Piazza del Campi- doglio, opened lOiJG, upon the occasion of the entry of Chas. V. It was near the liou on the 1, (1) that Rienzi, the Tribune, met bis death when fleeing down the steps. Upon the 1., as we ascend, is a small garden (2), in which a living wolf is kept. At the sum- mit, upon the cor- ners of the balus- trade, are the cele- brated statues * of Castor and Pollux v3), standing beside their steeds. See Castor and Pollux. Beyond these, on either side (4), are the so-called * Tro- phies of Marius, believed, however, to be not earlier than the time of Alexander Severus ; next (5), r., Constantine ; and (5) 1., Constans, from the Baths of Constantine ; and lastly, on the r., the first milestone from tlie Appian Way, and on 1. the seventh. In the centre of the Piazza, (6) is the renowned statue of *Marcus Aurelius (see AureUus). It was here that Romulus is said to have founded his Asylum ; and here occurred the revolt under Tiberius Gracchus, B.C. 133. On the right of the Piazza (7) is the Palace of the Conservators, containing the Picture Gallery and the Protomoteca ; on the 1. (14), the Capitoline Museum, and in front (11), the Palace of the fesuator. See Capitoline Mi(s. and Palace of tM Consei^. 4 3 Piazza Ara Coeli. CAPP 65 Upon the emiuence to the left or east (15), where the church of Ara Coeli uow stands, formerly stocd the Arx or old Roman Citadel; the temple of Honor and 'N'icLue, B.C. 103; the tempie of Jupiter Feretrius, built by Romulus; the temple of Juno Moneta, B.C. 343 ; and the .slaiue of Jupiter, B.C. 293. Upon the r. (8), Numa Pompilius erected his temple of Fides Publica ; and Tarquinius Superbus, B.C. 535, that of Jiipiter CapitoUmis, which was burned B.C. 83, having stood 4 centuries. Rebuilt by Sylla, it was again burned, A.d. 09 ; again rebuilt by Vespasian ; tinally was sacked by the Vandals, A. D. 455, and fell into ruins. Near this temple was that of Jupiter Tonans, built by Augustus. Between the two heights was the Tabulariura, or Hall of Rec- ords, upon the foundations of which (11) the present Palace of the Senator — v^ith tower and clock — now stands. It was in front of this building tbat Petrarch received his crown of laurel, 1341. The Piazza, Museu:ns, and Palace Avere designed by M. Angelo. I'/ie Gate which Tarpeia betrayed to the Sabines was to the 1. of the Palace of the Senator (12), at the foot of the steps near the Arch of Sept. Severus. The Tdrpeian Rock. Two precipices, both upon the right, are shown as the historic place (9, 9) ; cue may be approached by a road from the n. end of the Piazza, past the Pal. of the Conser- vators ; the other from the s. end, past the ."-atne Palace. This last is believed to be the rock down wliich Crassns and Manlius were thrown. Both precipices may be seen from below; the first from Via di Tor de Specchi ; the other from Via di Monte Tarpeo. The street to the right of the Palace of the Senator (10) and the steps to the 1, (,12) lead to the Forum. Cappuccini (cap-poo-chee-nee), Ch. of the, Pi, Barberiui. liome. In the 1st chapel, r. , is *Guido's Mijhael and the Devil; 3d chapel, Death of St, Franci.s, Domenichiuo ; 1st chapel, 1,, the * Visit of Ananias to Saul, by Cortona. To the 1. of the high altar is the tomb of Prince Sobieski, son of John III. of Poland. *Beneath is the cemetery of the brotherhood, the earth of which was brouglit from Jerusalem. The space being insuffi- cient for the needed use, upon the deatii of a frere. the body long- est buried is removed to make room. The bones thus exhumed arc disposed in most singular and fantastic arrangements on the walls, and overhead— some still wrapped in their raonastio habits. 66 CARA Caxacsdla— Nap les. Caracalla, Rom. Erap., 211-217, proi-er name M. AuiiELiUfi Antoninus, son of Sept. Beverus, b, at Lyons, a.d. 188. Accom- panying- his father to Britain, he was proclaimed Emperor jointly with his brother Geta, at York, his father having died while there. His brief reign of 6 years was marked only with cruelty and extrava- gance. He murdered Geta, forbade his name being spoken, and chiselled it from the Arch in the Forum, and was at last himself assassinated. His statues have a scowling expression, and an inclination of the head toward the shoulder, an affectation he assumed, that he might resemble Alexander the Great. *Batiis of, Rome, on the Via Appia, f ml. beyond the Arch of Constantine, erected a.d. 212; among the most ex- tensive and interesting ruins of Imperial Rome. The Baths had rooms for 1,600 bathers, and included warm, cold, and vapor baths, a stadium, gardens, and a large reservoir. Many of the richest antique works of art were found here ; among which are The Dying Gladiator, Venus Callipyge, the Flora, Hercules, and Toro of jS'aples, and the Fighting Gladia- tor. Upon the destruction of the aqueducts, by Vitiges, 537, these, together with other Thermal, fell into ruins. Car-a-vag-gio (cahr-ah-vad'-jo), Michselangelo da, Ameright, 1569-1609, b. at Caravaggio. Ita'y. Lived in Rome, Kaples, and Sicily ; was the leader of the Naturalistic School ; was particularly effective in light, shade, and drapery ; his treatment is sometimes low, approaching the vulgar. His mas- terpiece is the Entombment, in the Vatican. •' It is his delight to prove to the beholder that all the sacred events of olden inie, occurred just as prosaically as in the 16th cent." — Lilble. "His pictures are characterized by dark, wild passion and tragical vulgarity. The nature he studied was coarse, brutal, and low. Its scenes were rough and dreary landscapes, fierce camps, or rude drinking-houses ; its heroes, assassins, gypsies, lawless soldiery, and most profane saints. ... In scenes from low life he is not so disagreeable." His works often, however, display the hand of a master of great power. Kugler calls his style " the poetry of the repulsive." Principal Works: Barb., I. Xo. !), II. 81 : Berlin, 359, 365: Borgh., VI. 14: Cap., Fortune Teller; Gassel, 148-9; Cor.-.ini, III. IS, 2T ; Colonna, man drinking; CARL C7 Dresden, 175-5-8; Hermit., 215-0-7-8; Liecht., III. 61; Munich. 532: Pesth, VI. 225 ; Sciarra, Card-Flayer8 : Spada, IV. 30 ; Vat. Entombment. Carlisle, Eng., pop. 40,000. Espoused the cause of Ch. I., and suffered greatly in the civil war ; surrendered to Prince Ch.. 1745 ; retaken by the Duke of Cumberland, who put the ofBcera of the garrison to death as traitors. See Route No. 5, Xole 8. *Carmine (kar-mee na), Madonna del, Church of, Florence., in the Piazza del Carmine, 1422 ; burned, 1771. Among the portions that escaped the fire was the Brancacci chapel in the s. transept, containing the celebrated * frescoes by Masaccio. 1423-28 ; best seen in the afternoon. Right icall, above. Healing the Lame and Raising of Tabitha. Altar icall^ above, *Peter preaching; Peter bap'izing; below, Peter liealing the sick und distributing alms. Left icall. above. Peter finding the money; below, Raising Eutychus, Peter enthroned. Entrance wall., above, *Expulsion from Paradise, The Full. Carracci, Caracci (car-rat'-chee). L Ludovico, 15.")5- 1619, b. at Bologna. Pupil of Tintoretto, and founder of the School of the Carracci. In connection with his nephews, Agos- tino and Annibale, he gave to Art in Bologna a new and distinc- tiv3 character. The Carracci endeavored to introduce higher principles of art, and a more faithful adherence to Nature. Lu- dovico was so successful in his representations of the profounder emotions of grief, that an endless j.umber of Ecce Homos and Weeping Marys followed from the Bolognese School. Principal WoBKS : Bolof?.. 13 works; Belv., one; Borgh., IV. 3; Brera, 4.-)S: Cap., 119; Corsi., VII. 20 ; Doria, VIII. 22; Edinb., 121, 330; Hermit., 165; Munich, 435; Nat. Gall., 28. IL Agostino, 1557-1602. b. at Bologna. Distinguished more as an engraver than as a painter. Of his pictures, the Infant Hercules, in the Louvre, and the St. Jerome, in Bologna, are the most meritorious. His plates, which are among the most cele- brated in Italian Art, number not less than two hundred. PitiN'CiPAL WOBKS : Bolog., Nos. ;J4, 35 ; Bdv., one ; Casscl, 12U; Munich, 422; Turin. ICO. III. Annib.vle, 1560-1609, b. at Bohgna. The most distin- guished of the Carracci. In his early works, his style shows the intluence of the Lombard a d Venetian Schools, especially of Correggio and Paul Veronese. His later works at Rome indicate equally the inlluence of the antique, and of Raphael and Angelo. His works are numerous, and found in almost every gallery • 08 CARR subjects are usually religious. His Madonnas and Holy Families take a hig-h rank ; especially so his Three Marys. The most im- portant of all his works are those of the decoration of the Farnese Palace, for which he was meanly paid by its princely owner. His body was entombed in the Pantheon at Rome, in accord- ance with his wish, " near his friend Raphael." Of the iDictures by the Carracci, not less than 250 have been engraved. Principal Works: Berlin, Nos. 370-2; Bolog., 36-7-0, 40; Borgh., IV. I., 28; Biera, 460; Cassel, 125-8; Dresd., 449, 45U-1-2 ; Hermit., 160, 169, 172-3- :- 8-7-8; Louvre, 119, 120-1-3, 130-2-4-5; Munich, 440, 1252; Nat. Gall., G, 25, 26, S8 ; Turin, 158. Carriages. See Part III., Introductory Notes. P. 504. Carrousel, Arc de Triomphe du. Place du Carrousel^ Paris, erected by Napoleon I., in 1806, copy of the arch of Sept. Severus, Rome ; 63 ft. wide, 47 high, and surmounted by a Quad- riga, or 4-horse chariot of victory. The celebrated bronze horses of St. Mark's, brought from Venice as trophies, were placed here by Napoleon I., but restored to Venice by the Allies. The relief represents : /roTZ^, Battles, r. Austerlitz; 1. Ulm; back^ r. Peace of Tilsit ; 1. taking of Munich ; n. end, taking of Vienna ; s. Peace of Presburg. Carrousel, Place du, Paris. That portion of the en- closure between the Louvre and Tuileries, directly east of the Arc de Triomphe du Carrousel, so named from a kind of eques- trian ball given here by Louis XIV., in 1GG2. **Cartoons of RaphaeS, Tapestries. In 1515-16, Raphael executed ten cartoons for tapestries intended to cover the lower part of the walls of the Sistine Chapel of the Vatican. They are about 13 ft. in height, and 14 to 18 in length. The scenes rep- resented are : 1, The Conversion of Paul ; 2, Peter Receiving the Keys ; 3, Paul Healing the Lame Man ; 4, Miraculous Draught of Fishes ; 5, Paul and Barnabas at Lvstra; 6, Paul Preaching at Athens; 7, Slaughter of the Innocents ; 8, Stoning of Stephen; 9, Death of Ananias ; 10, Paul in Prison. They were executed upon paper, which the weavers cut into strips for convenience, and threw away when the tapestries were completed. Numbers 1, 8, and 10 of the original cartoons are lost ; the re- maining seven, through the influence of Rubens, were purchased by Chas. I., of Eng. , and taken to London. During the Common- wealth they were neglected, and upon the Restoration sold by Chas. II. to the French Ambassador, Lord Danby interfered CAST C» and prevented their being taken from the country. They were however, stowed away in boxes till the time of "Wra. III. , when, through the advice of Sir Godfrey Knellcr, they were pasted upon canvas aud placed in Plampton Court. Here the cart.ona had the misfortune to be restored, as Fairholt remarks, '•by a very bad artist named Cooke, who repainted them without knowledge or taste, and without any reference to the original design, when portions had been l.i.st. In the iliracuiou.-; Draught of Fishes, the Saviour's robo, originally crimson. is now white, though the red shadow on the water still remains. No educated eye can look with any other feeling than disgust at the dattbs, which cover the work r.n:l destroy their beatity." Recently they have been removed, and are now in the Raphael Room of the South Kensington Museum, London. These cartoons rank among Raphael's best works. The Tapestries. Three sets of tapestries were made from the Cartoons, now respectively at Rome, Berlin, and Dresden. The Rome Tapestries were executed at Arras, France, in silk, wool, and gold, each piece costing about $o,500. In 1527, in a fiiege of Rome, they were carried away and much injured. They were returned in 1533. In 1788 they were seized by the French, Liold to some Jews, and repurchased 1808, by Pope Pius VII., and are now in the Vatican. See Vatican Sculptures. P. 479. The Berlin TapestHes, nine, now in the Rotunda of the Berlin Museum, were also executed at Arras, France, for Henry VIIL of Eng. Afterward they came successively into the possession of Emp. Chas. I., the Dukes of Alva, and finally, in 1844, Fred. Wni. IV. of Prussia, The Dresden Tapestries, G, now in the Cupola Saloon of tho Dresden Gall. ; purchased by Gen. Field-Marshal Flemming, in 1728, for 19.000; lost and found again. Castor and Pollux, myth. Greek, Dioscuri. Sons of Jupi- ter, deified and placed among the constellations ; worshipped as the protectors of sailors. At Rome they were believed to havo j.ssisted at the memorable Ijattle of Regillus, B.C. 498, alter vvhich they rode to Rome as the bearers of the joyful iutelUgonce, and thence vanished into the heavens. Castor and Pollux, Statues of. *I. Piazza del Quirinnle, formerly Monfe CacaUo, Rome, standing in front of the Quirinal Palace. These groups, somotimos called the " Horse Tamers," 18 ft. in height, date from the time of the Empire, aud .re copies of works by the School of Lysippus. They stood in the liaflis of Const:uitiuc, and »wO of frotjucnt 70 CATA 'at;ic()ml)s of St. Calixtu^^- TlOMK. CAST 71 mention in history. Uulike most of the works of art in Rome, they have never been buried. They were erroneously inscribed as being the works of Phidias and Praxiteles, and when placed in their present position, 1786, the riders were exchanged. Copies of these groups are in Berlin and St. Petersburg. — *1I. Cajntoliiu Ildl, at the head of the staircase from Pi. Ara Coeli, standing on either hand. These statues were found in the 10th cent, in the _ _^ Ghetto, and were sup- / ^^^^^S^^^^^^ posed to belong to the / ) ^''- - -^-^^^ " ^^ Theatre of Balbus. "They seem to be sons of the morning, and full of life and strength.'"— Z/a?t7//orn«'. Castor and Pol- lux, Temple of. See Bomnn Forum. Catacombs, 7?'>w6. These subterranean cemeteries, originally quarries, numbering nearly 60, lie scattered outside the walls of the city on all sides. The passages are usu- ally 7 or 8 ft. high and 4 or 5 ft. wide, with in- numerable side pas- sages or chambers, in which the dead were placed in tiers. In- scriptions, cinerary urns, and paintings abound. Among those most desirable to visit are the Catacombs of St. Agnes, -} ml. beyond the Ch. of St. Agnes, and those of St. Calixtus, near the 2d milestone on the Appian Way, H ml- from the Porta St. Sebastiano, of especial in- terest as containing tombs of several early popes. On the walls, many paintings of the 7th and 8th cents., of the Byzantine style. The catacombs appear to have been first used as burial places by the Jews. St. Ccc\\\ii—Iiitpli<-itl. 72 CECI "The whole structure of martyrology based on the catacombs is utterly with- out foundation."' "Everytliing in the ca,tacombs speak', not of struggle and suffering, but ot peace." — James Freeman t'larhe. Cecil ia, St., is supposed to have lived in the ?A cent., and to have suffered martyrdom. **I. Cecilia^ St., painting-, in the Acad. Bologna, by Raphael, one of his masterpieces. It was painted about 1515, for the ch. of S. Giovanni in Monte, Bologna ; was carried to Paris, 1776, and returned, 1815. St. Cecilia is represented in an ecstasy, listening to the heavenly music of an angel choir. On her r. are SS. John and Paul ; on her left St. Augustine and Mary Magdalen. "The saint is neither angelic nor ecstatic; she is a vigorous, healthy, well- developed girl, of rich, warm blood, and gilded by the Italian sunshine with glowing and beautiful color. On her left another young girl, less robust and more youthful, has more innocence, but her purity is yet only pas.sivity. . . . Their placid minds are not disturbed ; their tranquillity is that of ignorance." — Taine. "One of the grandest and most beautiful figures of Uaphae] :'—BurcJhardL II. Cecilia, St., painting by Carlo Dolci, in the Dresden Gal- lery. Copies in several collections. Cecilia, S., in Trastevere, ch., Eome, founded 230, re- built 821, present building erected 1725. The body of St. Cecilia, which was originally deposited in the Cat- acombs of St. Calis- to, reposes beneath the high altar. The gallery is arranged with a screen, al- lowing the nuns of the adjoining con- vent to participate in the church cere- monies without be- ing observed. *Ceci!ia, St., Stat, by Maderno, 1599. St. Cecilia— Ifaderno. " In the church of Sta. Cecilii, in Trastevere, is one of the most beautiful and interesting statues in T?om8, that of tlie saint to whom the church is dedicated The whole CEME T.\ air of the figure represents death, and not sleep. The feminine delicacy and puri- ty, the tenderness of feeling and depth of sentiment which breathes througii it, are in the highest degree admirable, and make it one of the most touching and beautiful works of modern sculpture." — Ilillard. "Ninety-six silver lamps burn continually before her slirine. In regarding this statue, it will be remembered that Cecilia was not beheaded, bur, wounded in the throat; a gold circlet conceals the wound.'' — Rare. Cemetery, Protestant, Ryme, near the Porta S. Paolo, and the Pyramid of Cestius. The Old Cemetery is upon the left on entering, the New along the Aureliau Wall. Here are buried Keats, Shelley, Gibson, the sculp- tor, John Bell, the eminent Eng- lish surgeon, and others, English and American. Cenci, Beatrice (bay-ah- tree -cnay chain -chee),Cuido's Picture of, in the Barherini Palace, Rome. Later research leads to the conclusion that the story of Guide's sketching the portrait of Beatrice in the prison is altogether fanciful. "The portrait of Beatrice Cenci is a picture almost impossible to be forgotten. Through the transcendent sweetness and beauty of the face there is a something shining out that haunts me.'' — Dickens. "It is the very saddest picture ever painted or conceived ; it involves an un- fathomable depth of sorrow. It is a sorrow that removes this beautiful girl ov.t of the sphere of humanity. You feel, all the time you look at Beatrice, as if she were trying to escape from your gaze. It is infinitely heart-breaking to meet her glance, nnd to know that nothing can be done to help or comfort her. Its sp^'ll is undefinable, and the painter has wrought it in a way more like magic than anything else. "It is the most profoundly painted picture in the world ; no artist did it, nor could do it again. Guido may have held the brush, but he painted better than he \incw .'' —Ilawlhorne . *' In the whole mien there is a simplicity and dignity, which. assi.«ted with hor exquisite loveliness and deep sorrow, is inexpressibly pathetic."— .SAei/ei/. Cenci, Palazzo (chain'-chee), Rome, on or near the site of the Theatre of Balbus, ancient residence of the Cenci family, but after the Cenci triigedy was deserted for many years. Centaurs (sen'-taurs— 6?/^/-/te//er*), myth. Represented ta half man aud half horse, probably from the Thessalian custom of Beatrice Cenci — Guido. Y4 CERE hunting the bull on horseback. Celebrated iu story for their con- test with Hercules and the Lapithfe at the marriage of Pirithous'. Ceres (see'-reez). Deme'teu of the Greeks, mytli^ the goddess of the earth, the protectress of agriculture and all fruits of the earth. Represented as wearing a garland of ears of corn, and bearing a sceptre. Statues: Berlin, 5,131); Br. Mus., 135; Cap., III. 30; Borg. Villa, III. 4; Glyp., 79; Nap., 86; Vat. (Br.), 83; (P. C), 542. Ceres and Proserpine, Temple of, Home, near ^e Temple of Vesta. Some portions of an ancient structure, incor- porated into the church of S. M. in Cosmedin. are believed to be the remains of the Temple of Ceres and Proserpine. Chambre des Deputes. See Corps Leglslatif. *Chamonix (sham'-o-ny), Fr., Haute Savoie. See Route 36. Railway nearly completed from Geneva to Bonneville. The nar- row Valley of Chamonix extends about fifteen miles s.w. to n.e., having on the south the chain of Mt. Blanc, and on the north the Aiguilles Rouges and the Brevent. Amid the summit valleys of Mt. Blanc are the ice-fields, branches of which, extending down the valleys, are known as the Glacier des Bossons, des Bois, Mer de Glace, and d'Argentiere. Priiidpal Places of Interest: Mer de Glace, Montanvert, the Chapeau, the Flegere, the Arveyron, and Mont Blanc. Ample time should be allowed for these excursions, which the guides are inclined to understate. Tariffs for horses, mules, guides, and boys, established by governmental authority, will be found in the hotels. Bargain in advance. *MoNTANVEiiT (moii-tafi-vair — green rnountain), 6.302 ft. alt., a point commanding a **view of the Mer de Glace for a distance of six miles, which, as de Saussure observes, resembles " a sea suddenly frozen, not during a tempest, but when the wind has subsided, and the waves, though still high, have become blunted and rounded." From Montanvert the glacier may be crossed to the Chapeau on the opposite side. In this case the mules must be sent down around the foot of the glacier up to the Chapeau. Excursion from Chamonix to Montanvert and return, 8 hrs. Mer de Glace (mer-deh-glahs ; sea of ice). An ice- stream from the great ice-fields of Mont Blanc to the Valley of Chamonix ; 12 miles in length, 1 in width, the lower portion of which is called the Glacier des Bois. The best view of the Mer d« Glace is obtained from the Montanvert. CHAM 7o "No traveller Khould attempt to cross a glacier wLthouc a iniide, and in all cases the guide should take the lead." — Bradshaw. TriE Jaedin (zhar-daft), a rock risinsr in the Glacier de Tale- f:-e, alt. 9,143 ft.; commanding a magnificent view ; a fatiguing excursion of 3 hrs. from Montanvert. Guide necessary. The Ciiapeau (shah-po'), 5,0b0 ft. May be reached by cross- ing the Mer de Glace from Montanvert, or by mule via Les Tines. Commands a fine view of the Glacier des Bois and the Valley of Charaonix. *TiiE Flegere (fla-zhair), 5,952 ft. Time, 6 to 7 hrs. Guides sometimes recommend the excursion to the Montanvert and the Mer de Glace in the morning, and to the Flegere in the afternoon of the same day — an undertaking which should be attempted only by those capaVjle of considerable endurance. **From the Flegere is obtained a most magnificent view of the Mont Blanc range, from Col de Bahue on the e. to the Glacier des Bossons on the s. Best seen toward sunset. On the 1. is the sharp point of Aiguille du Chardonnet ; next, Aig. d'Argentiere, 12,379; Aig. Yerte, 12.564 ; Aig. du Dru. 12,527; more distant, Aig. de Moine, 10,323 ; Mer de Glace; Les Jorasses, 12,601 ; front, Aig. de Charmoz, 10,203 ; distant, Aig. de Crepon. 11,301; Aig. d3 Bletiere, 11,353; Aig. du Midi, 12,030; Mont Blanc, with a more round,ed peak than any of the preceding, 15,781 ; Dome du Goute, 13,311 ; Aig. du Goutc, 12,061. Akveykon (ahr-va-ron ), goarce of the Arve, from beneath the Glacier des Bois. The lofty arch may be entered to a consider- able distance, but is not altogether free from danger from falling masses of ice. This visit may be made in connection with the trip to the Flegere. Mont Blanc (mofl-blofi), Tlaute Savoie, Fr. , 15,781 ft. alt., the highest point of land in Europe. The snow-line being at the height of 8,000 feet, leaves about 8,000 covered with perpetual snow. Amid the elevated valleys of this chain are 34 glacir.r.s, estimated to occupy an area of nearly 100 sq. rals. Seven of the glaciers descend into the Valley of Chamonix. The first ascent of Mont Blanc is said to have been made by Balmat. 1780, and a second by Balmat and Dr. Picard, 1787; the centenary of the ascent was, however, ob.servcd in Chamonix in 1878. At present the ascent is made nearly every week in July and August, attended, not unfrequently, witli accideut and loss of life. Two days are required for the excursion. 7« CHAM Champaigne, Philippe de (shampaue), 1G03-1674; b. Brussels ; d. raria. Wluni (juite youug he went to P.iris, where he was employed iu decoriitiiiy the Luxembourg and other pal- aces. He excelled as a portrait j)aiuter ; these are finished with great attention to effect in the matter of laces, jewels, etc. His best pictures of tliis kind are in the Louvre, which possesses twenty- one of his works. **Champs ^iysees (shauns-a-lee-say), Paris. This un- equalled avenue and pleasure-ground extends from Place de la Concorde to the Arc de Triomt)he, about 1 ml. It was originally laid out, in 1610, by Marie de Medicis, and called Cours la Reine. At the entrance from Place de la Concorde are two groups", The Horse-Tamers, by Coustou. Standing between these groups, the Avenue of the Champs Elj'-sces presents a scene of unsurpassed beauty, richness, CJ The Seine The Seine Coustou, to the west. Its first victim here was, Jan. 21, 1793, King Louis XVI. ; July 17, Charlotte Corday ; Oct. 2, Brissot; Oct. IG, Marie Antoinette; Nov. 14, Louis Philippe, father of King Louis Philippe. Soon after followed Danton, Robespierre, St. Just, Desmoulins, and other leaders of the government, till the victims had numbered nearly 3,000. The Place was named, in 1799, Place de la Concorde ; in 1814, Place de Louis XV. ; in 1826, Place de Louis XVI. ; in ISoO, Place de la Concorde. With a view to relieve the place from its 90 COXR odious memories, it was re=;olved to erect a mon. having no poli- tical significance. Hence the erection, in 1836, of *The Obelisk of Luxoi\ from Egypt, presented by the Pasha Mehemet Ali to Louis Philippe. The mon, {a) consists of a monolith 70 ft. high, standing- upon a pedestal 13 ft. high, which, with 3 ft. as a sub- ba-.e. gives an entire height 92 ft. The obelisk is covered with three rows of clear-cut hieroglyphics, and is regarded as one of the most perfect and beautiful ever designed. The inscriptions on the shaft refer to Rameses 11. of Egypt (Sesostris), B.C. 1500. On the base are extensive inscriptions relative to the removal of the obelisk and its erection in this place, which occupied 3 years and cost 2,OIJO,000 fr. The Fountains. On either side of the obelisk is a fine bronze (b) fountain, consisting each of two basins. The lower basins are 53 ft. in diameter, from which water is spouted into the smaller basins above by dolphins held by Nereids. The figures in the n. fountain represent Fruit, Flowers, Wine, and Corn ; in the s. the Pacific, the Mediterranean, and the Genii of Fishery. Surrounding the Place are 8 statues emblematic of 8 of the prin- cipal French cities: Lille (1), Strasbourg (now usually decorated with immortelles), Bordeaux, Nantes, Rouen, Brest, Lyons, and Marseilles (8). On the w. , on either side of the Avenue des Champs Elysdes, is a fine group of Horse Tamers, by Coustou (c). Oppo- site, at the garden entrance, are similar groups by Coysevox (d). After the defeat of Napoleon I., the Russian (1814) and Eng- lish (1815) troops were encamped here ; and after the defeat of Napoleon III., 1871, the Prussians again made here their bivouac. This place was also the theatre of one of the most desperate struggles of the Communists and the government, 1871. Conrad, Legend of. Hcinrich and Conrad, sons of the Knight of Leibenstein, were both enamored of Hildcgarde. Conrad being preferred by her, Heinrich, to forget his disappoint- ment, went to the Holy Wars. A new castle was built for them against the dny of their marriage. The death of the father postponed the nuptials twelve month.-!, during which time Conrad had neglected Hildcgarde, and finally gone to I'alestine. At Constantinople he became enamored of a beautiful Greek lady, married her, and returned to Sternberg, the newly finished castle, not even calling upon the abandoned Hildegarde. Heinrich, hearing of his brother's perfidy, hastened home, and challenged him to mortal strife. In the midst of the combat Hildegarde rushed between them and implored them to desist. They were reconciled, and the same day Hildegarde entered a convent. Not long after Conrad's wife left him, and fled with another knight. Conservatoire des Arts et Metiers (cofL-serv-a-twahr), CONS 91 Paris, Xo. 292 Rue St. Martin. Daily, 10-4, 1 fr.; Sun., Tu., Th., free. Entrance in the court. This extensive collection con- sists of models of all modern appliances in the useful arts. It is divided into 2-4 sections, in each of which there is a display of implements and machinery pertaining to some special depart- ment of the mechanic arts. Conservators, Palace of the. See Part II., Palace of The Conservators. P. 4G3. Constance, Switz., on Lahe Constance; pop. about 10.000. The Cathedral^ founded 1048, was rebuilt near the close of the IGth cent. ; the tower, 1850. The celebrated Council which con- demned Husa to be burned at the stake was held here, 1415. The place where Huss stood when sentenced is indicated by a slab with a white spot, in the pavement, about sixteen step.s from the principal entrance. The place of execution of Hus3 and Jerome, in a field to the n. of the suburb of Bruhl, is desig- nated by a mass of rock with inscriptions. The Lake of Constance is 42 mis. in length, and 8 wide. Scenery fine, though less attractive than that of other Swiss lakes. Shores on the n. low and flat, on the s. hilly and wooded. Constant! ne, Rom. Emp. a.d. 306-337, son of Const. Chlorus and Helena, A.D. 272, said to have been born at York, England. On his march to Rome, either at Autun, or Andernach, or Verona, or Mayence, he is said to have seen a luminous cross, with the inscription " Conquer hi/ this j"*^ from which circum- stance he became a Christian, being the first Emperor who em- braced the new faith. By the defeat of Maxentius and Licinius, he became sole master of the empire, and removed the seat of government from Rome to Byzantium, calling it Constantinople. Died. 330, leaving the empire to his three sons, Constantine, Con- stantius, and Constans. **Constantine, Arch of, Rome, near the Coli.seum. Erected by Constantine, A.D. 311, in commemoration of his victory over Maxentius. So large a part of the material of this arch is taken from an arch of Trajan as to have led to the query whether this is not one of Trajan's, remodelled by Constantine. Fiicinrj the Coliseum, the reliefs represent: 1. Trajan's tri- umphal entry to Rome ; 2, Trajan restores the AppianWay; 3, Trajan distributes food ; 4, Trajan on Chair of State. South aide: 1, Trajan crowning King of Parthia ; 2, Trajan discovers the Dacian conspiracy ; 3, Trajan addressing soldiers ; 4, Trajan 92 CONS f,acrificmg. The 8 statues on the architrave are also of Trajan's time. The reliefs encircling the arch midwa}', the 2 medallions, Fame, over the arch, and the reliefs inside the main arch and on the pedestals, all relate to Constantine, and well illustrate the degen- eracy of art from Trajan to Constantine. " Seen from a short distance, and taken qs a whole, it presents the appearance of a grand work of art and architecture ; but, examined in detail, it is found to be a remarkable piece of architectural patchwork."' — Wood. •' The reliefs, which belong to the sige of Constantine, come down to us in all their stiff ugliness, lifeless and spiritless, showing no knowledge of the human body, and being even at times barbaric in their criuleness." — LilLke. "Constantine had taken from the Triumphal Arch of Ti-ajan all the statues of the Dacian prisoners and placed them on the summit of his own. This robbery was punished in the 16th cent. ; for Lorenzo, the whimsical assassin of Alex, de Medici, decapitated every statue which surznounted the Arch of Constantine, except one.''' --Amii^re. Constantine, Basilica of, at the e. end of the Forum, Rome ; commenced by Maxentius and completed by Constantine, upon the site and from the ruins of Vespasian's temple of Peace. It was about 320 ft. long, 235 wide, and consisted of a nave and 2 side aisles, each covered by an immense arch of 80 ft. span. These arches, portions of which yet remain, have served as models for modern architects. The early Christian churches are believed to have been constructed in imitation of this basilica. Tue only column remaining from this building was removed to the Piazza St. M. Maggiore, and is now surmounted by the figure of the Vir- gin. Constantine, Baths of, Rome., on the Quirinal, a.d. 326. "What remained of these structures in the 16th cent, was taken for the construction of the Kospigliosi Palace by Paul V. Among the antique statuary found here are the Nile and Tiber of the Capitol, and the Horses now in front of the Quirinal. Copenhagen, with a population of about 220,000, presents comparatively little of interest for a European capital. In the central part of the city is a large open space, designated the Kongens Nytorv, or King's New Market, upon the west side of which will l)e found the most desirable hotels; on the s. side is the Military High School. A short distance north is the Ama- lienborg, a square, around which are the palaces of the king, the queen dowager, the crown-prince, and the minister for foreign affairs. In the centre is a statue of Fred. V. COPE 93 About the same distance a. of Kongens Nytorv is the Stats Plasden, with the Royal Library and palace of Cliristiansborg. The Principal Places of Jnterest are the Thorwaldsen Museum, the Fruekirke. the Picture Gallery, the Tivoli Gardens, and the Museum of Northern Antiquities, ** The TiioinvALDSEN 3Iusp:um ; Sun., Tu., Th., Sat., hours variable ; directly adjacent to Christiansborg ; on the west is a rec- tangular building enclosing a court, within which the great sculp- c^l JFes!!. Copenhagen. Ea-U. liij tor is buried. The building contains in the 42 rooms, either the originals or casts of nearly all the works of Thorwaldsen, together with a small number of antiquities and other objects of interest. ♦TifK Fkukkiukk, or Notre Dame, is noted for tho sculptures of Christ, the Twelve Apostles, and the Kneeling Angel. These were designed and partly executed by Thorwaldsen. TUE MLirP:UM OF NORTIIKHN ANTK^UITrKS ; Sun., Tu. , Th., Sat., hours variable ; in the Prindsens Pal., Christuansboig, is re- u com garded a3 the best collection of Scandinavian relics extant. It is divided into the Heathen and the Christian Departments. There is also a section of American Antiquities, In connection with this is the Ethnographical Museum ; Sun., M., W., F., containing weapons, ornaments, and clothing, par- ticularly from Greenland. The Picture Gallery ; Sun., W., Th., F., Sat., 12-2 ; in the Christiansborg, comprises several hundred pictures, including a number by ihe great masters. On the s. margin of the city are the TivoH Gardens^ the most popular place of amusement, the evening exhibitions being at- tended by thousands, and offering a surprising amount of enter tainment for the cost. Routes: To London, by steamer direct, weekly, $12; or by rail to Hamburg, thence by steamer, $15; or by rail to Rotterdam, thence by steamer, §24; $18 j time, 2 to 3 days. To Hambcrg, by steamer to Lubeck, thence by rail to Hamburg, IS hrs., $5; or by rail to Corsoer, 4 hrs., thence by steamer to Keil, 6 hrs., thence by rail to Hamburg, 3 hrs., f 5. To Stockholm, by steamer, 1 hr., toMalmo, thence by rail, 17 hrs., $11 ; $8. Fast train usually at night only. Cars uncomfortable. Corinthian Style. See ArcJiitecture. Cork {a marsh), Ireland; pop. about 100,000; 12 mis. from Queenstown, by rail or boat. Blarney Castle is 5 mis. dist. by jaunting car. To the Lakes of Killarney, 3 hrs. by rly. ; to Dub- lin, 186 mis., 8 hrs. by rly. See Route 1. Corps L^gisiatif, Palais du, Paris, now designated Chambre des Deputes, s. bank of the Seine, opposite Place de la Concorde. Erected, 1722, for the dowager Duchess of Bourbon ; enlarged by the Prince de Conde. In 1795 it was the place of meet- ing of the Council of Five Hundred, and afterward of the Chamber of Deputies. In 1848 the Duchess of Orleans here presented her two sons, Count de Paris and Duke de Chartres, before the Na- tional Assembly, in the endeavor to obtain the throne. The same year the Assembly was expelled by a mob. Principal entrance on Rue de I'Universite. In front, statue of Law, by Feucheres, 1855. Entrance from the Seine ; on the platform, statues of d'Aguesseau, Colbert, THopital and Sully, Justice and Prudence ; above the colonnade, France assuring Liberty and Public Order, and calling to her aid Agriculture, Commerce, and The Arts. Correggio, Antonio da, Allegri, 1494-1534, b, at Cor- reggio, Italy. But little is known with certainty of his early CORK 95 life or under what masters he received instruction. It is believed he was a pupil of Francisco de Bianchi and perhaps of Ant. Bar- toletti. His first known work is the Madonna and St. Francis in the Dresden Gall., 1514. He was engaged five years on the cu- pola of San Giovanni, in Parma, where he first revealed his un- equalled mastery of chiaroscu- ro. Dresden possesses several of his masterpieces, but Parma lias in its Museum and churches his finest works. The statements of Yasari as to the poverty of Correggio are now generally discredited. '• No painter of any age has equalled him in chiaroscuro, and none but Raph- ael can compete with him in simple sweetness and loveliness. He was par- ticularly happy in his delineations of sportive, smiling children. " His life and character had the gen- tleness and suavity, but not the anima- tion of his pictures. He was mild and unassuming, and did not realize his own superiority." — RadcUffe. Correggio. " Whoever looks upon his forms read- ily perceives that they belong to a different sphere from those of the other great masters. His Madonnas and Magdalens exhibit the same genre-like style of face, the same dewy, melting, tenderly languishing eyes, the same small nose, and the same over-delicate, smiling mouth as his Danae, his Leda, or his lo. He loves to portray the rapture of passionate devotion, but the expression is the same whether he paints heavenly or earthly love. Yet, though he knows how to paint most per- fectly the transports of human passion, and to make soft and swelling limbs seem trembling in a paroxysm of ecstasy, nevertheless, with few exceptions, his tone remains pure, clear, and true ; and hence, from his point of view, he does not demean his saintly personages when he portrays them as alive to these same emo- tions. He transports them all back into the state of paiadisaic innocence, and herein lies the justification of liis work. " But his peculiar means of expression is a light, which, softly blended with the twilight, and interwoven with delicate reflections and transparent shadows, plays around his forms like an electric fluid, as though with the breath of some delightful sen.sation. In producing this chiaroscuro, with its minutest grada- tions and shadings, Correggio is one of the foremost masters of painting. He it was that discovered, and brought to a wonderfid degree of perfection, this new medium by which bodies half concealed and half unveiled appear only all the more attractive, all the more fascinating."' — Liihke. " No painter has caught the frolici^ome grace of children more comv)letc!y than Correggio. His children are not cherubs that have lost their way, but tlu- most 96 CORS engaging creatures that ever romped upon a nursery floor, with dimpled cheeks^ und roguish eyes that seem equally loving and mischievous. No artist was evei born with a more exquisite organization or a spirit more sensitive to the touch ot beauty. ■"—Hillard. " In his comijositions all is life and motion. « His fig- ures express the overflowing consciousness of life, the impulses of love and pleas- ure. He delights to repre- sent the buoyant glee of childhood, the bliss of earthly, the fervor of heav- enly love. Seldom does sor- row intrude into his world of joy." — Kugler. Principal Works: Belv., six; Berlin, 216,218; Borgh., 40; Doria, G9 ; Dre.'^d., 151, 152-3-4-5-f; ; Hermit., 81, S2 A ; Louvre, 19, 20; Madrid, 132 ; Modena, 00 ; Naples, 3, 7, 9; Nat. Gall., 10, 15, 23. 76; Parma, 31, 35, 351- 2-3; Pesth, IV. 178, VI. 219; rifi., 1118, 1134; Verona, 93. Corsini Palace. See Part II., Corsini. P. 434. Corso, The (coarse'-o). The principal street of Rome, ex- tending from the Piazza del Popolo, at the extreme north of the city, 1 ml., to the Pi. di Venezia, at the foot of the Capitoline Hill. In the northern part it follows the ancient Via Flaniinia ; nearer the Capitol, the Via Lata. Cortona, Pietro Berettini da, 1596-1069, b. at Cortona, Italy. A painter of great talent, but for a time regarded as superficial and mechanical. "He contented himself with dazzling and superficial effects, with contrasts of masses, florid coloring and violent lights."' — Kugler. Cote d'Or (koat-door), Fr., a range of hills extending from Dijon to Chulon-sur-Saone, producing the finest Burgundy wines. See Route 89, Note 17. Cranach, Lucas, Eld. (Kran'ach), 1472-1553, b. at Kran- ach, Ger. Subjects were religious and genre, sometimes histori- cal. In coloring and execution he attained considerable excel- lence, but his drawing was faulty, giving his figures often an Madonna — Corrdjgi Dresden. CRED 97 awkward stiffness. " In some instances lie attained to the ex- pression of dignity, earnestness, and feeling, but generally his characteristics are a naive and childlike cheerfulness and a gentle and almost timid grace." Credi, Lorenzo di (cray'-dee), 1459-1537, b. at Florence; studied with da Vinci under Verrocchio. His subjects were re- ligious, succeeding best with Madonnas and Holy Families. His expression is good, but his coloring is cold and the execution monotonous. He copied da Vinci with great success. Six of his pictures are in Florence and three in the Louvre. CriveliJ, Carlo, 14o0?-1495?, b. at Venice, but painted principally at Ascoii. His pictures indicate grandeur and sever- ity, rather than grace. He decorated his works with garlands of flov/ers, which, however, were wanting in beauty. His works are principally in distemper. The Nat. Gall, possesses some of his best. **Croce, Santa, ch. (san-tah cro-chay), Florence. The Pidzzd 8. Croce is intimately associated with the history of Florence, as, for many years, it was the place of popular assem- blage for consideration of important public measures. In the centre is *The JStatue of Dante, 19 ft. high, standing upon a ped- estal of 23 ft ; erected 1865, May 14, the 600th anniversary of his birth. Beneath are the arms of various Italian cities. TuE CiiUKCii OF S. Croce was designed by Arnolfo, 1295, re- stored in the 16th century; the bell-tower added 1847, and the facade completed 1863. Over the principal entrance is a * bas- relief of the Elevation of the Cross, by Duprc. " Santa Croce is a chui'ch of the thirteenth centurj', modernized in the six- teenth, half Gothic, half classic, austere at first, and afterward decorated, which incongruities prevent it from being either beautiful or striking."— Tame. The Interior. Its extended spaces, the limited number of columns, and the numerous monuments, give to this Westminster Abbey of Florence a very pleasing effect. Over the main en- trance is a bronze statue by Donatello. S. Aide, mon. to Manin (entombed at Venice). **Tomb of Michael Angelo, bust, by Lorenzi ; below are : Painting by Lorenzi, Sculpture by Cioli, and Architecture by delTOpera ; the altar painting by Vasari ; ]\lon. to Dante (entombed at Ravenna), by Ricci, 1829; Alfieri, by Canova ; *MarbIe imlpit to the 1., by Majano ; Macchiavelli, by Spinazzi, 1787; Lanzi, Bruni (Aretino), and Micheli. 98 CROC S. Transept. At the corner, mon. to CorBini. Chapel of ths Castellani : Isfc on r. with frescos of St. Nicholas and John Bap., by Ag. Gaddi ; over the altar a crucifix, by Giotto ; 1. , * tomb of the Countess of Albany, by Giovannozzi ; Baroncelli Chapel : fres- cos by T. Gaddi; over the altar Pieta, by Bandinelli ; ** altar- piece. Coronation of the Virgin, by Giotto ; r., Statue of Madon- na, by Vincenzo Perugino, (The door adjacent leads to the sacristy, cloisters, etc.) To 1.: 1st ChayDcl, * frescos by da Gio- vanni. 2d Chapel ; Finding of the Cross, by Biliverti. 3d, Buo- naparte Chapel; r., Julia; 1., Carlotta. 4th, Peruzzi Chapel: **frescos, r., John Bap.; 1., St, John, by Giotto ; God, Madonna, St. Roch, St. Sebastian, by del Sarto. 5th, Bardi Chapel : *frescos of life of St. Francis, by Giotto ; altar-piece by Cimabuo ^?) or Margaritone. The Choir. Frescos of the Finding of the Cross, by Ag. Gad- di ; the high altar from designs by Vasari. N. Transept. Mon. to Princess Sophia Czartoryska and Cher* ubini, the composer. N. Aisle. Tomb of R. Morghen, the engraver ; Alberti, the architect ; * Carlo Marzuppini, by da Settignano ; * Galileo. The Cloisters^ entered from the Piazza, 1. of the church on leaving, contain many monuments and other objects of interest. The tribunal of the Inquisition formerly held its sittings in the old refectory. Croce in Gerusalemme, S. (cro'-chay). Basilica, Rome., near Porta Maggiore, s. e. extremity of the city. Said to have been founded by Empress Helena, 331, in the Garden of the Pal- ace, in commemoration of her finding the true cross at Jerusalem. Rebuilt, 1144; entirely reconstriicted, 1744. In the tribune are frescos of the Finding of the True Cross, by Pinturicchio (?), Beneath is the Ckapel of Sta. Helena, the floor of which is said to be formed of earth brought from Jerusalem. Ladies are forbidden to enter this chapel, except on the anniversary of its dedication, March 20. The statue of St. Helena on the altar is a copy of the Juno in the Sala Rotonda of the Vatican. **Crystal Palace, London o This building, originally erected in Hyde Park, is now situated in Sydenham (sid'-en-um), six miles south from London Bridge. Trains from Victoria, London Bridge, Ludgate Hill, and Blackheath Hill, about every 15 min. Admission daily, 1 sh.; Sat. 2 6. The building, with its contents and grounds, cost $8,000,000. The extensive grounds cusT m of the Palace are ornamented with statues and fountains, and laid out in the highest style of English horticultural gardening, united with that of the Italian. Upon the eastern side is a grand terrace, 1,576 ft. in length, below which are fountains, ornamental trees, statues, and bril- liant parterres of flowers. Among the statues are 24 colossal allegorical figures representing the great commercial countries of the globe. Farther below are the Aviary, the Monkey House, the Palm House, the Orangery, the Circular Fountain, surrounded by sculptures, both modern and antique, the Valley of Rhodo- dendrons, the Archery Ground, the Cricket Ground, and the Geo- logical Illustrations. These last consist of a series of restorations, reproducing in scenery and animal life the conditions and forms of the early geologic times. Within the Palace is an endless collection of objects, principally copies of works of art and architecture, masterpieces of all coun- tries and times, reproduced with great exactitude. The collection is of great value as an introduction for those in- tending to visit Central and Southern Europe, and hardly less desirable as a review to those having returned. Of especial inter- est are the Egyptian, the Greek, the Roman, the Alhambra, and the Pompeian Courts. Descriptive Catalogues, 1 sh. Cupid, Eros of the Greeks, the son of Mars and Venus; represented as a wanton boy (frequently as of sixteen years of age), from whose tricks and sports neither gods nor men were safe. Was enamored of and married Psyche. STAxrES : Alb. Villa, 915 : Berlin. 46-7, 1.57-9, 210. 1,032 ; Br. Mu., 143-5-6 : Cap., VI. *13 ; Louvre, 325 ; Vat. (Chi.) 495, Cupid of the Vatican ; (P. C.) 2.50, Genius of the Vatican. See Eros. The Bow-Bending Cupid, Vat. (Chi. ) 495, is a life size of a Greek original ; one of the best copies extant ; found at the Lateran. The original was formerly supposed to be by Lysippus, but the arrangement of the hair is now believed to indicate a later age. Custom House Duties. U. S. Alabaster, 10 pr. ct. ; Antiquities, not for sale, free ; bonnets, 30 pr. ct. ; books, 25 pr. ct.; of one's trade or profession free, in use abroad one year, free ; bronzes, all or part, 45 pr. ct. ; brandy, $2.00 pr. gal. ; bay rum, $1.00 pr. gal. ; carpets, 50 to 100 pr. ct. ; carved wood, 35 pr. ct, ; champagne, $2.33 pr. gal. ; china and porcelain, 50 pr. ct. ; decorated. 00 pr. ct. ; clocks, 30 pr. ct. : clothing in actual use, free ; silk, 50 pr. ct. ; woollen, 35 to 50 pr. 100 CUYP ct. ; cotton, 30 to 40 pr. ct. ; cologne, $2.00 and upward, pr. gal.; dolls and toys, 35 pr. ct.; down and feathers, free ; engraviugs, 25 pr. ct. ; fur, articles of, 30 pr. ct. ; gloves, 50 pr. ct.; glass, 45 pr. ct. ; German silver, albata, etc., 25 pr. ct.; jewelry, 25 pr. ct.; lace, silk, 50 pr. ct. ; leather goods, 30 pr. ct. ; linen, 35 pr. ct ; marble, works of, 10 to 30 pr. ct.; musical inst., 25 pr. ct.; paint- ings, 80 pr. ct. ; work of Araer. artist, free; paints, oil or water, 25 pr. ct. ; photographs, 15 pr. ct. ; statuary, 10 to 30 pr. ct. ; work of Amer. artist, free ; silks in piece, shawls, or silk velvet, 50 pr, ct.; watches, 25 pr. ct. Washington, D. C, July 29, 1878. To Collectors of Customs and Others : The attention of the depai'tment has been invited to the fact that tourists ana other persons visiting foreign countries return to the United States with articles subject to duty. Such tourists are often under the eironeous impression that aU articles pur- chased fur their personal use, or for the use of friends, or intended as presents, are exempt from duty. Persons who arrive in the United States will be required to make due entry on blanks to be furnished them by the proper customs officer of the articles believed to be entitled to free admission under the provisions of the law above referred to, and to make oath that the entry contains a just and true account of the contents of the package or packages mentioned therein, and that no &uch packages contain any merchandise whatever other than the articles specified. A separate entry must be made of all dutiable ai tides contained in the baggage, to which the oath of the passenger must also be annexed. Such entry must spe- cify the name of the article, the precise quantity thereof, and the exact cost of foreign market value. " Whenever anything subject to duty is found in the baggage of any person arriving within the United States, which was not at the time of making entry mentioned to the collector, such article shall be forfeited and the person in whose baggage it is found shall be liable to a penalty of treble the value of such article.*' Wearing apparel in actual use and other personal effects (not merchandise), professional books, implements, instruments and tools of trade, in occupation or employment of persons arriving in the United States, are admitted free. Cuyp, Albert (koip), 1605-1691, b. at Dort, Hoi. He is noted especially for his landscapes, although his cattle and his interiors hold equally the highest rank. He also painted fruit and dead game, but with less success. As a painter of landscape he has been termed the " Dutch Claude." His favorite scene is a landscape with cattle reposing on the banks of a river ; some- times with horsemen. In the management of sunshine and light, from the cool freshness of morning to the hazy sunset, he has been surpassed by Claude alone. His pictures were first appreciated by the English, who, before DANA 101 the Dutch had awakened to their value, had taken a large pro- portion of them to England. His works number about 850. Pkincipal Wokks: Am.apoleou I. marriea Marie Louise, 1810. The windows are modern, with the exception of one in the Chapel of the Virgin which represents the genealogy of Christ. The Treasury^ which formerly contained articles of great value, now possesses only modern copies. The Sacristy is decorated with several modern paintings. Admission to the tombs every half hour during the day except ia time of service; 1 fr. As visitors are acconij)anied by an at- tendant who points out each of the tombs and other objects of interest, a detailed catalogue is rendered unnecessary. Denis, St. (san-deh-uee'), Triumphal Arch of Porte, Paris. Intersection of Boulevard St. Denis and Rue St. Denis. Erected 1670, in honor of the campaign of Louis XIV. along the Rhine; 81 ft. high, 83 wide; inscribed " Ludovico Magno." Above the archway, bas-relief of the Passage of the Rhine, 1052. At this and at Porte St. Martin were obstinate revolutionary en- gagements, 1830 and 1848 ; and with the Communists, 1871, of which the bullet marks are yet visible upon the stone-work. D&t\r\Qff Balthasar, Hamburg^ 1085-1747. Favorite sub- jects were old people, which he delineated with unswerving fidelity even to every individual spot, speck, and hair. His works are marvels of patience and industry ; and, considering his pur- pose, of success also. It is stated that he worked microscopi- cally and spent four years on a single portrait. Munich, Dresden, and the Louvre have each two of his por- traits. The Belvedere, Vienna, has also two, one being his own portrait, and the other the Head of an old Woman, for which Emp. Ch. VI. gave Denner 4,700 florins. ** Descent from the Cross = I. A celebrated picture in the Antwerp Cathedral, by Rubens ; usually considered his finest work. I 'J'he distinguishing characteristic of the work is the great suc- cess of representing the pallor of a dead body resting against a white f-heet; said to have been derived from Volterra's Descent, in the Trinita de' Monti, at Rome. The persons represented are the three Marys, Joseph of Arimathea, and Nicodemus. " I consider Rubens' Christ as one of the finest figures that ever was invented It is most correctly drawn, and, I apprehend, in an attitude of the utmost dilu- cuity to execute. The hanging of the liead on his shoulder and the falling of the body on one side give it 6uch an appearance of the hoavincoS of death, that noth- ing can exceed it. DEVI 105 •' Of the three Marys, two of them have more beauty than he generally be- stows on female figures, but no great elegance of character. The St. Joseph of Arimathaea is the same countpniince which he so often introduced in his woi-ks — a smooth, fat face — a very unhlstorical character. The principal light is formed by the body of Christ and the white sheet." — Sir Joshua Reynolds. **II. The Masterpiece op Daniele da Voltehra, in the Ch. Trinita de' Monti, Rome. This work is regarded by Poussin as holding the rank of the third picture in the world. Unhappily the light in the chapel permits but an imper- fect view, and the work itself was much injured in the attempt of the French to remove it. " The Descent is one of the celebrated pictures of the world, and has very grand features. The body is not skilfully sustained ; neverthe- less the number of sti'ong men employed about it makes up in sheer muscle for the absence of skill. Here are f oiu- ladders against the cross, stalwart fig- ures standing, ascending and descending upon each, so that the space between the cross and the ground is absolutely alive with magnificent lines." — Lady Eatstlake. " This has been pronounced the third greatest picture in the world. I never should have had the slightest -suspi- cion that it was a great pi'- ture at all, so worn and faded it Descent — Rubeiif, looks, and so hard, so difficult to be seen, and so undelightful when one dpes see it." — llawtkorne. Deval's Ladder, The ; T7ie Legend of Lor c7i (lork). a gnome having stolen th" beautiful Gerlindc, carried her away to the inacces- sible summit of the Kcderich. Her distracted father consulted a hermit, who told him a black knight on a black horse would come to her rescue. The knight uijpearing on the third day, the hermit again resorted to his incantations, and in due time a host of imps had constructed a ladder reaching to the top of the pix- cipicc, up which the knight made his ascent, slew the gnome, rescued the fail Gerlinde, and restored her to her father, and after u while of course took hci himself. 106 DIAN Diana, w?/{/(. Greek Ar'-te-mis, goddess. 1. Sinter of Apollo, a maiden goddess never conquered by love ; is armed with a bow, quiver, and arrows ; changed Actseon into a stag because he beheld her bathing ; with Apollo dew the children of Niobe. II. Arcadian Diana, the goddess of Nymphs, with whom she hunted on the mountains, her chariot being drawn by four stags. As the huntress, she is draped from the shoulder to the knee, and her attributes are the bow, quiver, arrows, spear, dog, and stag. As the goddess of the mom, her head is veiled, and has a crescent on the forehead ; her robe reaches to the feet, and her hand holds a torch. Statues : Berlin, 13, 20, 125-6-7A-S, 134, 204 ; Borgh. Villa, II. 18, VI. 8 : Br. Mu., 100-12-13-20 ; Glyp., 93, 113 ; Louvre, *97, **98; Naples, 108 (110), 88 (75), 284, 52 (411) ; Vat., 431, C22, (Br.) 50, 108, (Ch.) 532 bust, 564. I.** Diana di Gabii, Louvre, Salle du Gladiateur, No. 97. ' ' Perhaps the most beautiful draped statue known." II.* Diana Huntress, Louvre, Salle du Tibre, No. 98; brought from Italy ; is of the same style as the Apollo Bel., and is sup- posed to ba of the first cent. Called also Diane a la Biche, and Diana of Versailles. Da-O-cle'-tian, Baths of, Rome ; in front of the rly. sta- tion ; built A.D. 303, by the labor, it is said, of 40,000 Christians. These Ther'-mse could accommodate 3,000 bathers, and covered considerable space in addition to the present Pi. di Termini. The Cella Calidaria, or hall of warm baths, was converted by M. An- gelo into the ch. of S. M. degli Angeli (which see). To the r. of the ch. are considerable ruins still standing. Di rce (dir'-see or dir'-kee), myth, wife of Lycus. See Far- nese Tore. Dis-cob'-o-?us {quoit-thrower). Statues: Berlin, 991; Br. Mu., 135 ; Pal. Lancelotti, **the best known ; Louvre, Salle des Car., 704; Naples, two bronzes; Vat., 615, 618. Di^nd.— Louvre. DIST 107 I. Original in bronze by Myron, of which numerous copies exist. Several of these have been incorrectly restored, the head facinjj directly front, instead of being turned to the side toward the disk, as seen in the one at the Pal. Lan. ; Vat., No. 618. " We find in it the most acute observation of life, the most just conception of bold, rnpid movement, and the gi-eatest fi-eedom in the expression ol the actor." — Lilbke. II. Vat. HaU of Biga, No. 615, well preserved. Original by Nau- kides or Alcamenes. Discovered about 7 mis. from Rome on the Ap- pian Way. Represented as standing with his right foot forward and look- icg at his disk before throwing it. Distemper, a method of paint- ing in which the pigments are mixed in size made of various materials, such as fig tree sap, milk, albumen, etc. ; afterward oil is ap- plied, which causes the work to resemble oil painting. Distemper is executed upon a dry ground ; fresco upon fresh or wet plaster. Distinguished Persons; residences and tombs of . [b.jborn; bu., buried; d., died; 1., lived; mar., married ; ch. yd., churchyard; nr. , near.] Discobolus — Vatican. Abelard, bu. I'ore Lachaise, Paris. A'idison, sen AddtHon. Akensirtc, bu. St. James', Piccadilly, Lond. Albert, Pr.. bu. Frocrmore, Windsor. Anpelo, bn. St. Croce. Florence. Ascham, bu. St. Sepulchre's, Lond. Bacon, Lord, b. York House. Strand ; d. Arundel House, Hiprhsrate, Lond. Baxter, preached in Park St., Lond. Beethoven, b. Bonn; 1. Vienna; bu. Wiihrinf.', nr. Vienna. Bciket, b. Poultry. Lond., Mercer.s HdU ; bn. Canterb. Cath. Black Priiu-o, bu. Canterb. Cath. Blackstone. 1. No. 2 Brick Court, Inner Temple f.ane, Lond. Boleyn, Anne. bu. St. Peter's, in the Tower. Lond. Bohn^broke, bu. St. Mary's, Battersea, Loi!c3. Bonaparte, bu. Ch. des Invalided, Paris. Brahe, Tycho, bu. Tcynkirche, Prague. Buckle, bu. Kensal Green. Loiid. Buhver. bu. St. Ed. Chap., Westm., Lond. Burke, Ed., d. 37 Gerard St., Soho, Lond. Burns, bu. ch. yd., Dumfrie.=, Scot. Bunyun, bu. Bunhill Fields, Lond. Butler, poet, d. Rose St.; bu. in ch. yd. St. Paul's, Covent Garden, L(ind. Bruce, heart of, bu. Melrose Abbey. Byron, b. 16 Halles St.; 1. 139 Piccadilly, Lond. Caesar, Aug., bu. Man=ol. of Aug., Rome. Cajsnr, J., body burned in the JForum, Rome. Campbell, 1. 8 Victoria Sq., Pimlico ; bu. Westm. Abbey, Lond. Canning. d.Chiswick Ho. : bu. in Westm, Abbey, Lond. Carlyle, 1. Cheyne Row. Chelsea. Lond Cath. do Medicis, bn. Sc. Denis, Paris. 108 DIST Cliarlemagne, b., 1., d., Si bu. Aix-la-Cha- pelle. Chas. I., bUi St. Geo. Chap., Windsor. Chas. II., bu. Westm. Abbey, Lond. Chas. X. of Fr., bu. G-oritz, Anst. Chas. XII. of S\v., bu. Stockholm. Chatterton, d. No. 38 Brooke St., Lond. Chaucer, b. Lower Thames St ; student of the Middle Temple, Temple Bar ; bu. Westm. Abbey, Lond. Chesterfield, 1. Ghost. Ho., May Fair, Lond. Chatham, b. St. James's Parish, Lond. Coleridge, 1. & d. Pemberton Row, Highgate, Lond. Congreve, bu. Westm. Abbey, Lond. Coujjer, Sir Astley, bu. Guy's Hosp., Lond. Cromwell, b. at Huntingdon ; mar. at St. Giles, Lond.; 1. King St.; bu. Westm. Abbey ; body exhumed, bones scat- tered. Dante, bu. Ravenna. It. Davy, Sir H., bu.' Geneva ; Tablet, Westm. Abbey, Lond. Defoe, b. St. Giles, Cripplegate ; bu. Bunhill Fields, Lond. Dickens, 1. Tavistock Ho.; bu. Westm. Abbey. Lond. Donizetti, bu. Bergamo, It. Dryden, d. 43 Gerard St., Soho ; bu. Westm. Abbey, Lond. Elizabeth, Queen, b. Greenwich, Lond. ; d. Richmond ; bu. Westm. Abbey, Lond. Faraday, bu, ch. yd., Highgate, Lond. Franklin, Ben., 1. 7 Craven St., Strand, Lond. Fred. Barbarossa, d. Tyre, Asia. Fred. Great, tomb, ch. Potsdam. Fox, orator, d. Chiswick Ho.; bu. Westm. Abbey. Lond. Fox, Quaker, bu. Bunhill Fields, Lond. Galileo, bu, St. Croce, Florence. Garrick, bu. W^estm. Abbey, Lond. Gay, bu. Westm. Abbey. Lond. Geo. III., IV., bu. St. Geo. Chap., Windsor. Gibbon, b. Putney ; 1. 7 Bentinck St., Manchester Sq. Gibbons, sculp., bu. St. Paul's, Cov. Card., Lond. Gibson, sculp., bu. Kensal Green, Lond. Gilpin, John, had linen store, Cheap- side. Lond. Gluck, the composer, bu. Matzleinsdorf. Goethe, b. Frankfort; bu. Weimar. Goldsmith, 1. 2 Brick Court. Temp. Bar ; bu. Temp. Ch ; mon. Westm. Abbey, Lond. Gray, poet, bu. ch. yd., Stoke Pogis. Grey, Lady J., beheaded within tl'.e Tower; bu. in St. Peter" .=, Tower, ' Lond. Gus. Adolphus. b. &, bu. Stockholm d. Ingoidstadt. Gwynne, Nell, 1. Lauderdale Ho., High- gate ; bu. St. Martin's in-the Fields, Lond. Hadrian, bu. Castle St. Angelo. Handel, composer, 1. Burlington Ho., Piccadilly ; bu. Westm. Abbey, Lond. Harold Harefoot, bu. St. Clement Danes, Lond. Hastings. Warren, bu. Daylesford, Eng.; mon. Westm. Abbey, Lond. Haydn, b. Salzburg; bu. Gumpendorf, Vienna. Heloise, bu. Pere Lachaise, Paris. Henry IV. of France, bu. St. Denis, Paris. Henry VII. of Eng., bu. Westm. Abbey. Lond. Henry VIII. of England, bu. St. Geo. Chap.. Windsor. Herschel, b. Hanover, Gei-.; 1. Slough, Eng. Hogarth, b. Smithfield ; 1. Leicester Sq.; bu. Chiswick ch. yd. Humboldt, b. Potsdam; 1., d., & bu. Berlin, Pruss. Hunt, Leigh, b. Liverpool ; 1. i Cheyne Row, Chelsea, Lond.: bu. Kensal Green, Lond. James I. of Eng., bu. Westm. Abbey, Lond. Joan of Arc, b. at Domremy la Pucelle; burned at the stake. Rouen, Fr. Johnson, Dr., 1. 17 Gough Sq.. Fleet St.; d. 8 Bolt Court ; b. Westm. Abbey ; mon. in St. Paul's. Lond. Jonson, Ben, b. Charing Cross ; 1, Blackfriars ; bu. Westm. Abbej', Lond. Josephine, Emx^ress, tomb Malmaison, Fr. Keats, wrote 17 Cheapside ; bu. Prot. Cem., Rome. Knox, John, 1. & bu. Edinburgh, Scot. Ko-sciusko, ]. Leicester Sq., Lond.; d. Soleure, Switz.; bu. Cracow. Lafayette, bu. Cem. Picpus, Paris. Lamb, Charles, b. Crown OiRce Row ; L 4 Inner Temp. Lane, Lond. Landseer, b. 83 Queen Anne St.; bu. St. Paul's, Lond. Livingstone, bu. Westm. Abbey, Lond. Locke wrote his Under.^itanding, Shaftes- bury Ho., W. Bi-ompton. Lond. Louis XIV., XV., XVI., XVIII. , bu. St. Denis, Paris. Louis XVII. , bu. St. Marguerite's ch, yd., Paris. Louis Philippe, bu. Dreux. Luther, bu. Church, Wittenberg. Marlowe, bu. Deptforu, old Church. Maria Theresa, tomb, Ch. of Capuch.. Vienna. DOGE 109 ^livrie Lonise, tomb, Ch. of Capuch., Vienna. Marie de Medicis, bu. Cath.. Cologne. JMarie Antoinette, bu. St. Denis, Paris. Mary of Eng., b. Greenwich ; d. St. James's Pal.; bu. Westm. Abbey, Lend. Mary Queen of Scots, bu. Cath., Peter- boro' ; removed to Westm. Abbey, Lond. Jlarv, Highland (Burns'), bu. Greenock, Scot. j\Iendelssohn, bu. Berlin, Prass. Milton, b. Bread St.. Cheap^^ide ; 1.19 York St.; bu. St. Giles, Lond. Mo I i ere. b. Pere Lachaise. Paris. Montaigne, b. Castillon, Fr.; bu. Bor- deaux. Moore, poet, 1. 27 Bury St., St. James's, Lond. More, Sir Thos., b. Milk St.: 1. Chelsea ; beheaded and bu. in the Tower, Lund. Mozart, b. Salzburg; bu. St. Mary's, Vienna. Napoleon, Louis, 1. KmgSt., St. James's Sq., Lond.; bu. Chiselhurst, Eng. Nelson. 1. 114 New Bond St.; bu. St. Paul's. Lond. Newton, i. Leicester Sq.; bu. "Westm. Abbey, Lond. Peel, l."«fc d. Privy Garden.", Whitehall, Lond. Penn, Wm., b. Gt. lower Hill, 1. Nor- folk St., Strand, last house on 1.; bu.- Stoke Pogis. Peter Gt., 1. Buckingham St., Strand, last ho. w.; bu. Ch. of Sts. Peter and Paul. Petersburg. Pitt, d. Bowling Green Ho., Putney ; bu. Westm. Abbey. Lond. Pope, b. Plough Court, Lombard St.; bu. Twickenham, Eng. Prior. 1. Duke St., Westm., opp. Charles St.; bu. Westm. Abbey, Lond. Raleigh, imprisoned in the Tower ; be- headed at Westm.; bu. St. Margaret's, Westm.. Lond. Reynolds, 1. Leicester Scj.; bu. St. Paur.y, Lond. Ptichard Ca-ur-de-Lion, heart of, bu. Rouen. Fr. : Richelieu, tomb Chap, of the Sorbonne, ; Paris. Rogers, John, burned, Smithfield, Lond. 1 Rogers, poet, bu. Homsey ch. yd.; mon. in Ch. Schiller, b. Marbach, Ger. ; bu. Weimar, I New Cem. 1 Schubert, bu. Wilhring. nr. Vienna. : Scott, Sir Walter, bu. Dryburgh Abbey, ; Scot. j Sept. Severus, bu. Castle of St. Angelo. \ Shake.'^peare, b., 1., d., & bu. Stratford- i on Avon. Shelley, 1. 41 Hans PI., Sloane St., I Loud.; bu. Prot. Cem., Rome. Sheridan, d. 7 Saville Row, Lond. Smith, Capt. John, bu. St. Sepulchre's, Lond. Somerville, Mrs., 1. Chelsea, Lond. Spenser, b. nr. the Tower ; d. King St., Westm.; bu. Westm. Abbev, Lond. j Stael, Mme. de. 1. SO Argyll St., Lond.; bu. Coppet, Switz. Sterne, d. 41 Old Bond St.; bu. Bas's- water, Lond. j Svvedenborg, Em., b Stockholm ; bu. I Swedish Ch., Prince's Sq., Lond. .Thackeray, bu. Kensal Green; mon. j V/estm. Abbey, Lond. " i Thiers, bu. Cem. Pere Lachaise, Paris. Thompsoi!, poet. bu. Ch., Richmond. Turnei". 1. 47 Queen Anne St., Caven- dish Sq.; bu. St. Paul's, London. Tyler, Wat, killed, Smithfield Market. Lond. Voltaire, lodged at the White Peruke, Maiden Lane, Lond. Wallace, executed at Old Smithfield Mkt. PI.; head e.\ posed on London Bridge. Wallenstein, 1. at Prague, assassinated at Eiger, Ger. Walton, Isaac. 1. Fleet St., cor. Chan- cery Lane, Lond. Watts. Dr., bu. Bunhill Fields. Lond. Weber, C.von, d, 91 Upper Portland St., Lond. Wesley, bu. Wes. Chap., City Road, Lond. Wolfe, Gen., bu. Old Parish Ch., Green- wich. Lond.; mon. Westrn. Abbey. Wren. Sir Chris., bu. St. Paul's, Lond. **Doges, Palace of the (do'-je.c- chio ; 4, Son of the dethroned Emp. of Greece implores aid, * Vicentino ; 5 (above the window), Surrender of Zara, 2\nto- retto ; 6, Assault of Zara by Dandolo, Vicentino ; 7, Alliance between Venice and the Crusaders in St. Mark's (1201), Le Cieic. Ceiling. — Middle, next the Paradise, Venice crowned, Veronese ; Centre picture, oblong, Venice among the Deities, and the Doge receiving Embassies, Tintoretto ; 3, Venice surrounded by the Virtues, Palma.^ Yr. Sala dello Scrl'tixio. — R. wall ; 1, Capture of Zara, 1340, Tintoretto ; 2, Capture of Cattaro, 1378, Vicentino; 3, Battle of Lepanto, 1571, Vicentino; 4, Destruction of Castle Margari- tino, 1571, Belhtti ; 5, The Victory of the Dardanelles, Liheri ; N. Wall ; Triumphal arch of Doge Morosini, Lazzarini; W. Wall; 6, Pepin besieges the Rialto, Vicentino ; 7, His Defeat, Vicen- tino ; 8, Defeat of the Caliph at Jaffa, Para n da ; 9, Capture of Tyre, 1124:, Aliense ; 10, Defeat of the Sicilians, 1141, Titicni. Wall of Exit; *Last Judgment, Palma,Yr.; on the frieze 39 Doges. Arch/EOLOGICAL Mcseum; six rooms. Entrance from the Vestibule. IlooM I . — 1, ^sculapius ; G, Mercury; 9, Minerva, 12, Venus; 17, Apollo ; 29, Venus ; 30, Jul. Caesar ; 32, Boy and Goose ; 35, Cupid with Bow; 38, Jupiter; 4G, Silenus ; 51-50, Muses; 58, Trajan; GG, M. Antony; *S0, Apollo; 85, Bacchus and Faun; 90, Minerva. Room 2.— 102, Cupid (copy of Praxiteles) ; 113, Mask of Pan ; 134, Love and Psyche ; 138, Leda and Swan ; *144, *145, *153, Gaul Warriors ; *148, Ganymede ; Chimney-piece of the fifteenth century. Boom 3. — Sala dello Scudo (where the Shield of the Doge was hung), containing Maps and Portraits of eminent Venetians. Room 4. — Sala defjli Scudieri ; sarcophagi, reliefs, urns, etc. Room ^.—Sala dei Busti ; 247, Hadrian; 250, Faun; 2G2, Ca- ligula ; 270, Augustus ; 28G, Sept. Severus ; ^292, Vitellius ; 295, Caracalla. Room Q. — IIall of Bronzes; 1, Youth Praying; 7, Sleeping Youth. 113 DOLA Upper Floor, Room I . — Sala della Bussola (Ante-chamber to the Council of Ten). By the entrance was the famous '' Lion's Head," into the mouth of which secret communications for the Inquisitors were thrown ; 1. TakiDg of Brescia, 142G ; r. Taking of Bergamo, 1427 ; both by Aliense. EooM 2. — Pope and Doge, Bassano ; Peace of Bologna, 1529,^ Titian ; on ceiling. An old man and handsome woman, Verone&e. Room 3. — iiala dei Tre Cajyi ; ceiling, Angel driving away Vices, Veronese. Room 4. — Sala delle Quattro Porte; r. Conquest of Verona, Contarini ; *Doge Kneeling before Religion, Titian ; Doge receiv- ing Persian Ambassadors, C. Caliari. Room 5. — Sala del Senato ; above the throne. Descent from the Cross, Tintoretto ; Doge before Venice, FoAma^ Yr.; Doge be- seeching aid of the Virgin, Tintoretto. Room 6. — Ante-chamber. Room 7. — Chapel; above the altar, Madonna, >S«?is. Dumblane, or Dunblane, Scot. Near by was the indecisive battle of Sheriffmuir, 1715, between the Preten- der and the English. See Route 3 A, Note 15. Dij rer, Albert, 1471-1528, Nurem- berg ; pa-inter, sculptor, archiiect, and engraver. He is regarded as the founder of the German School of Art. He vis- ited Venice, Padua, Bologna, and the Netherlands. His works are richer in drawing than in color, though sometimes bordering on the fantastic. His masterpieces are principally in the German Collections. His portraits have usually a hard and severe expression, seldom exhibiting tender- ness. In his portrait-coloring, a dull, brick -red predominates. " Albert Diirer need fear comparison with no master in the world, not even with Raphael or Angelo, so far as inborn artistic ability is concerned, and yet in all that concerns the peculiar means of expression in art, the clothing of the thought in the vestment of glorified beauty of form, he is so closely fettered by the narrow limitations of his own surroundings ^ that he seldom rises to that height of art where thought and form find equal expression " He seldom attains to perfect beauty of form. . . He took the matter of his pictures from his own environments, and never sought after types of dignity and beauty, 2 but rather after strongly marked and characteristic heads, which are oftener coarse than noble or graceful." — Liibke. "In vain did he familiarize himself with the Italian Masters ; ho retains his graceless forms, his angular folds, his ugly nudities, his dull color, his barbarous^ gloomy, and saddened faces. The wild imagination, the deeply religious senti- A. Diirer. 1 And yet he had been in Venice, Bologna, Padua, and the Netherlands. 2 Which is a matter of astonishment for one of the first " inborn masters oi the world." DYCK 1 19 ment, and the vague philosophic divination.s'.vhich shine through his works, show un intellect to which form is inadequate." — Taine, '"His qualities were Mitliciunt to place him by the side of the greatest arti^tM whom the world has ever seen. He fails, however, in feeling for beauty, and liis nude is vulgar, and sometimes even ugly in cllaracter.''' — Kugler. As between these somewhat diverse criticisms, an acquaintance with the works of Diirer will possibly incline the cis- Atlantic stu- dent to the view of the French critic. ruiNCiPAL WouKS : Barb., III. 79; Belv., eight; Bergamo, 106; Cassel, 7; Corsi. IV. 4i? VI. 34? 43? Drcsd., 1722A-3-5 ; Frank., SO-?; Louvre, 672; Madrid, 1314-15 ?-16 ?-17 ; Munich, 1, 2, 3, 71-6, 93, 712-16-20-31-39: Nurem- berg, Ger. Mu.. 1348-9-51 ; Xat. Gall., 245 ; Bitti, 1, 20; Ufn., 4S9, 777-8, 1141. Dyck, Qir Anthony van, Vandyke, 1599-1641, b. at Ant- werp; pupil of Rubens. In 1020 he visited Italy and studied the works of Titian and Giorg-ione, remaining six years and ex- ecuting man}- portraits. Returning to Holland, he Avas honored with innumerable commissions. Visiting England, in 1632, lie was appointed court painter by Chas. I. , who, three months afterward, conferred upon him the honor of knighthood. His works, whicb arc numerous and of very unequal merit, are to be found in all large collections, lie was a master of portrait- ure, seldom surpassed in expressive delineation of the human face, but he was inadequate to the vigorous composition of an animated scene. lie died in London, and is entombed in St. Paul's, near John of Gaunt. " Of all the masters of the most developed period of art, van Dyclc alone with Titian divides the first place in portraiture." — Kugler. Principal Works.— Amst. Hoop., 36 ; Ant., 401-3-4-5 ; Augsburg, 104, 118, 147 ; Belv., eleven; Berlin. 770, 778, 782, 794; Brern, 439, 443; Bruns,, 109, 473; Bruss., 188, 189. 192; Cap., 100, 106; Cassel, 290-1-3-4-5-7, SOO-1-4? Corsi., III. 21V VI. 32? Colog., 621; Dresd., 982-5-6-7 8, 990-1-2-4-5-6-7-8; Dul., 135, 214; Bdinb., 315-18-19; Frank., 117; Genoa, Brig., portraits ; Hague, Flem. Sch., 20::- 4-6 ; Hamp. Ct., 47, 85, 38? ; Hermit., 603-7-8-9, 610-1-2-4-5-6-7-8. 620-1-2-4-0 8, 6.':0-2-3-4-5-6-8~thirty-four in all ; Leicht., V. 115, 118, 126, 142 3-6-7-8-9, VII. 239; 2d floor, VIII. 093, ?66 ; Lille, 193-5-6; Louvre, 136-7-8-9, 141-2-3-4-5-6 S-9. 150-1-2-3-4-5; Madrid, 1319, 1320-1-2-5-6-7-8-9, l3o0-l-5-7-8 ; Milan, Amb., 25 : Munich, 175, 193, 198, 203-6-7-9-12, 217, 313-15, 333, 315, 347, 927-8-9, 930, 934, 940, 1308, 1414, and others ; Naples, Sal. di Corr., 4, Dutch and Flem. Sch., 12 ; Nat. Gal , 49, TO. 52, 680, 877 ; So. Kens., one portrait ; Turin, 338, 351, 363, 384; Uffi., 1115, 1128, 223; Venice, 200; Verona, 47? Vienna Acad., portrait, C'.md., 198. *i£cole des Beaux Arts (a-cole'-day-boze'-ar), Vans, WJlue Honaiuirtc, 10-4 daily ; 1 fr. (Sept., W., Th., F., only). In the 120 ECOL court are reraaius of Middle Age Architecture ; in the centre, bronze statue of Abundance, and to the r. is the celebrated por- tal of the Chateau d'Anet, by Goujon ; to the 1., fresco on lava. Separating- this court from a second is the Arc de Gaillon, 1500. Upon the first floor are copies of Raphael's loggie in the Vatican, by Baize ; in an adjacent hall, Delaroche's magnificent Hemicycle, containing 75 figures of celebrated artists. On the throne in the centre are Phidias, Ictinus, and Apelles ; in front, Greek, Gothic, Roman and Renaissance Art are represented by 4 female figures, ihe one with long hair being a portrait of the artist's wife, daughter of Horace Vernet. Additional rooms exhibit models of the Coliseum, Columns of the Parthenon ; and in the chapel is a copy of Angelo's Last Judgment. The ficole has about 150 students, and each year sends two students of painting, one of sculpture, and one of architecture to Rome, for four years*, to study at public expense. ^cole de M6decine, of the University of France, Paris, Boul. St. Gerniaine, near Hotel de Cluny ; has 1,500 students and 30 professors. Edinburgh (ed-iu-bo-ro; Edwin's burgh), Scot. Lat.,55° 57; Ion., 3° 11 ; pop. , 230,000 ; upon two ridges of ground, divided by a deep, narrow valley, formerly a morass, now made into a pub- lic park, through which the rlys. pass. To the n. of this park is the New Town, composed of modern and elegant buildings — the principal street. Princes St. , bordering upon and overlooking the Park. The principal hotels are on the opposite side of Princes St. The rly. stations are in the valley. To the s. lies the ridge of the Old Town, terminating, to the w., in a rocky bluff, upon which stands the Castle, thus in the heart of the city. The Old Town is the historic part of the city, the New being quite mod- ern. The fii'st Scottish Parliament was convened here by Alex. II., 1215. The entire town, except the Castle, was burned by Rich. II. Eng., 1385; taken and burned by the Eng., 1554; in 1557 the first Covenant was signed ; in 1638, the National Covenant. Scotland having espoused the cause of Charles, Cromwell marched upon the city and took the Castle ; 1745, the rebels under Ch. Ed. took possession of the city. Principal Places of Interest : Edinburgh Castle, Holj-^rood Ab- bey, Calton Hill, St. Giles Church (which see). Among the objects of less interest are the house of John Knox, High St.; Allan Ramsay's 'J'heatre, the favorite resort of Burns ; the Black EDIN I'.?2 EDIX Turni)ike, the prison of Queeu Mary, near the Trou ch.; and the Heart of ]\[id-Lothiau, the site of an old prison. Annie Laurie Avas married in Tron ch. 250 years ago. John Knox is buried in the j^aved court between the Pari. House and St. Giles; marked by the letters J. K in the payement. Some of the houses are 12 stories in height. Eoutes : To Glasgow, 1^ hr., $1.30 ; ^1 ; or, via Stirling and the Lakes, 12 hrs., $7 ; ^5 : see Route 3 A, To Melkose, 1)4 hr., $l.flO ; $1.40 ; see Route 5. To LoN~ DON, 12 hrs., $12 ; $10, either via east coast, midland, or west coast ; sec Routes 4, 5, 'and 7. Waverly Station at the e, end of Princes St. for all lines but the Caledonian. Caledonian Station at w. end of Princes St. **Edinbyrgh CastSe, Scot.^ daily, ex. Sun,, free, is situated on a precipitous ledge o80 ft. in height, approachable only on the eastern side, the other sides being nearly perpendicular. This castle has for centuries held a leading place in Scottish history. Early a Caledonian stronghold, it became the residence of King Edwin, and of the Scottish kings, until taken by Ed. I. of Eng., 1296, who held it for 17 years. Being retaken by the Scots, it was dismantled by Bruce, ceded to the English by Baliol, and retaken by Douglas, 1341. In 1573 it was taken from Mary by the Re- formers, aided by the English. Its last attack was the unsuc- cessful attempt by Pr. Ch. Ed., in 1745. By the articles of union between Scot, and Eng. this castle is to be kept in a state of defence. Entrance to the castle is made from the eastern side, crossing the esplanade, or drill-ground, where Lord Forbes, Lady Glamis, and several Pteformers were executed. Crossing a drawbridge, we pass beneath gateways with portcullises, along a paved road- way, spanned at the upper end by a prison. Here state crimi- nals were confined, and here Argyle passed the night befoie his execution. Near by is the Argyle battery, barracks, and the Governor's House. Passing up a flight of steps we come to the summit, which commands a most magnificent* view of the city and its environs for many miles. Adjacent is Queen Margaret's Chapel, the most ancient building in Edinburgh, the private shrine of Margaret, Queen of Malcolm Canmore; now used as a Garrison Baptistery. The Palace Yard, to the s., is a square of about 100 ft., oi; the e. and s. s-ide of which are the Old Royal Palace and Parlia- ment House. EDWA 3r23 *Tlie Regalia Room, open (XA\y, ex. M., V2-?>. to the 1. up- stairs, contains the ancient reg'alia of Scotland, the crown, the sceptre, the sword of state, and royal jewels. * Queen Mary's Room, further on, is less than 9 ft. square, and is memorable as the place where Mary gave birth to her son James VI. , afterward James I. of Eng. It was from the window of this room that, for safety he was, 8 days after, let down in a basket and removed to another castle. In the ante-room is a por- trait of Queen Mary at 18 years of age. On the s. side of the court is the Old Parliament House, now the Garrison Hospital. The other tides of the quadrangle are occupied as barracks. Edward I., Eng., son of Henry III.; occupied the throne from 1272 to 1807 ; conquered "Wales and gave the title Prince of Wales to the heir to the throne ; attacked Scotland and defeated Wallace, and took the Scottish coronation-stone to London (now in Westminster Abbey). Entombed in Ed. the Confessor's Chapel, Westm. Abbey. EdwarcS I3S., Eng., 1327-1377. Fought the memorable battle of C'recy and Poictiers, and took Calais. *Ehrenbreitstem (eh'-ren-brite'-stine, Honofs broadstone), Ger., opp. Coblenz, 400 ft. above the Rhine, called the Gibral- tar of the Pthine. Originally a castle presented by Dagobert to the Abp. of Treves, and confirmed by Emp. Henry II., 1018. Afterward erected into a fortress. It was besieged in 1631, 1T95-G-7-8, but has surrendered only twice, once through strata- gem and oucc from famine. After the peace of 1801, the French evacuated and blew up the fortifications, for the restoration of which they afterward paid Germany 15 million fr. The reconstruction, since 1816, has cost 8 m.illion dollars. **View from the walls. See Route 20. **Elgin Marbles (g hard), la the British Museum. "The rarthcnon, erected at Athens, b.c, 410, retnaincd comparatively unin jured until 1087, when, in the bombardment of the city by the Venetians, the temple was reduced to ruins. In 1801, Lord Elgin. British Anibaspador nt Con- stantinople, purchas^ed from the Turkish Government, for $350,000, many of the sculptures of the Parthenon then remaining. These consisted of statues of the pediments, and the frieze and 1? motope:r. original works of Phidias. Of the me- topes, ?A are yet in their original places, 17 in the British Museum, and 1 in the Louvre. "Single figures only remain of the pedimental groups. Fortunately, however, a few years previous to the destruction of the temple, an accurate drawing of the pediments had been made by a French artist, from which a knowledge of the rela^ 13-t ELMO tive position of the statues lia^ bc-eii obtained. The ctatiies are much broken and weather-worn. Those remaining are from the angles of the pediment, the central groups having been lost or destroyed. There has been much diversity of opinion as to the persons the various statues were intended to represent. They exhibit a grandeur of conception, a nobility of action, and a harmouious beauty such as is unequalled by any other work in the whole range of art." Until recently the sculptures of the Parthenon have been ascribed to Phidias, bnt at the present time critics are uncertain " of the precise connection of Phidias with these works." Elmo, St., Castle of, IVaples, 1343, with its massive walls, its fosses hewn in the solid rock, has long had the reputation of being- second in impregnability only to Gibraltar and Malta. This, however, being of little value in modern warfare, the fortifications have been demolished, and the buildings are now used as a mili- tary prison. Elysee, Palais de T (pal-a-deh-lay-lee-say), Pa?'^■s, in the Champs Elysees, opp. the Palais de I'lndustrie. The residence of Mme. de Pompadour, in the time of Louis XV. ; 1815, of Napoleon I. ; and, after Waterloo, occupied by Wellington and Emp. Alex- ander; also by Louis Napoleon, as President of the Republic, by President MacMahon and President Grevy. En-dym -ion, mytJi, renowned for his per- petual beauty and per- petual sleep. It was believed that Selene — the moon — caused his sleep that she might be able to gaze on him without his knowledge. His beauty so warmed her cold heart that she came down, kissed him, and lay by his side. *PiCTUKE, by Girodet, in the Louvre, Salle des Sept Cheminees, No. 251. Statues : Br. Mu., 148; Stockholm, from Hadrian's Villa, found 1TS3. **Eros (ee'-ros), or Genius of the Vatican, Cupid, stat. Vatican, Gall, of Stat, No. 250. Supposed to be a copy of the Eros of Praxiteles, which stood in the Portico of Octavia, and Eros — Vatican. ESQU 125 which was brought from Greece by Caligula. Found 2 mis. out- side the Porta Maggiore. Has traces of wings on the shoulders. It represents the dreamy state when youth is merging into man- hood ; is the one which Phryne chose and presented to her native town, Thespis. " Praxiteles had offered Phryne her choice among his works ; and in order to ascertain which the artist himself esteemed most highly, she cansed him to be informed that his studio was on fire, whereupon he exclaimed : ' I am undone if the fire has touched my Eros or Satyr.' " Esquiline Hill (ess-kee-leen), Rome, the largest of the Seven Hills, extending from the Forum n.e. to the ch. of S. M. Maggiore. Etienne du Mont, St. (a-te-en-du-moft), 1121, ch. Paris. Square tower and round turret, probably 1222. Enlarged 1491. Narrow gallery along the columns. Elaborate screen, 2 spiral staircases. Tomb of Ste. Genevieve, patron saint of Paris, in a chapel r. aisle, upon which are votive offerings. Around the tomb may be observed numerous crutches and canes brought by the lame and infirm, and left as mementoes upon being cured at the shrine. Festival of Ste. Genevieve Jan. 3d, on which occasion, 1857, the Abp. of Paris was here assassinated by an ex-priest. Et-ru'-ri-a, or Tuscia; that part of Italy between the river Magra (at Spezia) and the mouth of the Tiber, and extending from the sea on the west to the Apennines ; was occupied by a highly civilized people prior to the time of early Rome. The 12 confederate Etruscan cities were Cortona, Arretium, Clusium, Perusia, Volatsrrae, Vetulonia, Rusellai, Volsinii, Tarquinii, Va- lerii, Veil, and Ca^re. Subjugated by the Horn. B.C. 283. The Etruscan vases have been found chiefly in the tombs a few mU. to the n.w. of Home. Etruscan and Egyptian fii\Ase\jimf Florence. Via Fa- enza. No. 57. Admission, daily, 1 fr. Sun., free. Etruscan Coll. entmnce to the r. Room I , — Vases from Chiusi ; *Etruscan tomb, from Volsinii. Room 2. — Centre; the celebrated * Fran(^ois vase; Greek vases. Room 3. — Terra-cotia, bas-reliefs; coins, crystals, bronzes; * Athena. Room 4. — Centre; Chimaira; Urns. Room 5. — Armor, bronzes; Perseus and Medusa; Peleus and Thetis, 126 ETRU Room 6 (entrance from the 4tli room). — *Statue of "the ora- tor" found near Lake Trasimene. Egyptian Coll. — *Frescos of the Last Supper, school of Perugino ; Statue of Pharaoh ; Sarcophagi ; Mummies ; etc , etc. Etruscan P^useum. '^qq Vatican, Scnlpturea. P. 479. Europa, myth, dau, of the king of Sidon ; was approached by Jupiter in the disguise of a beautiful white bvill ; and she, being pleased, mounted upon his bade, and was borne to Crete, where she became the mother of Minos, Rhadamanthus, and Sarpedon. "^Europa, Rape of, painting by Paul Veronese, in the Doges' Pal., Venice. There is a replica in the Cap., Rome. "It must have been in its day the most brilliant and rejoicing? picture, the most voluptuous, the most exuberant that ever put the sunshine to shame. The Bull has all Jupiter in him, so tender and gentle, yet so passionate that you feel it in- decorous to look at him. And Europa, under her thick rich stuffs and embroidei-ies, is all a woman.'' — Hawthorne. "For brilliancy, fancifulness, extraordinary refinement and invention in color, it has no equal. The reflection of the foliage overhead bathes the entire picture with an aqueous green tone ; the white drapery of Europa is tinged with it ; she, arch, subtle, languishing, seems almost like an eighteenth-century figure. One has to look at it and keep silent." — Taint. Eustache, St. (yovi-stahsh), Paris; the largest church in Paris, except Notre Dame ; erected, 1533, on the site of a temple of Cybele ; Italian facade, Gothic interior, and Byzantine front of the chapels. In one of the chapels is a monument to Colbert consisting of a figure kneeling on a black sarcophagus. Eyck, Hubert van (ike), 1866?- 1426 ; b. at Masseyck, Hoi. Resided at Bruges and Ghent. Effected great im- provements in coloring — sometimes said to have invented oil painting. " Th*at he effected a revolution m paintiug is beyond a doubt. He breathed life into the Sym- bolic Art which had preceded him. He H. van Eyck. represented scriptural scenes and charac- ters through the medium of such people as he had seen in actual life ; and nature as he saw it, and did not hesitate to use well- furnished rooms for his sacred scenes." His most noted work is the "Adoration of the Lamb" in 12 pictures, of which the Adam and Eve are in the Mus. Brussels ,• 6 EYCK 127 panels in the Berlin Mus. ; the remaining panels are in the ch. of St. Bavon, at Ghent. See Adoration. Eyck, John van, 1890-1440, bro. and pupil of Hubert. Hi.s works are finished with great care and delicacy, but are wanting in the strength of Hubert's. One of his best works, a portrait of himself and wife, is in the Nat. Gall., Lond. '• The Van Eycks extended the scope of painting to such an extent that not for a century after did painting in the north of Europe reach the point where they left it." " John is usually, but erroneously, regarded as the more talented of the two." Faience, Fayence (fy-ona')- See Pot- tery. Farnese Gladiator. See Gladiator. Farnese Hercules. See Rercules. Farnese Palace (far-nay'-zay), in the Pi. Farnese, Borne. ''■ -'^'^ '--•^•'^- '•The architecture of the palace is, beyond all doubt, the finest in Rome : it loses nntch of its interest when we know that the blocks of travertine, of which it was constructed, were taken from the Theatre of Marcellusand the Coliseum, 'of whose ruins,' says Gibbon, ' the nephews of Paul III. are the guilty agents ; and every traveller who views the Farnese Palace may cur.sc the sacrilege and luxury of these upstart princes.' ''—Mxcrrai/. The granite basins in the Piazza are from the Baths of Cara- calla. In the portico of the court is a sarcophagus, said to be that of Ccecelia Metella. Since the occupancy of the palace by the ex-royal family of Naples, little has been open to the public except the frescos — the masterpieces of Annibale Carracci, upon which he .'-pent no less than 8 years, and was rewarded with the paltry sum of oOO crowns ($600;. The subjects of the frescos are mythological ; centre : Bac- chus and Ariadne. Among others Pan and Diana, Mercury and Paris, Ganymede, Perseus and Andromeda, Galatea, Europa, Le- ander, etc. "I consider the frescos of the Farnese Palace as far the greatest production of Annibale, as to color." B. Farnese To-ro, Legend. Lycus, king of Thebes, divorced his wife Antiope, who, surprised by Jupiter, had brought forth two sons, and married Dirce, who thenceforth treated Antiope with great cruelty, and put her in prison. Antiope, esc^ajung, lied to her sons, Amphion and Zethus. Dirce, afterward Jindin-.v her, «ndeavored to put hrr to death, but was prevented h-r the timely 128 FARX arrival of the sons. Upon their becoming grown they attacked and took Thebes, slew Lycus, and tied Dirce to a wild bull to be dragged to death. Farnese Tovo—JVapleft. **Statue: Nat. Mus., Naples; by ApoUonius and his brother Tauriscus, of Rhodes ; found in the Baths of Caracalla, much mutilated, restored by M. Angelo, the head of the bull and con- siderable portions of all 4 figures being restorations. This is the largest antique group now known. "This work suffers from the same deficiency as the Laococin ; here, also, the expreetion of a moral idea is wanting, and our sympathy is awakened only through FARN 129 bojiily action and suffering ; but in powerful boldness of composition, in thorough- ness of execution, and harmony of grouping, as well as in the perfect knowledge and mastery displayed in the treatment of the figures, this majestic work is per- haps even greater than the other."' — Liibke. Farnesina Villa (far-nay-see'-nah), Rome^ on the w. bank of the Tiber, opposite the Farnese Palace; 1st and 15th of the month, 10-3. Noted especially for Raphael's Myth of Psyche and Galatea. .**TiiE Myth op Psyche, in 13 scenes, from the tale of Apuleius, was designed by Raphael, and painted in part by his pupils G. Romano and F. Penni. 1, Venus jealous of Psyche ; 2, Cupid, enamored of Psyche, carries her off ; o, Venus seeks Psyche and imprisons Cupid ; 4, Venus seeks aid from Jupiter ; 5, Venus implores him to send Mercury to find Psyche ; G, Jupiter sends Mercury ; 7, Venus im- poses cruel tasks upon Psyche and sends her to bring a casket from the infernal regions ; 8, which, to the surprise of Venus. Psyche brings ; 9. Cupid, having escaped, implores aid of Jupiter, who summons a council of the gods ; 10, Psyche brought to Olympus, and the gods celebrate the nuptial banquet. '• They are painted as a Greek might have painted thorn, who believed in the wonders which he drew. They are no cold transcripts of dead forms : the poetry of Homer is not more vital. The blue sky and luminous air of Greece bend over and idealize every scene and every group. The nymphs that haunted the piny mountains of Arcadia, or danced upon the shores of the whispering iEgean, live once more in the Venus, the Psyche, and the Graces of Raphael. These compo- sitions arc remarkable, not only for gi-ace and beauty of design, for truth of ex- pression and for dramatic vivacity, but also for their purity of feeling.'" — Hillard. **TnE Gal'-a-te-a represents the goddess of the sea riding in her shell with nymphs and tritons. " This is one of the most beautiful compositions that art has produced, imbued with a sense of life and enjoyment that is perfectly enchanting. Yet with all tins, and in a scene of strictly Pagan and sensual imagination, the purity of the feeling becomes a main element in its beauty. With the exception of the group to the right of the Goddess, the fresco was entirely executed by the master's own hand.'" — KugUr. On the ceiling, Diana, and Medusa, by Peruzzi ; the lunettes by- del Piombo and da Volterra. A head, by M. Angelo, who coming to see Volterra and not finding him, left this sketch. Fauns, myth ; gods of the fields and shepherds, represented with bristly hair, horns, pointed ears, and sometimes a tail ; en- dowed with both human and animal qualities and forms. The older are called Sileni : the younger, Satyri.sci ; fond of wine, 9 130 FAUN Faun of Praxiteles — Eome. dancing, and music. In the later Latin writings fauns and satyrt were one and the same. Statues : Cap., I. *15 ; II. 1 ; Glyp , *95; Naples, *Dancing Faun, statuette, bronze; Sleeping Faun, bronze; Vat., 406; (Br.) 120; (Ch.) 495. *The Faun of Praxiteles. Cap. Mus., I. 15 ; a youth of about seventeen leaning against the trunk of a tree, his right arm rest- ing upon the top of the trunk and holding a short flute. There appear to be two statues differing but little, the most noticeable varia- tion being, that more of the arm rests upon the tree in one case than in the other. This statue is the subject of " The Marble Faun," by Hawthorne. " I looked at the Faun of Praxiteles and was sensible o£ a peculiar charm in it ; a sylvan beauty and harmlessness, friendly and wild at once. The lengthened but not pre- posterous ears, and the little tail which wo infer, have au exquisite effect, and make the spectator sraile in his very heart. This race of faiins was the most delightful of all that antiquity imagined. It seems to me that a story with all sorts of fun and pathos in it might be contrived on the idea of their species having become intermingled with the human race. " Their character has never, that I know of, been wrought out in lit-ratur-'. ; and something quite good, funny, and philosophical as well as poetic, might very likely be educed from them." — Haicthorne, "Praxiteles gave Phryne her choice of whatever she liked best among his works. In order to learn which of his cfiefs-cri Trone^ where the marshals took their oath of allegiance ; the Oalerie de Diane, 330 ft. in length, constructed by Henry IV. ; 136 FORX the Salle des Fetes^ by Francis I. , iind uecorated \>y Henry II. f oi Diana of Poitiers. The Forest of Foiitainebleau, comprising 42,000 acres, has been the Royal Park for many centuries. Carriages may be engaged for the tour for 12 frs., or 2 frs. per hour. Fornarina (for-nah-ree'-nah), I. painting, No. 82, Bar- herini Qall.^ Rome. " The historj"- of this person, to whom Raphael was attached even to his death, is obscure, nor are we very clear with regard to her likenesses. This portrait has the name of Raphael on the armlet, and of the authenticity of which, particularly with respect to the subject, there can hardly be a doubt. The figure is seated and is uncovered to the waist ; she draws a light drapery around her : a shawl is twisted round her head. The execution is beautiful and delicate, although the lines are sufficiently defined ; the fvirms are fine and not without beauty, but at the same time not free from an expression of coarseness and common life. The eyes are large, dark, and full of fire, and seem to speak of brighter days,"' — Kagler. " To my thinking, the sole work of Raphael's, which is without nobleness of conception." — Luhlce. •' Her features beam with material, but not with intellectual beauty." — Rad- clffe. *IL, No. 1123, in the Tribune, Florence. By Missirini sup- posed to be a portrait of Vittoria Colonna, the friend of M. An- gelo. Formerly attributed to Raphael, but now to Sebastian del Piombo. Fortuna (VSrilis?), Temple of, i^wn^y on the e. bank of the Tiber, near the Pons ^milius. Well preserved ; surrounded by columns 28 ft. high ; the open portico is now closed. Built by Servius Tullius, rebuilt during the Republic and converted into a ch., 880. On the opposite side of the street is the House of Rienzi, upon which is a lengthy inscription. A few steps below is the Temple of Vesta. Forum. See Roman Forum, Trajan'' s Forum. Fountairis, Borne: ^ FoKTANA dell' Acqua Felice, or F. di Termini, near the Pi. di Termini. Designed by Domenico Fontana. In the central niche is a Moses striking the rock, by da Brescia, who is said to have died of grief at the criticism the statae called forth. At the sides are Aaron and Grideon. Fontana della Barcaccia, in the Pi. di Spagna, in the form of a boat. Designed by Pietro Bernini, father of the celebrated sculptor. Fontana del Campidoglio, Pi. del Campidoglio, near the FRAN 137 Palace of the Senator. Central figure, Minerva, and on either side the Nile and the TiJ;er, from the baths of Constantine. Erected in the 16th cent. Fountain of the Quirinal, the magnificent granite basin of which was from the Roman Forum, 18U0, FONTANA Paolina, on the Janiculum ; one of the finest in Rome. Built by Paul V., 1613; designed by Fontana. The 6 red granite columns are from the Temple of Minerva. The view of Rome and the Campagna from this fountain is especially fine. Fountains in the Piazza Navona. See Navona. Fontana delle Turtarughe, in Piazza of the same name, so called from its 4 tortoises. The 4 fine bronze figures are by Landini. Designed by Giacomo della Porta. *F0NTANA Di Trevi (tray'-vec', near the Quirinal, 1735. In the centre is Neptune in a car drawn by horses and tritons ; 1. Health; r. Fertility. Designed by Salvi ; the figures by Bracci. "Another pompous confusion of fable and fact, gods and edibles, aqueducts and sea-monsters.'" — Forsyth. '• After all it is as magnificent a piece of work as ever human skill contrived."' — Ilaiclhorne. It is a tradition that drinking at this fountain on departure from Rome insures the visitor's return. Fontana del Tritone, in the Pi. Barberini. A triton spouting the water from a conch, rests on a shell supported by 4 dolphins. France, the South of. See Route 64, p. 569-70. Francesca, Pietro della (fran-ches'-ka), 1415 ?-1492, b. at Borgo S. Sepolcro. Italy. Distinguished as having applied his knowledge of geometry to perspective, and thus added materi- ally to its advancement. Is said to have been the teacher of Perugino. France.sca was strictly the precursor of da Vinci. "He unites the most delicate delineation of form and rare knowledge of perspective foreshortening with a tender, golden, almost transparently lucid coloring." — Lilbke. Francia, Francesco (-che-a, -ches'-ko), Raibolini, 1450- 1517, Bologna. Subjects were jMadonnas and Holy Families, in which he represented devotional sentiment with great .success, llis faces are oval ; eyes dark :md tender; the expression pleas- ant and meditative ; color, deep and glowing. " A painter equal in rank to Perugino. No painter certainly has given greater sweetness and beauty to his Madonna heads. His power of rendering the tendcr- est and pearliest female complexions is unsurpassed."" — Knfj'er. " I remember but one painter, Franciu, who approached this awfid clas-a cf 138 FRAN subjects (Christ and Madonnas) in a fitting spirit. His pictures are fnll o{ boldness, and evidently wrought out as acts of devotion with the deepest sin- cerity, and are veritable prayers upon canvas.'" — Hauothoine. Principal Works; Berlin, 1-22-5-7; Boiog., 78-9, 80-1-3, 371-2-3 ; Borg. II. 43, 51 ; Brera, 331 ; Dresd., 435-0-7 ; Frank., 41 ; Hamp. Ct., 307 ; Hermit., 68- 9 ; Louvre, 30G-7 ; Modena, o6 ; Munich, 575-7 ; Nat. Gall., 179-80, 638 ; Parma, 128, 130, 359; Pesth, IV. 181 ; Turin, 101 ; Uffi., 1124. Frankfort-on-iVSain (-foort; ford of the Franks), Ger., pop. about 137,000; a Roman fortification; established as the royal residence of Charlemagne, 794. By decree of Ch. IV. , des- ignated as the place where elections of the Emperor of Germany should be held, and where a majority of the Emperors have been elected. Possesses comparatively few places or objects of interest. The Cathedral, founded 1238 ; restored 1855; since greatly damaged by fire, now restored. The RoMEii— the city hall, on the first floor is the *Kaiser- saal, where the Electors and newly elected Emperor dined. In the RossMARKT, in the n.w. part, the largest Platz in the l^j^ 140 FRED marble pyramid on the r., Religion, Ait, and other fignres as mourners ; on the 1. the Lion of St. Mark. The heart only is here preserved, the body being entombed at Possagno. In the tribune, r. mon. of Doge Foscari ; 1. tomb of Doge Trou, 27 ft. wide, 40 high, with 19 figures. The stalls of the cboir are notice- able for the fine wood- work. J^. Aisle is the tomb of Jacopo Pesaro, over the altar of which is Titian s **Pala dei Pesari, rep- resenting the Virgin, Child, Saints, and members of the Pesaro family, one of the young female figures particularly fine. Joseph is the portrait of Titian. *Mon. of Doge Pesaro of questionable taste. It is supported by colossal statues of ragged Moors or Negroes. "The mcst prominent objects are four enormous Negroes, or Moors, of black marble, but dressed in jackets and trousers of white marble, and, oddest of all, the artist has represented them with their knees and elbows protruding through rents in their garments. In grotesqueness and bad taste, this monument has no rival in all Europe, to my recollection.'" — Rillard. " I have just examined at the Frari a picture by John Bellini which, like those of Perugino, seems to me a masterpiece of genuine religious art. At the roar of a chapel, over the altar, within a small piece of golden architecture, sits the "Virgin on a throne in a grand blue mantle. She is good and simple, like a simple, innocent peasant girl." — Taine. {In the sacristy.) Frederick B., Barbakossa {red beard), 1121r Crowned Emp. of Germany at Aix-la-Chapelle, 1152 ; also at Rome, 1155. Made an expedition to Italy, 1154, and again, 1158. Conquered Bo- hemia and Poland ; 1162, took Milan, destroyed its fortifications; two years later again entered Italy, and also in 1166 ; and had himself crowned again at Rome. In 1174 made an unsuccessful attack on Alessandria, and the next year was totally defeated at Como. In 1188 he went on the Third Crusade, and while at- tempting to ford or while bathing in the river Calycadnus, not far from Tarsus, was drowned. By some it is stated that he was not drowned, but died from a sudden chill. His body was carried by his followers to Palestine, and placed in the Christian church at Tyre. Fresco, a method of painting upon a freshly prepared ground of stucco or plaster. Mineral pigments only are used, and as they unite with the lime of the ground, the work cannot be re» touched, a feature which renders the method peculiarly difficult. See Distemper. Furca Pass (foor'-ka), Sicit^. The Furca road leads from Andermatt, in the valley of the Reuss, over the Furca Pass tc FYNL 141 Biieg in the Rhone valley, 12 hrs. by diligence. The summit of the Pass is at the alt. of 7,992 ft. The road passes immediately near the lower end of the *Rhone Glacier, which is regarded as the most magnificent of all the Alpine ice-fields. Fynlir.a. i^ee Pottery. Fyt, Jan (fite), 1G09-1GG1, Antic crp ; the most distinguished Flemish painter of animals, after Snyders, and second not even to him in his greyhounds, feathers, and fur ; unequalled in hares by any master. Sometimes he painted in connection with Jor- daens. Gaddi ; I. Gaddo,, 1239-1312, b. Florence; the friend of Cimabue and Giotto ; worked principally in mosaics at Florence and Rome. II. Taddeo, 1300 136G ? b. Florence ; son of Gaddo. At the age of 12 ho became the pupil of Giotto, whose assistant he continued until the death of the master, a period of 24 year.-. He was charged with the completion of the unfinished works left by Giotto, and his style is so fully identified with that of his master, that many of his works have, until recently, been as- cribed to Giotto. Few of his works now remain. III. Agxolo, — d. 1396. b. Florence; son of Taddeo, and possessing the excellencies of his father with more of originality, although he still adhered in general to the stiff Byzantine style. C. and C. regard his " Marriage of the Virgin" as one of the best compositions of the school of Giotto. Gainsborough, Thomas, 1727-1788, b. at Sudbury, Eng. Portraits and Landscapes. Several of the latter are in Nat. Gall., Lond., as also a portrait of Mrs. Siddons, Rui^kin regards him as the greatest colori.st since Rubens. Calilei, Caiiieo (gal-e-lay -o, gal-e-lay'-ee), Italy ; b. at Pian, 1504. At the age of 24 appointed Prof, of Math, at Pisa. Hero his assertion of the laws of nature against the established scholas- tic belief awakened such hostility that he resigned and went to Padua, where he lectured with unprecedented succes.s for 18 yrs., drawing students from all parts of Europe, when Cosmo III. in- vited him to return to Pisa and afterward to Florence. In 1G09, hearing of the invention of a telescope in Holland, he constructed one for himself, and immediately discovered the sat- ellites of Jupiter, the rings of Saturn, the Sun spots, and the na- ture of the Milky AVay. These new truths so disturbed the old beliefs tliat he was s\;bj^c'ed to )-.erf*erution, fiist in IGlo, and 149 GANY Ganymede — Vaiicu/i . afterward, in 1633 ; was summoned to Rome, tried, and compelled to recant his pernicious doctrines, especially of the Copernican System and the Revolution of the Earth. He died 1C42 — the year of the birth of Sir Isaac Newton — at the age of 78, and was entombed in the ch. of Santa Croce, Florence. His house in Florence is still seen, Via della Costa, No. 13, near the Boboli Gardens. Gan-y-me'-de, 7n7/th, the most beaut'ful of mortals ; was carried away to be the cup-bearer of Jupiter. Statues : Berlin, 214 ; Naples, 70, 118 (01); Vat., 442, (Br.) 38; Copenhagen, Thor. Mus. Paintinci by Eembrandt. Dresden Gall., No. 1210. Car-goyle (dragon), in archi- tecture, a term applied to spouts projecting from roof gutters, frequently representing the most grotesque figures of animals. Garofalo(gah-ro-fah'-lo), Benvenuto Tisro, 1481-1559, b. at Ferrara. Garofalo, so called from the gilliflower with which he marked his pictures, is regarded as the ablest artist of Ferrara ; his coloring equals that of the earlier Venetian school. His most celebrated large work is the Entombment, in the Borghese Pal. " The most considerable works of his later time are not always the most attrac- tive. There is rather empty ideality of expression and a deficiency of making out in his large figures which the most brilliant execution cannot conceal ; and though his heads are beautiful and his drapery classical, there is a certain monotony in his numerous works." — Ktigler. Principal AVorks: Borgh., II., Nos. G, 9; Brera, 8o7 ; Cap., SO, 161,164; Corsi, VII. IS; Doria, I. Cor., £6: Dresd., 149-1-2-5-6; Frank., 43; Hermit., 5'.), 60, 61; Louvre, 412-13-14-15; Munich, 1172, 13-^3; Naples, 26, 52, 1S9, IflO; Nat. Gall., 81, 170, 642. 671 ; Parma, oC6, 369 ; Pitti, 5, 122, 246, 363 ; Turin, 108 ; Vat., H. Fam.; Venice, 452. Geneva, Swits., a delightful city of G8,000 pop., situated at the western extremity of the lake at the efflux of the rapid Rhone. The hotels which line the lake f-hores are magnificent struc- tures, and crowded with visitors during the summer. Those on ihe south bank have the attraction of the "English Garden,'' a charming and well-kept park ; and those on the north that of af- fording, in clear weather, a view of Mt. Blanc GENE 14' Ol 1? In'rJ LI a\ M 144 GENE Geneva was fortified by Julius Csesar ; 1084, Conrad II. was here proclaimed king. The contest between the Bishops and Prefects of Geneva as to temporal sovereignty was the ijriraal cause of the Reformation. Principal Objects of IntereH : The Cathedral, Musee Rath, Jar- din Anglais, Relief of Mont Blanc, Botanical Garden, Monuments, House of Calvin, House of Rousseau, and Reviliod's Gallery. The Cathedkal, erected by Conrad II., 1024, has been much changed by additions during the 8 centuries of its existence. Concierge in the rear (fee | fr.). Mons. to Duke de Rohan. Chair used by Calvin. Carved stalls and windows of the 15th cent. The Musee Rath, Rue de la Corraterie, upper end ; open Sun. and Th., 11-3; other days, 1-4. Vestibule: casts of modern SL-ulptures: Ghiberti's doors of the Baptistery at Florence, Graces by Canova. Hall: the Laoconn, Venus de Medici, Gladiator, Apollo Belvedere, Diana of Ver- sailles, Thorn-extractor. Pictures : * 19, Forest of Handeck, Calame ; *29, Sallenche, Diclay ; *28, Forest in a Storm, Diday ; *55 Cattle, Humbert; 101, Landscape, Salvator Rosa. *Jardin Anglats, on the s. bank at some little distance above the upper bridge, is a very pretty public park, with a fountain in the centre. At the entrance beside the quay is a column with various meteorological instruments. In the park is also a *Relief of Mont Blanc, 11-3, i fr.. Sun. and Th. free, showing the configuration of the Alps and the relative height of Mont Blanc and the surrounding peaks. It is said to contain 5,000 houses and a half million trees. Very desirable as a preparation for the visit to Charaonix. The Botanical Garden, near the Musee Rath, is reached by a short walk along the Bastion Bourgeois ; Busts of Chambrey, Trembley, de Saussure, and Rousseau ; also bronze David by Chaponniere. View of Mont Blanc from along the Quay Mont Blanc, best in the afternoon near sunset and clear evenings. On the 1. are the Aiguilles du Midi, Grandes Jorasses, and the Dent du Geant ; in front, the Aiguilles Rouges, the Mole, and the Aiguille d'Argen- tiere. Monuments : Mon. de TEscalade, Rue des Allemands. in com- memoration of the defeat of the Savoyards, 160?, in an attack upon the city. GENE 145 The National Mon., on the Quay below the Jardin Anglais, bronze group ))y Dorer, of Helvetia and Geneva, in commemora- tion of the union of Geneva with the Confederate Cantons, 1814. Mon. to the Duke of Brunswick, who bequeathed to the city 20,000,000 frs.; situated on the n. bank. Bronze statue of Rousseau, on Rousseau's isl., reached by the 2d. bridge. Eeniiod's Art Gallery, open daily, ex. Sun. ; small fee to the custode ; contains a coll. of antiquities and paintings. Among the objects of greatest interest is *Raphaers Madonna of the Goldfinch. See Madonnas^ No. 15. House of Calvin, No. 11, Rue des Chanoincs, near the Cathe- dral. His tomb in the cemetery Plain-Palais, place unknown. House of Rousseau^ No. 40, Grande Rue, n. side of the river. Histingidshed Citizens of Geneva: Necker, Madame de Stael, de Saussure, de Candolle, de Luc, Bonnet, Boissier, Say, Sis- niondi, d'Aubigne, Rousseau; Calvin, a native of Picardy. resided here several years ; Servetus, a Spanish physician, burned at- the stake on Champel Hill, by Calvin's order, for having written a treatise on the Trinity. Routes : To Lausanne, 1^ hr.; $1.25; 90 cts.; see Ronte "4. To rAius, via rontarlirr, 16 hrs. ; $14 ; $10.S0 ; see Route 88; via Macon. 14 hrs.; $15 : $11.60 ; 666 Route 39. To Turin, 11 hrs.; $8 ; §5.80 ; see Route 40. To Berne, 6 Ins.; $4.50 ; $;ilO ; see Route 34 to Lausanne, thence Route o3 Lausaime to Berne. To Chamonix, by diligence, 8 hrs.; $5. Ciiamonix to Geneva, 7 hrs. To Bouveret (Luke Geneva) by steamer, 4 hrs.: $1.60. Tour of the Lake, 7 a.m. to 6 p.m. Environs : Noyth batik of the Lake, Varembe, residence of Empress Jcsephino, later of Lola Montez ; Pr6gny (prain-yay), chateau of the Rothschilds, Tu. and F., 2-6, admission by card obtained at Geneva hotels; Fernex (fer-nay), 4 nils., home of Voltaire ; Coppet (-pay), stmr. 1 hr., home of Necker and Mme. de Stael ; both buried in the Chapel. Her writing desk and other articles shown ; mansion until recently owned by her grandson, the Due de Broglie. S. bank, Diodati, Lord Byron's Villa. Geneva, Lake of, Fr. Lac Leman, about 50 mis. in length, having a breadth of 9 mis. in the widest part, an alt. of 1,280 ft., and a depth of about 1,800 ft. It is noted for its deep blue color — the other Swiss lakes being greenish. The water is subject to sudden fluctuations to the height of 2 or o ft., for which, as well as for its peculiar color, no satisfactory explanation has ever been offered. Its height is from 3 to G ft. greater in summer than in winter. In scenery it i.=i inferior to lakes Lucerne and Ziiricb. Steamboats leave Geneva several times daily in summer for the upper end. via both the n. and s. banks ; 4 or 5 hr.^.; i^l.oO. Vy 10 UQ. GENO taking an early morning boat the excursion of the lake may be made, returning the same day. Cen'-o-a ; Ital. Genova; Fr. Genes; was an important city under the Romans ; a republic in the Middle Ages ; was con- quered by the French, 1684, and again 1800. Present pop. about 170,000. It is enclosed by a double line of fortifications, the inner 7 mis., and the outer 20 mis. in length, erected 1632. The beauty of its location and of its harbor constitutes the greatest attraction of the city. The finest view of the city is ob- tained when approaching from the sea ; within the walls it is gained from the dome of S. Maria di Carignano, at the s.e. end of the city ; the harbor is best seen from the Gran Terrazzo Marinoreo. In buOdings, Geuoa is more noted for its palaces than its churches. The Churches of greatest interest are, San Lorenzo^ the Cathedral, 1100, of alternate black and white marble, in the Romanesque, Gothic, and Renaissance styles. In the sacristy are relics brought from Palestine by the Crusaders. San Amhrogio^ church of the Jesuits, particularly rich in gild- ing and mosaics. S(in Stefano^ containing one of Giulio Romano's best works, *The Stoning of Stephen, over the high altar. San Annunziata^ church of the Capuchins, one of the naosfc gorgeous in the city. The Palaces, of which there are many, are usually open to the public. Palazzo del Municipio, near the centre of the city, with a haiad- some court and a fine staircase, has two letters of Columbus, and the violin of Paganini. Palazzo Bianco^ formerly the Brignole-Sale, possesses the finest collection of paintings in the city. The most notable picture in the gallery is a Madonna by Raphael. See Madonnas, No. 10. Palazzo dei Princzjn Doria^ at the w. end of the city, erected for Andrea Doria, " the Father of his Country." Palazzo Rosso^ with fine picture gallery. The Statue of Columbus, 1862, stands in the Piazza Acquaverde, The monument is composed of white marble, and represents America kneeling at the feet of Columbus, with sitting allegorical figures of Wisdom, Religion, Geography, and Strength. The Public Garden of Acqua Sola, the principal public resort,. is on the hiqh r-round to the n.e. GENR 147 ** Villa Pallavicini is one of the most important suburban attractions of Genoa. In all that constitutes a gorgeous palatial residence it has few equals in Europe ; 5 mis. from the city, Pegli station, on the railway to Nice. Villa opposite the station. Efjiites: To Turin, 4 hrs., $-";.40 ; $0.20; see Koute 52 to Alessandria, and thcnc- floute 42, Ales, to Turin. To Milan, 5 hrs., .$3.50 : $2.50 ; see Route 52. To Pisa, 4^ hrs., $;3.75 ; $2.60 ; see Route 53. To Nice, 6^ hrs., $4.30 ; $3. Genre Painting (zhawu-r; class, kind, or species). Pictures of life and manners, in distinction from historic and religious ; thus, domestic scenes, everyday life, interiors, comic scenes. Gerda, Legend of Rueinstein (rine-stiue). The hand of Gerda, the beautiful daughter of Siegfried, the robber knight of Rheinstein, was sought by so many knights that Siegfried held a tournament ac which Gerda was to be the prize of the bravest. Kuno, whom Gerda loved, after having vanquished all his antagonists, was at last overcome by the wicked Kurt, a favorite of Siegfried. Gerda's prayers and tears were of no avail, and she was commanded to make herself ready for her wedding. When the occasion arrived, Gerda asked to bo permitted to ride to the chui-ch. She had scarcely mounted, when the steed, which Kuno had presented her en her eighteenth birthday, at once broke away, dashed into the Rhine, and bore Gerda safely to Kuno in his castle at Reichenstein. Kurt, whilst pursuing, was thrown from his horse and killed, and Siegfried, by the stumbling of his steed, was mortally wounded, sur- viving only long enough to be borne to Reichenstein and to pronounce his blessing on Gerda and Kuno. Germain I'Auxerrois, St., Ch. of (safi-zher mafi-loaks- er-rwah), Paris ; facing the e. front of the Louvre ; founded by Childebert; destroyed by the Normans, 880; rebuilt by Robeit, 998. The bell of this church gave the signal of the St. Bartholo- mew massacre, tolling throughout the memorable night. In ISol, on an attempt to celebrate the death of the Due de Bervi. a mob destroyed the interior ; reopened, 1837. The water basin, with a finely sculptured group of three children, was designed by Madame Lamartine. The chimes of 40 bells play at 2 and 8 p.m. The signal bell is now in the tower of the Pal. de Justice. Germain-en-Laye, St. (zher-mafl-awft-lay), rly. from Gave St. Lazare every hr. ; 13 mis. Sun., Tu., Th. , 11-4. The castle, the home and favorite residence of Francis I., Henry II., and Henry IV., is a media3val structure of great interest. Birthplace of Henry 11., Charles IX., and Louis XIV. Upon the erection of Versailles, by Louis XIV., this place was abandoned as a royal residence. Converted by Napoleon III. into a *pre-historic and Gallo-Roman i\Iuseuin. Germain des Pre«», St. (zher-mafi-day-pmy), ch., Pfffis. 148 GESU Pounded by Childebert I.,. 557. In 861 destroyed by the Nor- raans, except the w. tower. The tower of Childebert was after- ward restored. In 1309, the abbey in connection was fortified by Charles V. against the English. The square buttressed tower dates from 990. In the second chapel of the choir is the tomb of Descartes. GesUy 11; c/i,, liomc^ on the Piazza del Gesu, rear of Palazzo Yenezia. This is the principal church of the Jesuits, and one of the most gorgeous in Rome, 1568. Beneath the high altar, in a bronze sarcophagvis, are the remains of Loyola, the founder of Jesuitism. At the end of the 1. transept is the altar of St. Igna- tius. The globe in the hand of the Almighty, said to be the largest mass of lapis lazuli known, has been ascertained to be composed of small pieces. Paintings of the dome, nave, and tribune by Baciccio. Ghiberti, Lorenzo (ghe-bair'-ty), 1378-1455, b. Florence. Known principally from his renowned bronze doors of the Bap- tistery, Florence. Ke won the commission for this work at the age of twenty, against Brunelleschi and other competitors. The first door of 28 panels occupied him 23 yrs. ; the second, 28 yrs. Buried in Santa Croce, Florence. See Baptistery, Florence. Ghirlandaio (gheer-lan-dah'-yo ; garland-twiner)., Domenico BiGOKDi, 1449-1494, b. at Florence. The master of Michael Angelo, and the first artist of his time in Florence. He was equally a master of composition, form, proportion, light, and shade. He gave to his figures an incomparable dignity of attitude and motion. The perfection of Florentine mosaics is largely due to him. " The life and works of Ghirlandaio form one of the great landmarks in the his- tory of Italian Art. A mind of great creative power and large aims, he gathered up the essential elements of art, and presented them in a unity such as had only •been seen previously in Giotto."' Ghirlandaio had two brothers, David and Benedetto, also pain- ters, but who attained no especial excellence. Principal Works : Berlin, Xos. 74-5-6 ; Dresd., 29 ; Flor. Acad., I. 50 ; Louvre, 202; Munich, 556-7-8: Naples, Tuscan Sch., 30 : Pitti, S5S : TJffi., 1295-97 ; Vat., Sis. Chap., tbree. Plorence, Oh. of Ognissanti, Last Supper, St. Jerome ; S. Marco, Last Supper ; S. Trinita, St. Francis ; Ch. of the Innocents, Adoration of the Kings ; S. M. Novella, Life of the Virgin and John Baptist ; Cath. Dome, Annunciation (mosaic) ; Pal. Vecchio, Madonna, St. Zenobia. Giant's Causeway, on the n. coast of Ireland. By rail from Belfast 2| hrs. to Coleraine ; by branch to Portrush ; thence by tramway 7 miles. The trip from Belfast and return may be made in one day by taking early train. GIES 149 The Causeway is a low promontoi-y of basaltic lock of columnar Etructure, sloping down into the sea. The columns, which stand nearly erect and are of regular geometric shapes from three to nine sides, rise as they recede from the water's edge to a height of 40 to 50 feet. As the uncovered portion of the Causeway comprises several acres, a guide is necessary to point out the objects of special interest — which, however, are not numerous — the triangle, the rhomboid, the exact pentagon, the hexagon, octagon, and nona- gon, the Giant's Spring, the Giant's Mother, the "Wishing Chair, the Giant's Gate and the Organ. The pleasure which the contemplation of such natural gran- deur bestows, is somewhat marred by the nonsensical tales which the guides persist in retailing at every point and turn. It is probable that this columnar structure underlies consider- able portions of the north of the island, as the same is observed on the east coast between Belfast and Larne. Gibraltar. See p. 571. Ciessbach (ghees'-bahk), Switz. See Route 30. Lake Brienz. Note 2. CileSy St., ch., Edinhurgh^ founded in the 9th cent., rebuilt in the 14th, and again 1829. The interior was redecorated 1372, It is 20(J ft. in length, and has a crown shaped spire, 161 ft. in height. In papal times it contained 40 altars, and was served by 70 priests. In the early Protestant period its pulpit was occu- pied by John Knox. It ia also noted as the place where Jenny Geddes hurled her stool at the head of the Dean ; also where the oath of the Solemn League and Covenant was taken, and where the Covenanters taken at the battle of Hullion were imprisoned. It is now divided into three parochial places of worship, the High, ihe Old, and the West St. Giles. Giordano, Luca (jor-dah-no), "Fa Presto," 1632-1705, b. Naj)les ; pupil of Ribera and Cortona. He treated every variety of subject with marvellous fertility of genius. The churches of Naples abound with his pictures. In 1690 he was invited to Spain by Chas. II., and left for the Escurial not less than 50 works. He imitated both Ribera and Paul Veronese. '• No painter ever made worse use of extraordinary gifts.*' — Kiigler. Principal Works : Bclv., one; Berlin, 441: Brera, 392; Corsi, VII. 21; Drcsd., 508-9. 572-.') : Hermit.. 291-3-3E-4: Louvre, 191; Munich, 442, 56»; Napiet, Sala Grandi-, c.9: Peslh. VII. 'ILl \ Venic-f. all. 150 GIOR Giorgione (jor-jeeo'-nay); Giorgio Bahbarelli, 1470- 1511 ; Italy ^ pupil of Gio. Bellini. An ardent lover of nature, li« early abandoned the rules and mannerisms which had hitherto prevailed in Venice, studying* models and seeking- natui-al effects. Liibke asserts that he is the first master in whose works land- scape is poetically conceived. And in general his works present a beauty of execution unknown in Venice prior to him. In coloring he attained a perfection which has never been surpassed. He was the master of Titian, and in style and composition his precursor, whilst as to coloring he is regarded by many as the superior. He died at the early age of 35, and had he lived, could hardly have failed of attaining the highest rank among the great masters. His works are not numerous. " No painter's reputation stood higher during his life, or has remained more steadily at the same elevation to the present day.""— Rnr/ler. Pkincipal Works : Belv., one; Berganio,157? 171 ? 1&7? : Barlin., 152?; Borgh., 13 ? ; Bruns., 225 ? ; Corsi, 80 ? ; Dresd. , 218 ? 219 ? 220 ? 221 ? 2389 ? ; Louvre, £8 ?; Munich, 582 ? 470 ?; Nat. Gall., 269 ; Pcsth, 143 ?; Pitti, 161 ; Uffi., 571 ? 621 ? 622 ? These works are attributed to Giorgione in the official cata- logues, but in many instances they are doubtless the work of other artists. Giotto di Bondone (jot-to-dee-bon-do'-nay), 1266-1337; b. at Vespiguano, near Florence ; pupil of Cimabue ; painter, sculptor, and architect. Discarding the Byzantine he sought a closer imitation of na- ture, and a wider range of imagination. Through his untiring energy, and his better principles of art, he awakened a new in- GIOV 151 terest throughout Italy. Such was the appreciation of his talent, that in his passage through the countrj', he was detained at almost every considerable village, to execute a work for its church. Thus his works were scattered throughout the country. From the delightful symmetry of his forms, the beauty of his figures, the vivacity of his faces, he won the title of ' ' The For- tunate Disciple of Nature." " It is impossible to ovorestimate the influence of Giotto's genius. He opened a fountain of nature to the gifted generations who succeeded him in Italy which permeated through the length and breadth of the land, spreading beauty and fer- tility in its course." — Kiigler. •'His heads have a great sameness — long Byzantine faces and figures. He sel- dom succeeds in the passionate emotions — anger, hate, or rage. His attempts are apt to fall into grimace. ... In the Ch. of S. M. dell' Ai-ena, at Padua, he proved himself one of the greatest masters of any age." — Lilbke. As an architect he designed and superintended the erection of the Campanile at Florence, still called Giotto's tower, and re- garded as one of the most beautiful in Italy. Florence conferred upon him the right of citizenship, and bestowed a pension of 40 florins per year. En- tombed in the Cathedral of Florence. Peincipal Wokks : Berlin, 1073-74 ; Bolog., 102; Brera, 310; Flor. Acad., 15; Louvre, 192; Munich, 114S, 1152, 1420?; Nat. Gall., 276; Parma, 431 ? ; Pesth, III. 79; Turin, 91; Uffi., 6 ? Also at Ansizi, Basil. ; Life of St. Francis, Allegories of Poverty, Obedience, Chastity, Scenes from the New Test., Salutation, Nativ- ity, Presentation, the Innocents, Flight into Egypt. Florence, Bargello : Portraits of Dante, Do- nati, and Latini. Santa Croce : Peruzzi chapt 1. Scenes from the life of John Bap. and St. John Evang. ; chapel des Bardi, Life of St. Francis; chapel des Baroncelli, Christ Crowning the Virgin ; Acad, of Art, two panels with 12 scones from the life of Christ, and 10 from the lite of St. Francis (copies at Berlin). Naples : Convent S. Chiara, Miracle of the Loaves. Padua : Chapel dell' Arena, 3S scenes from the life of Christ and the Virgin, Christ Glorified. The Last Judg- ment, Virtues and Vices. Rome: St. Peter's, La Navicella (mosaic). Martyrdom of St. Peter, fiizures of Saints. St. John Lateran, Pope Boniface VIII. opening the Jubilee. 1300. ♦Giovanni e Paolo, SS. (jo-van'-ny-a-paho-lo), ch.,1240, the " Westminster Abbey of Venice." Contains the tombs of the Doges, whose funeral service always took place here. N. Aisle: T)M\t(i— Giotto. 152 GIOV *Tomb of Doge Malipiero ; r., in niche, Doge Steno; eques. stat. of Gen. Guistiniani ; *Doge T. Mocenigo ; Doge Marcello ; eques. stat. of Baglioni; Doge G. Mocenigo. S. Aisle : *Tomb of P. Mocenigo, with 15 statues ; mon. to Bragadino, defender of Cy- prus, who was flayed alive by the Turks ; altar-piece, by Bellini. S. Transept: Tomb of Gen. Orsini, with eques. stat. Choir: Tombs of Doges M. Morosini, *Loredano, **Vendramin, *M. Cor- ner. N. Transept : St. Helena presenting the Baton to Gen. Ca- pello ; Doge A. Venier ; eques. stat. of L. da Prato. Giovanni de FlorentinI, S. (jo-van -ny), ch., Bo77ie, via Giulia, near the Ponte S. Angelo, the national ch. of the Tuscans. Contains Salvator Rosa's celebrated Martyrdom of SS. Cosmaand Damiano. Gisela (ghee-say -lah), Legend op Rudesheim. The Knight of lludesheim being made a prisoner by the Saracens in the Holy Wars, made a vow that if he returned safe home he would dedicate his only daugh- ter, Gisela, to the cloister. Gisela, in his long absence, had been wooed and won by the Knight of Falkenstein. Upon the father's return, and communicating to Gisela his vow, she became insane, and at last precipitated herself from the tower into the Rhine. **G!adiator, The Dying, stat. in CapitoUne 3Ius., Borne. Found in the gardens of Sallust. A Greek work, sculptor unknown. It has long been called the Dying Gladiator, but it is now believed to be a wounded Gaul. Right arm restored by M. Angelo. One of the finest Greek works known. " This figure cannot rep- resent a gladiator, because it is not found that in good times of Art statues were ever erected to prize-fight- ers, and because no Greek artist of sufficient merit to execute this figure probably made gladiators, and as in the flourishing period of Ai-t no gladiatorial games were known to the Greeks."'— Wmc7celman7i. " It is a most tragical and touching representation, and no one can meditate upon it without the most melancholy feelings. Of all proofs, this is the surest of the effects produced by Art. The forms are full, round, and manly ; the visage mournful ; the lip yielding to the effect of pain ; the eye deepened by despair ; the pkin of the forehead a little wrinkled ; the hair clotted in thick sharp-pointed locks, as if from the sweat of fight and exhausted strength ; the body large ; ths Dying Gladiator— iiowe. GLAD 158 Bhoulders square ; the balance well piu.-ervtu by the hand on which he rests ; the limbs finely rounded. The joints alone are slender and fine. No affectation of anatomy here." — John Bell. "But the charm and power of the statue consist in the amazing truth with which two great elements of humanity and mortality are delineated. A vigorous animal life is suddenly stopped by the touch of deafh. The artist gives us all the Ijathos and the tragedy of death, without its ghastliness and horror. The dying man is no longer a trivial person stained with coarse employment and vulgar as- sociations, but an immortal spirit. The rags of life fall away from him and he puts on the dignity and grandeur of death. We feel ourselves in the presence of that awful power before whose sceptre all mortal distinctions are levelled. Life and death are all that, for a time, we can admit into the mind." — HiUard. "I see before me the gladiator lie : He leans upon his hand — his manly brow Consents to death, but conquers agony, And his drooped head sinks gradually low, And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one. Like the first of a thunder-shower ; and now The arena swims around him — he is gone. Ere ceased the inhuman shout which hailed the wretch who won." —Byron,Childe Harold. " I do not believe that so much pathos is wrought into any other block of stone." nawihorne. ^Gladiator, Farnese, stat.., Naples, Nat. Mus., Rail of the Flora, No. 16-(30). " Faint with agony, his trembling knees seem hardly to support him. He has received his death-wound in the heart and looks as if staggering under it. Tho half open lips show the difficulty with which he draws the little remaining breath, and the upturned eyes bespeak the depth of his pangs. It seems as if the un- fortunate victim were about to fall at our very feet. Head, arms, and hauda modern."' — Monaco. **Gladiator, Fighting, orBoKOHESE Beho, in the LowBre. The only kuown remaining work of Agasias. Believed to be a soldier resisting the attack of a horseman, and not, as formerly supposed, a gladiator. Statues: Glad. Cap. I. ** 1. Louvre, * Borghese ; Naples, Far. ** 16-(o0). 36; Vatican (Ch.j, :)12. Glasgow, Scot, (clais-dhu ; dai'k ravine), is a comparatively modern city, and possesses little of historic interest. During tho last half century its growth has been unequalled in Great Britain, and it now ranks as the second city in the United Kingdom, having a population of 700,000. In iron shipbuilding it stands as the first city in the world — its docks lining both sides of the Clyde for miles. It is estimated that Glasgow consumes one million tons of iron per year in its manufactures. It was tho 154 GOBE residence of Watt, the inventor of the steam engine, and is en titled to the honor of having launched the first European steamer. It possesses an extensive foreign commerce, and has two steam- ship lines to New York, the Anchor and the State. The principal object of interest in the city is the * Cathedral, dating from the 12th cent. The carvdng and decoration of the screen and of the columns are exceedingly fine and in good pre- servation, but the chief object of admiration is the stained glass decoration. There are 80 windows in all, of which 44 are designated as the great windows, being about 30 ft, in height. Each window is illustrative of some event of biblical history. * The crypt is particularly worthy a visit, both for the beauty and magnificence of its architecture, and as being the scene of the meeting of Rob Roy and Osbaldistone in " Scott's Rob Roy." The Cemetery or Necropolis adjacent, contains numerous fine monuments ; conspicuously that of John Knox, George Square, in the centre of the city, possesses monu- ments to Sir Walter Scott (centre). Queen Victoria, Prince Al- bert, Sir John Moore,' Lord Clyde, James Watt, Sir Robt. Peel, and Mr. Graham. Parks : Green Park, along the margin of the Clyde ; West End or Kelvin Grove, of forty acres, delightfully situated ; and the Queeii's^ or South Side Park of a hundred and fifty acres, near which Mary Queen of Scots lost the disastrous battle of Langside and with it her throne. Routes: To Edinburgh direct, 1)4 hr., §1.40 ; ^1 ; see Route 3, B, C, D, via "Balioch, Loch Lomond, Loch Katrine, and Stirling, 12 hrs., !g5, besides coach- men's fees. May be made in one day by taking early train ; see Route 3A. To Liverpool, 5 hrs., $6; ^5; see Route 4. To London, 10 hrs., $12; $10; see Routes 4, 5, and 6. Steamers leave daily in summer for Liverpool, Dublin, Belfast, Londonderry, Oban, and the Lakes. CobeUns (go'-beh-laft), Paris^ avenue des Gobelins; ^ ml. beyond Jardin des Plantes; W. and Sat., 1-3. No charge, but gratuity expected. This royal establishment for the manufac- ture of Gobelins has existed since the middle of the 17th cent. Six square inches is regarded as an average day's task. Several of the exhibition rooms were burned during the communist in- surrection, 1871. \st Room : 26, Reception of Persian Ambassadors ; 27, The Seine ; 33, Manna iu the Wilderness ; 22, Napoleon Presenting a GLAS 155 156 GODF Sword of Honor to the Sheik of Alexandria ; 28, The Song ; 30, Indian Scene. Corridor: 1. Amyntas and Sylvia (1760). Large Room: 21, Juno; 4, Don Quixote; 2, Vcuus in the Forge of Vulcan ; 13, Dogs, a study ; 7, Dog and his Companion ; 6, Venus bidding adieu to Juno and Ceres ; 11, Christ in the Sepulchre; 10, Louis XIV.; lo, Colbert; 12, Jupiter Pardoning Cupid ; 16, Dance ; 18, Marriage of Alexander. Codfrey of Bouillon (bool-yon), b. at Boulogne, France. In 1096 he led the first Crnsade to the Holy Land, and after the cap- ture of Nicea, Antioch, Edessa, and Acre, took Jerusalem, 1099. Being proclaimed King of Jerusalem, he reigned one year, dying in 1100. Statue in Brussels. Gothard, San, Road and Pass. See Route 25. Coy -en, Jan van, 1596-1656, b. at Leyden. One of the best Dutch landscape and marine painters of his time. His works are characterized by a pervading low tone of color, which in his sea pieces, gives the water the heavy gray often seen off the Dutch coast. This style of color prevailed to a considerable extent among other painters during and after his time. His works, both as to accuracy of drawing and a faithful delineation of nature are those of a master hand. Principal Works : Augsburg, 5G1), 5S5, 5S6 ; Belv., one ; Berlin, 865D ; Dresd., 1131; Prank., 173 A, Hermit., 1126, 11:29 ; Lille, 245; Louvre, J 51-4 ; Munich, 1378, 1417; Rijks, 121, 122. Grazle, S. Maria delle (grat'-zee-a), ch., Milan^ on the ex- treme w. margin of the city. Noted particularly for the **Last Supper, by da Vinci, in the Refectory adjacent. See Last Supper. Cri ndelwald ( Glaciers), Bwitz.; amid the Bernese Alps, about 12 miles from Interlaken. Excursions from Interlaken 10 hrs. ; 1 hr. carr. , 16 fr. ; 2 hr. carr., 30 fr. (May be combined with the excursion to Lauterbrunnen, the falls of the Staubbach, and the Wengern Alp ; 2 days.) The route lies amid the most magnifi- cent Alpine scenery and affords unequalled views of the Jungfrau. The great attraction at Grindelwald is its proximity to the two glaciers, the Lower 40 min. walk from the village, and the Upper 1 hour ; chair 6 fr. The peak to the r. is the Eiger, 13,040 ft. ; that between the glaciers, the Metteuberg, 10,200 ft. ; that to the 1. the Wetterhorn, 12,162 ft. The Upper Glacier, though less extensive than the Lower, is of greater interest, as the ice is purer, and, being less covered with debris, affords a more satis* lactoiy view, and the grotto displays a richer color. GROT 157 Crotto of Sejanus and Grotto of Posiiipo, Naples, two tunnels through the ridge on the n. w. of the city ; the first excav- ated B.C. 37, the latter in the reign of Augustus. Of little interest. Cubbio Ware. See FoLtery. Guercino (gwer-chee -no), Gio. Fran. Barbieri, 1591-1666; b. at Cento, near Bologna. Chiefly self-taught ; works are bril- liant in color, life-like, shadows frequently heavy. His early style exhibits greater power than his later. The Nat. Gall, has a fine Dead Christ. His masterpiece is St. Petronella, in the Pal. of the Conservators at Rome. " Of a superficial character, but painted in a masterly manner,'" — Kugler. His works number 250, besides frescos. Principal Works : Bolog., 12, 1-3 : Eorgh., YI. ], 5 ; Brera, 3:28 ; Cap., 18, 17, 3-1.143; Drcsd., 500-8-9-10-11-12; Her- mit., 2o9, 240-1 : Liecht , II. 35 : Louvre, .10-2-6-8-9, 51 ; iladrid, 249, 254 ; Naples, Sala Correggio, 15 : Nat. Gall., 22 ; Pitti, 99: Turin, 239, 242; Uffi., 1114, 1137; Vat., three. Guido Reni (gwee-do ray- nee j, 1575-1642, b. at Bologna; studied in the school of the Car- racci. Going to Rome he gained, under the influence of the works of Rai)hael and Caravaggio, a style of great excellence for its grace and sentiment. He remained in Rome 20 years, when he returned to Bologna, where he passed the remainder of his life. Given to expensive habits, he painted numerous inferior pictures for dealers. Many of his Magdalens also exhibit a monotonous similarity of drawing and expression. His important works, however, place him among the first modern masters. His Aurora, in the Rospig. Pal., and the Cru- cifixion of St. Peter, in the Vatican, arc regarded as his master- pieces. See Aurora. "The progressive development of Guide was fiingnlur in its kind, for its period was marked bj' works very dip.'jimilar in style. Those of his early time have an imposing, almost violent character — grand, powerful figures, finely niranged with deep shadows. . . . At a Fubf^-i>->^^^; 5=::^ 1T-E3- Heidelberg Castle. present it is attached to the Gd. Duchy of Baden. Being- an im- portant position, as commanding the valley of the Neckar, a stronghold was erected upon the side of the Konigsstuhl Mountain in the 13th cent., as the seat of the Electors. ** TnE Castle, the seat of the Palatinate, was commenced in the 13th cent, and enlarged and strengthened by successive Elec- tors in the 14th and loth cents., until it beoam<^ one of the most 11 162 HELE impreguable fortresses of Europe. It was blown up by the French, 1689, in violation of the stipulations; in 1693, entirely dis. mantled ; in 1764, it was struck by lightning, which nearly com- pleted its destruction. As it now stands, it is one of the most magnificent ruins of Europe. No description can convey an ade- quate impression of the strength or extent of the fortress, and as a guide always accompanies the visitor, it is only necessary to indicate the chief points of interest— the Fountain, wiLhcolamns from the Palace of Charlemagne ; the Chapel, the Great Tun, the Fireplace, the Blown-up Tower, and the Great Balcony. Among the favorite resorts commanding fine views of the city and surroundings are the Molkencur, at an elevation of 200 ft. above the Castle, and the Konigsstuhl, 700 ft. higher still, with a tower which commands an * extensive view of the Valley of the Neckar, the Rhine, and the adjacent mountains. * Th6 Pldlosopheivweg is a delightful walk, 2 mis, in length, upon the hills on the opposite side of the river. The University, founded 13S6, is situated in the midst of the town, and possesses no buildings commensurate with its reputation. Boutefi: To Cologne by rly., 6 hrs., $6 ; $4..50 ; see Route 21, Held, to May- ence, thence via Route 20, Mayence to Cologne. To Mayence, 2 hrs., ^l.SO: ^1.25; see Route 21. To Frankfort, 2 hrs., §1..50; $1; sec Route 21 to Darmstadt. To Bale, G hrs., $5 ; $3.40 ; see Route 22. To Munich, 10 hrs., $7.25 ; $4.75 ; see Route 5G. Helena, St., Flavia Julta, mother of Constantine, said to have discovered the Holy Sepulchre aud the True Cross at Jerusalem. Entombed in the Ch. of Ara Coeli, Rome. Helvetia (hel-vee'-she-oh), the n. w. portion of Switzerland, lying between Lakes Geneva and Constance, aud the Jura rauge. B.C. 107, the Helvetii defeated the Romans and killed the Con- sul, L. C. Longinus, on Lake Geneva; 101, invaded Italy with the Ciinbri, whose defeat caused their return ; in 58, under Orget- orix, they migrated in a body to the lands along the upper Rhone. Here they were met by Julius Ctesar, defeated, and compelled to return to their own country, and gradually adopted Roman manners and life. Henry iV«, of France, born at Pau, 1553; married the daughter of Henry II. , and on the death of Henry III. inherited the throne. With a view to put an end to the religious wars of France he yielded to his friends and abandoned the Protestant for the Catholic faith. After 22 years' reign he was assassinated HENR lOZ in the streets of Paris by a religious fanatic. His body lay in state in the same room in the Lonvre (Salle de Goujou) in which his nuptial festivities had been celebrated. By his second wife, Marie de Medicis, he had six children, one of whom, Henrietta Maria, afterward became Queen of Chas. I. of Eng-. * Henry iV,, Statue Ofj bronze, equestrian, upon Pont Xeuf, Paris. A statue was erected here in 163j by the widow of Heniy IV. ,. Marie de Medicis, the bronze horse for which had been sent her from Florence by her father. In the revolution of 1792 the statue was destroyed and cast into cannon. In 1818 the present statue was erected in its jilace by Louis XVIII. On either side are reliefs of Henry distributing bread, and proclaim- ing peace at Xotre Dame. Henry VIIS., of Eng., b. at Greenwich, 1491; Fucceedcd to the throne, 1509; married Catherine of Aragon, his brother's widow, 1509. In 1527 he moved for a divorce of Catherine, which was pronounced by Cranmer, but annulled by Pope Cleni- ent VII. Henry, however, married Anne Boleyn, dissevered the Eng. Ch. from the Papacy, and dissolved the monasteries. Having a passion for Jane Seymour, Anne Boleyn was tried and beheaded, and Jane Seymour became Queen the next day. She lived, however, only eighteen months, leaving a son two days old. A month after, he desired Francis I. , of France, to send some of the handsomest ladies of his kingdom to Calais, where he would make selection. Francis declining, two years passed, when Cromwell, one of Henry's privy council, recommended Anne of Cleves. They were married, but the King was soon dis- gusted, Cromwell beheaded, and Anne divorced. Soon aftrr he married Catharine Howard, but finding she had been unfaithful, he caused her to be beheaded, and married Catharine Parr, who survived him, his death occurring, 1547. Entombed in St. George's Chapel, Windsor. In the latter part of his life he be- came tyrannical and executed every one who opposed him — the number amounting during his reign to 72,000, according to Hol- linshed. He left three children ; Mary, dau. of Cath, of Aragon ; Eliza- beth, dan. of Anne Boelyn ; nnd Edward, son of Jane Seymour. Her-cu-la-ne-um, beneath modern Resin a ; 4 mis. from Naples, may be reached by rly. or by carriage on the way to Vesu- vius or Pompeii. As, however, it is buried to the depth of a hundred ft. . and can be seen only 'oy the light of a lamp, it pos- 164 HERC sesses little interest compared with Pompeii. The discovery of Herculaneum occurred in 1719, when, in the digging- of a well, at the depth of 90 ft. the Amphitheatre was reached. Owing, however, to the fact that the material in which it is imbedded U; lava rock, and that the modern town of Resina is directly over the ancient city, excavations have been attempted but to a limited extent, uncovering only the Amphitheatre, L'asilica, Forum., and a few dwelling-houses. The works of art found, however, were both numerous and of the greatest value. Here were also found the Papyrus rolls of the Museum at Naples. Her'-cu-3es, Heracles, myth, son of Jupiter. The twelve Labors of Hercules are : I. Slay ins: the Neraean Lion ; If. Slay- ing the Lerncean Hydra ; TIL Capture of the Arcadian Stag ; IV. Slaying the Erjraanthian Boar ; V. Cleansing the Augean Stables ; VI. Destroying the Stym- phalian Birds ; VII. Capture of the Cretan Bull ; VIII. Capture of the Thracian Mares ; IX. Seizure of the Girdle of the Queen of the Amazons ; X. Capture of the Ery- thean Oxen ; XI. Getting the Gol- den Apples of the Hesperides ; XII. Bringing Cerberus from the Lower World. Statues : Berlin, 58, 70, 110, 2-il. 761, lOli) : Br. Mu., HI head, 142 ; Borgh. V:ila, IV. 9; Cap., III. 3, basnlt; Glyp., 54; Louvre. * ( ); Is'apleP, IS. 11;): Torlo., Sy, 34, C4, 2^0; Vat. (Ch.), 111. 142, 151, 2!)4, IC,7, 5(i5, n:S?,. (5'.»3. 7Z2 ; (V. C), 8, toro. 134, l-ST, 20S, 2i:], SSC, 544, 5(55. Hercules, Farnese, stat., Nat. Mus., Naples, by Glj'con of ^ Athens; colossal, with his lion skin Hercules— iViapZes. and club, and in his right hand the apples of the Hesperides. Found The legs were not found till 20 years in the Baths of Caracalla. after the rest of the statue. Hermann, Count of Stahleck. Legend. A war having arisen between the Count and Arnold, the Abp. of Mayence, the latter induced the chaplain of the Castle to act in his behalf, who thereupon re- fused absolution to the Countess unless she should induce the Count to cease the war. HEYD 165 Failing in this attempt, the chaplain procured two assassins, who, enlisting in the Count's service, succeeded in murdering him and bringing his head to the chaplain in the castlo. The Countess having been informed by a trusty attend- ant, rushed into the chaplain's room and plunged a dagger into his heart. Over- come with sorrow, she became insane and at last threw herself from the walls of the castle upon the precipitous rocks below. Soon iifter the people arose and put the wicked Archbishop to death. Heyden, Jan van der, Heyde, 1637-1712, b. at Govin- cJiem^ IIol. Architectural subjects, palaces, churches, Dutch towns, with canals. His paintings are admirable in finish, color, and compositicn. Hilda's Tower (of the ''Marble Faun"), the Torre delta Scimiu ; a low medij3eval tower in the Via dell' Orso, No. 18, Ptome. Hobbema, Meindert, 1638-1709, b. at Amsterdam, pupil of Salomon Ruysdael. He divides with Jacob Ruisdaelthe honor of being- the best Dutch landscape painter. He is fond of sun- shine, his color is warm, his foliage exquisite. Subjects are broad fields, meadows with pools, and particularly watermills, ruins rarely. His pictures now bear high prices, one recently having brought .^16,000. Hogarth, William, 1697-1764, b. in London; applied him- self with indifferent success to portraits ; but his satirical works, "The Harlot's Progress," "The Rake's Progress," and "Mar- riage a la Mode," soon gave him a place among the masters. The Marriage a la Mode, six pictures, is in the Nat. Gall. , London. "England did not produce a first-class master of genre until the Ifith cent, when such a one appeared in Wm. Hogarth." Holbein, Hans (hahns hole-bine), 1460-1523, Ger. Known as the "Father." Executed large numbers of pictures for churches in Nuremberg, Augsburg, Munich. Frankfort, and Bale. His best works are in the Cathedral, Augsburg. Trincipal Works: Augsburg, Xos. 25-0-7,84-5-6, (;S3-4-5 ; Bale, 1; Eel v., one ; Frank., Tfl, 82 ; Mimich, 15, 10, 17 ; Nuremberg, 5, 0, 49, 50. Holbein, Hans, Yr., 1497-1543, b. at Augsburg, Ger. The Angs. Gall, has 4 compositions executed at the age of 15. In 1516 he removed to E'de ; the next year he went to Lxiccrne to decorate a house; in 1521 he was commissioned to decorate the Rathhaus or Town Hall at Bil'.e ; went to London, 1526, and entered the service of Henry VIIT. about 1530. In 1536 ho painted the portrait of Sir Richard Southwell, now in the Uffizi. Among his other notable pictures, are the Jane Seymour, in tho im HOLE Belvedere Gall. , Vienaa ; Thomas Moritt and a Madonna, in the Dresd. Gall.; Anne of Cleves, now in the Louvre, which Henrv VIII. is said to have liked better than the original whom he had married ; and the celebrated *Madounas of Darmstadt and Dres- den. Holbein has also been considered the painter of the Dance of Death in Bile and Berne. It is probable that the designs were furnished by Holbein, as he engraved on wood 53 sketches of tl;o Dance of Death, but not that they were painted by him. Ho also engraved 90 illustrations of the Old Testament. His pictures are characterized by hard faces and dark back- grounds. He died of the plague in London, 1543, aged 48, and is buried in the church of St. Cath. Cree? '•He is not only one of the mo.st precocious geniuses in the history of Art, appearing as an excellent painter in his eighteenth year, but he also belongs to the few painters of the North who were imbued with the qualities of the Italian school^ and at the same time developed them in an independent manner. Ho is the S)le northern painter of that day, not even excepting Diirer, who attained to a free, magnificent style, broke away from the wretchedly depraved taste of his contemporaries, and portrayed the human form in all its truth and beauty. " His numerous portr dts. in delicacy of conception, incomparable smoothness, and uns'.irpassed truthfulness in the delineation oC life, noble simplicity and ex- quisite finish, united with superb freedom of treatment, take rank among the best productions in this department." — Lubke. '•Holbein may justly be considered of all the German masters, the one most fitted by nature to attain that supremacy of art in historical painting which the works of his great Italian contemporaries Kaphael, del Sarto, and others dis- play. ... In portrait-painting, to which his powers were especially devoted^ lie stands on a level with the greatest masters." — Kugler. Pkixcipal Wobks: Ant., No. 198; Bale, 9, 3, 4, 5, 6, and a series of 23 pic- tures, from Nos. 7-35, early works, executed perhaps with the assistance of his father and brother; Belv., seven; Berlin. 5S6-B-C ; Boigh., XII. 20; Bruns., 9, 10?: Bruss., 19; Darm.. 226: Dresd., 1809-10; Frank., 83. 83A : Hague. three- Madonna — Holbein. HOLY 167 Hamp. Ct., 559, 563, 592-3-4-V-8, 6U3-6-b-lO ; Hermit., 465 f ; Louvre, 20G-T-S- iO-il-l-2-i:J ; ilunich, 97?; Parma, 355?; Pitti, 2-23?; Turin, 38G ; Uffi., 765; Venice, 266 ? Ho-!y-rood Abbey and Palace, Edinburgh, on the eastern margin of the city. Daily ex. Sun., 11-8, 6d. ; Sat., free. The Abeey, including a chapel, cloisters, and royal apartments, was founded by David I., 1 128 ; sacked by Ed, II., 1322 ; burned by Richard II., 1385; restored at the end of the loth cent.; nearly reduced to ruins by the English, 1547 ; sacked by a mob, 1G88. What remained of it was restored 1758. Fourteen years later the entire roof of the chapel feil^ in which condition it now rcraains. * The CriAPEL. Here Ch. I. was crowned ; and here were married James II., Ill,, IV., Queen Mary and Lord Darnley ; and here were entombed in a vault in the corner at the right, David II.; James II, and Queen ; son of James IV,; Queen and 2d son of James v.; and Lord Darnley, Mary Queen of Scots is entoinbed in Westminster Abbey. As the royal tomb waa desecrated by the mob, 1G88, it is not known what royal remains are now entombed within. The Palace. — The rooms open to the public, 11-3, are the Tapestry Room, Lord Darnley's Rooms, The Picture Gallery, and Queen Clary's Apartments. The Picture Gallery contains about 100 imaginary portraits of Scottish Kings by a Flemish painter, De Witte, 1GS4. Queen Marifa Apnr(me?its, on the 2d floor, include the Audi- ence Chamber, the Bed-chamber, Dressing, and Supper Rooms. 27ie Audience Chamber with ancient tapestries and embroidered chairs, contains the bed occupied by Cbas. I, when residing in Tlolyrooi, and by his unfortunate descendant, PrincerChas. Ed,, and, also, after the battle of Culloden, by the Duke of Cumber- land, his conqueror. This room is the place of the historic in- terviews between Queen Mary and John Knox, * Queen Mary^s Bed-chamber adorned with emblems and init als of Scottish Sovereigns and with the portraits of the Queen, Henry VIII., and Elizabeth, The bed. the hangings, the fringes nnd tapsels arc those of the Queen, and remain nearly as when the room was last occupied by her. At the foot of the bed is the door leading to * Queen Mnrij^s Siip^ier l{.oorn, the small private apartment where the Queen was seated with a few friends when the King i68 HOND and the conspirators rushed in for the assassination of Rizzio. Adjacent is a small door leading- to the secret stair by which thej' gained access to the Queen's private apartments. The Dressing lioom is a small chamber, containing no relics and of little interest. "About seven in the evening Mary was seated in the little i-oom in the north- west turret, at one of those small supper parties, in the easy cheerfulness of which she took especial pleasure. Suddenly the King: entered the closet in which Mary was seated, and, placing himself by her side, threw his arm in an affectionate manner round her waist. In another instant Lord Kuthven stalkc <1 into the apartment, and immediately after several others with torches, swords, and daggers, overthrowing the table in the confusion. The table fell upon the Queen, whereupon Ruthven. brandishing his dagger, exclaimed, ' No harm is intended to you, madame, but only to that villain." " The unfortunate Rizzio, who saw that his life was aimed at, sprang behind Mary, and, clutching her gown, cried, ' Save my life ! ' The con&pirators pressed forward, and, while Darnley strove to unfasten Rizzio's hold of the Queen's per- son, Ker, a brutal borderer, presented a pistol to her bosom, tlireatening to fire if she made unnecessary resistance. While Darnley detained the Queen, Douglas snatched the King's dagger from its sheath, and, stabbing Rizzio with it over Mary's shoulder, left it sticking in his body. The conspirators then dragged the wretched secretary furiously through the bed-room and ante-chamber, stabbing him as they went, till he fell at the head of the staircase, outside the door of the ante-chamber, pierced by fifty-six wounds. "Mary, in the meanwhile, sat trembling in the turrret, till one of her ladies brought her intelligence that Rizzio was slain." — Dist. of Jlolyrood. Hondecoeter, Ciles (hon-deh-koo-ter) ; son, Gysbrecht ; grandson, Melchior. The latter is the most celebrated ; 1G3G- 1695, b. at Utrecht. Distinguished as the painter of birds, par- ticularly domestic fowls. "No one ever painted cocks and hens, ducks and drakes, and particularly chickens, so admirably as Melchior Hondecoeter. He understands these familicn as thoroughly as the Italians their Holy Families, and expresses the maternal love of the hen as admirably as Raphael has done in the case of his Madonnas. . . . Of the eight pictures by Hondecoeter in the Museum of Amsterdam, ' The Floating Feather' is the most famous. The faintest breath of wind would blow it away.'' —Burger. Honthorst, Cerard (hon'-torsf), 1590-165G, b. Utrecbt, Hoi. ; pupil of Bloemart ; subjects various ; sacred and profane hist., myth., genre, and particularly night scenes. Went to Eng- land on invitation of Ch. I., but remained only six months. Works are found in all the large collections. HDOghe, Peter de (ho'-geh), Hooche, Hoogh, Hooge, 1632 ?-16Sl ? llol. His works, of which 100 are known, are dated 1658-1670. His subjects are interiors, court-yards, and gardens. His sunlight, both in landscape and interiors, is unsurpassed. HORS 169 Horse-Cars, or Tramv/ays, as they are usually called, are in general use in all the large cities of Europe. In London and Paris they are principally from certain central points to the suburbs, and not through the heart of the city. In the Netherlands, Germany, Denmark, Sweden, Russia, and Austria, the cities are well supplied with tramways. In Italy they are at present in use in Turin, Milan, and Naples. The cars usually have definite stopping-places, every three or four squares, and the fare is proportionate to the distance, rendering it necessary to inform the collector, before he will receive the fare, of the place at which the passenger intends stopping. Hotel de Cluny, Paris. See MusCe des Thcrmes. * Hotel de Ville (-deh-veel), Paris, Rue de Rivoli, | ml. e. of the Louvre. Its erection was commenced 1533 ; completed by Henry IV., 1G28. It was rectangular in form, 330 by 27G ft. Its numerous niches contained statues of the noted men of France ; its salons were adorned with regal magnificence, and the domes- tic arrangements so extensive that a banquet could be served for a thousand guests. Here Louis XIV. married Maria Theresa. In 1789, on the destruction of the Bastille, the insurgents re- turned in triumph to the great hall ; three days later Louis XVI. was brought by a mob from Versailles to the same place. In 1794 Robespierre was here attacked by Barras; and, later, was found upon the stairs with a shattered jaw, from a futile attempt at suicide, whence he was carried to prison, and the day follow- ing, together with 21 of his companions, consigned to the guil- lotine, thus ending the " Reign of Terror." From the steps of the Hotel, Lafayette presented Louis Philippe to the public as the Citizen King, and Louis Blanc, in 1848, pro- claimed the Republic, and Lamartine delivered his celebrated speeches to the turbulent mob. In 1870-71 it was the seat of Government. The Communists, in anticipation of defeat, had filled the building with petroleum and gunpowder. Being attacked by the Government troops and gradually forced back into the buildiug, those detailed for the purpose set the combustibles on fire, there being yet GOO of their own party in the building. Those attempting to escape were shot, the others perished with the building, which was totally con- sumed. It has since been rebuilt in all its former magnificence. In Place de V Hotel de Ville was formerly located the scaffold, and later the guillotine. In 1573, Cavagnes and Briqueinont, 170 HOTE Huguenot leaders, andiu 1574, Comte Montgomery, who had acci« dentally caused the death of Henry II. at a tournament, were here executed by order of Cath. de Mcdicis. The guillotine was first used here ; so named from Dr. Guillotine, who recommended it as more humane tban the gallows. *Hote! des invaSides(-da-zau-va-leed), Paris, daily, fee-Jfr. to each guide. This home for old soldiers was established by Louis XIV., 1G71, and contains accommodations for about 5,000. Entrance from the Seine, through the Esplanade des Invalides. The outer court is surrounded by a dry moat. Near the guard houses are many cannon, captured by Napoleon. A statue of Louis XIV. adorns the main entrance. On entering, the visitor is met by invalids detailed as guides to the courts, halls, and museum. The tomb of Napoleon is in the west part of the building, to visit which it is necessary to pass out at the entrance and go around the entire square to the south entrance. See Napoleon, Tomb of. Hotels. The average prices at first-class hotels are about as follows : France, SioiUerland, and Italy: Plain Breakfast, 20-40 cts. ; with meat or eggs, 30-50 cts.; Dinner, table d'hute, 75 cts.-|l ; Supper, 20-40 cts. ; Attendance, 20-25 cts. ; Light, 10 cts. Room, CO cts.-$i. Total, $2-$3.50, seldom falling much below the latter figure. For Belgium and the ItJdne, add about one-fourth to the above. For Eng., Scot., Hoi, Gei\, and Austria, add one-half. For London, Paris, Sweden, and Russia, the charges are nearly double the above. In all the great cities hotels may be found offering every style of luxury, at corresponding prices. Considering location, price, and comfort, the following houses will be found among the more desirable. St. signifies at or near the railway station : (1) prices high. Airolo, It. H. Posta: H. Airolo. ! Amsterdam, Hoi. H. Amstel (1); Brack's Aix-la-Chapelle, Bel. H. Gd. Monarque. | Doelen (1). Aix-les-Bain?, Fr. Gd. H. d'Aix. st. \ Ancora. It. H. La Pace (1), on the Albano, It. H. Roma (1); Ville de Paris (1). Altorf, Sw. Adler, Schliissel. Amiens, Fr. H. du Rhin. st. Air.steg. Sw. H. Stern : Kreuz, and Hir^cb. quay. Andermatt, Sw. H. Bellevue (1). Andeer, Sw. H. Krone. Annecj-. Fr. Gd. H. d'Angleterro. Antwerp. Bel. H. Europe (1) ; H. de la Paix. HOTE 171 Aosta. It. H. du Monc Blanc. Arezzo. It. H. Inphikerra; Vittoria. Argon tiere, S\v. H. Couronne. AiMihera, Ger. H. Zon : Pays-Bas. Assisi, It. H. Leone; H. del Subasio. Au.:sburg, Bav. H. Victoria (1), st. ; Bayrischcr Hof (1). Rt. Ayr, Sc. H. King's Arms (1) ; Star. Baden. H. Victoria (1) ; Stadt Baden, St. Bale. S\v. H. Euler (1), st. : (Klein B.) Schreider. st. Baveno, It. H. Beau Rivage (1) ; Belle- vue (1). Bedford. Enpr. Swan H. (1); George H. (1). Belfast, Ir. H. Imperial (1). Belbiggio, It, Gd. H. Bellaggio. Bellinzona, Sw. H. Angelo; 11. Posta. Bergamo, It. H. Italia. Berlin Pr. Kaiser Hof (1): d'Angle- terre. Berne, S\v. Schweizerhof, at. ; Eorner- hof. sc. Bingen, Pr. H. Victoria: Bellevuc. Birmingham, Eng. Gt. W. Hotel (1), tvt G. W. St. Bologna, It. H. Brun (1); Pellegrino, Bonn. Pi-. H. Royal : Bellcvue. Boulogne, Fr. H. d'Anglcterre (1). Bozcn, Aus. H. Kaiserkrone (1) ; Vic- totia, St. Brfldford, Eng. H. Talbot f 1) ; George. Bremen. Ger. H. Europe. Brest. Fr. H. du Gd. Monarque. Brieg, S\v. H. d'Angleterrc ; Trois Couronnes. Brienz, S-.v. H. Croix Blanche. Brighton. Eng. Grand H. (1) ; Bed- ford H. (1). Brindisi. It. H. East India, on the quav. Bristol. Eng. H. Royal (1) : Grand H. Bruges, Bel. H. de Flandre; H. du Commerce. Brunnon, S\v. Waldstiitter Hof; Adler. Brussels, Bel. H. de Saxc (1); Uui- vers ( ] ). Calais, Fr. Station H. ; H. Dessin. Callander, Sc. Dreadnaught H. (1). Cambridge, Eng. H. Bull (1); Red Eion(l). » Canterbury, Eng. Royal H. (1) ; Foun- tain H. (1). Carlisle. Eng. County H. (1) ; Royal. Carlsrnhe, I'r. H. Eibprlnz ; Germanin, fit. Castellamare, It. H. Royal, st. Chambery. Fr. H. de France, st, Cassel. Ctcv. H. du Nord. st. Chamonix. Fr. H. Imperial ; H. Royal ; H. (I'Angleteri-e. Chatswor.'h. Eng. Chatsworth H. (1). Cherboure-. Fr. H. de TUnivers. Chester, Eng. H. Queen (1), st. j Chiavenna, It. H. Conradi. Clarcns. S\v. H. Creres. st. Coblenz. Pr. H. Bellevue ; Anker. I Coirc. S\v. H. Steinbock ; H. Freieck. I Culic I, It. H. Angelo ; H. Isola Bella. Cologne, Pr. H. du Nord ; H. Victoria. j Como, It. H. Italia : H. Volta. j C. Zoological Mus. 16. Library. 17. Geological Mus. 18. Mineralogical Mus. 1!>. Botanical Mus. 20. Bot:inical School. 21. Medicinal Plants. 23. Economical Plants. 2-j. Nurseries. 24. Labyrinth. Admission. — Menagerie, daily, 10-6, Apr. to Sep.; 11-4, Win- ter; to the various museums, Tu. and Th., 2-5; Sun. 1-.J ; Winter, 1-3. Libraiy, daily except Sun., 10-3. Special tickets JERO 177 may be obtained gratuitously at the Bureau (13) near the w. entrance, for admission to the feeding of the menagerie at 3.15 P. M. daily ; and for special admission to the museums on Tu., Th. and Sat, 11-2. The Jardin des Plautes, covering an area of 75 acres, was pro- jected in 102G. In 1732 Buffou originated the collections; in 1788 Bernardin de St. Pierre established the menagerie ; in 1805 Humboldt presented 4,500 American plants. The Museum of Anatomy (11), occupying fifteen rooms, is one of the most e.xteusive and valuable anatomical collections ever made. In the court are several skeletons of whales. The Gallery of Zojlogy (15), equally extensive and com- plete, contains the finest collection of stuffed birds in the world, numbering nearly 20,000. The Gallery of Geology (17) has numerous paintings of natural scenery — the Fall of the Staubbach, Arctic Scenes, Erup- tion of Vesuvius. The Gallery of Botaxy has specimens of various woods and fruits. « In the Botanical Garden, medicinal plants are indicated by red labels ; poisonous, by black ; ornamental, by yellow ; edi- ble, by green ; those used in dyeing, by blue. The L.\BYRiNTn (24) is a mound 80 ft. high, ascended by winding paths. The Cedar of Lebanon (14) is said to have been brought, in 1735, from Palestine ("' by Jussieu the elder, in his hat." — Baedeker). ("Presented by an Englishman in 1734." — Gallrjnani.) Statues : Adrieii de Jassicu at the entrance of the Botanical Gallery ; Olivier, at the corner of Rue Cuvier, beyond the Labyrinth, the c?ntral figure of Founttiin Cuvier ; Cuvier, in marble, in the hall of tlie Gallery of Geology. ** Jerome, St., Communion of, by Domenichino, in the Vatican. Ranked, of all pictures, second to the Transfigura- tion only. Painted for the ch. of the Ara Cocli, but the monks, displeased with Domenichino, commissioned Poussin for an altar- piece, and give him this canvas ; but Pouasin declared the pic- ture one of the finest known, and, rather than touch it, forfeited his engagement. In the lack of childish grace of movement and pose, his cherubs arc in strong contrast with Raphael's. The work is stated by Ivugler to be a close imitation of one by Ag. Car' racci, in the Bologna Gallery. 13 178 JERO Last CJommnnion of St. J08 and I860; rebuilt and present fa';ade constructed, 1734, This basilica has long been regarded as the first church of Rome, and the Pope on his election repairs hither for his instalhition ; and on Ascension day bestows his benediction from the middle balcony. In the portico is a statue of Constantine, from his Baths, The skulls of SS, Peter and Paul, also a wooden table on which S. Peter celebrated Mass, are said to be preserved here over the high altar. Over the arch of the tribune is a mosaic Head of Christ, of the 4th cent. At the altar of the Sacrament, are 4 180 JORD broDze columns of the original basilica, said to have been brought by Titus from Jerusalem. Against the inner row of columns are statues of the apostles. *The Coiisrxi Chapel, first in 1. aisle, is regarded as the chief ornament of the church, and in sumptuous elegance is surpassed only by that of the Borghese Chapel in S. M. Maggiore. Its founder Clement XII. (Lorenzo Corsini) ''is buried in a splendid porphyry sarcophagus which he plundered from the Pantheon." — Ilare. The Courtis, interesting from its small spiral stone columns and from its relics ; 2 columns from Pilate's house ; slab on which the soldiers cast lots for the Saviour's garments ; slab giving the height of the Saviour. Fine music at vespers. Five Ecumenical Councils have been held here, 1123, 1139, 1179, 1215, and 1512. For a thousand years the palace, adjoining, was the residence of the Popes ; after its abandonment it was occupied as an orphan asylum. In 1843 it was converted into a Museum for Christian antiquities. See Part II. , Late.ran. Jordaens, Jacob (yor'-dahns'), 1593-1G78, b. Antwerp; pupil of van Noort and Rubens ; executed a large number of works, with every variety of subject ; was a master of color and chiaroscuro, and one of the most original painters of Ids time among Flemish artists ; though his style is often identical with that of Rubens. "Being of the reformed faith, he was averse to the castomary ecclesiastical ideals, and had recourse to private life and festive occasions for his subjects — thus laying the foundation of genre painting in the Netherlands. His humor is broad and undisguised, often leading to coarseness in delineation." His masterpiece is the Apotheosis of Prince Fred. Henry, at The Hague. His pictures are to be found in all large collections. PniNCiPAL Works : Belv., two: Brass., 210-17-18; Cassel, 266, 271-2-3; Dresd.. 954, 959, 9«1 ; Hermit., 647-9, 650-1-2-;^; Liecht., VIII. 778; Louvre, 251-4-5-6: Madrid, 1404-5-7-10; Munich, 181, 324; Pesth, XVI. 659; Rijks, 202. Julia, a frequent Roman name. —I. Aunt of Julius Csesar and wife of C. Marius. II. Mother of Marc Antony. III. Sister of Julius Caesar, and grandmother of Augustus. IV. Daughter of Julius Caesar and wife of Pompey. V. Daughter of Augustus Csesar — his only child ; thrice married, (1) to M. Marcellus ; (2) to M. Agrippa ; (3) to Tiberius ; banished by Augustus to Pan- dataria. ' VI. Daughter of Julia No. 5, banished to Tremerus by Augustus. VII. Daughter of Germanicus, put to death by Clau- dius. VIII. Daughter of Drusus, put to death by Claudius; both these latter at the iustisration of Messalina. JUNG 181 JungfraUy The (yooug-frow ; virgin). See Interlaken. Juno, Greek Hera, myth; wife of Jupiter; the Queeu of Heaven, the special protectress of the female sex. The great festival in her honor was the Matronal ia, on the first day of j\Iarch ; June, her month, was regarded the most favorable for' mar- riage. Her favorite birds were the pea- cock and cuckoo ; her flowers, the poppy and lily. She is represented as a majes- tic woman, with a fine forehead, large eyes, hair adorned with a crown or dia- dem, a veil hanging from the back of her head. The diadem, veil, sceptre, and peacock are her usual attributes. Statues: Barb.. 552; Berlin, 14, 27, 195, 779; Br. MU..111; Borgh. Villa, III. *Pronnba ; Cap., 11, *10; Hermit., 44; Louvre, *.')74; Ludo. Villa, 20, **41 Juno Ludovisi ; Naples, *100, 147 (78) ; Vat. (Br.) 11:>. (Ch.) 241. hWA, bU bust, (P. C.) **546. **CoLOSSAL Head of Juno, Villa Ludovisi, Rome, by Poljxletes ? "The grandeur of the head and the sublimily of the expression are beyond all praise. She ia the only goddess I have ever seen. The others of her class are Barberini Juno— Vatican. June Juno LudoviM — Rome. uS'uples. women. Kome beautiful, some majestic, some graceful, but still woraon. There ii a tranquil, passionless serenity in thu brow and lips — ' the depth a^d not the tu- 1S2 JUPI mult of the soul' — which seems brought from a region undisturbed by mortal emotions and mortal changes." — Hillard. "I believe it is considered the greatest treasui*c of the collection, but I did not, myself, feel it to be so, nor did I receive any strong impression of its excellence." — Haw- thorne. "In gravity, grandeur, and dignity it sur- passes all other Junos." — Ampere. \W\f^'( ^''^'^^ ff^^^^-MVUV "No words can give a true impression of the colossal head of Juno in the Villa Ludo- visi ; it is like a song of Homer." — Goethe. Jupiter, Greek Ze us, myth. The principal deity of the Greeks and Ro- mans ; the special protector of the latter nation. Had Juno for wife; dwelt on Mt. Olympus. The eagle, the oak, and mountain summits were sacred to him. His sacrifices con- sisted of bulls, cows, and goats. His Jupiter— Fo^ica;*. attributes are usually the sceptre, eagle, thunderbolt, a figure of vic- tory, and a cornucopia. Statues : Alb. Villa, 1010 ; Berlin, 2, 23, 48, 50, 6.-J. 66, 14.3, TTS ; Br. Mu., 99, 100-1- 2-22-31 ; Cap. III. black marble : Glyp., 81; Hermit., 152 colossal ; Louvre, *31; Naples, 119, (300), 10(5, 622 ; Vat. (Chi.) 222, 255, 392A, (r. C.) 298, *326, **539. *I. Vatican.. Rotunda, No. 539. Colossal bust, supposed to be after the great statue by Phidias atElis, which stood 8 centuries, and was destroyed a.d. 500. The best ex- tant ; found at Otricoli. " The mighty locks, raised in the centre and falling down on both sides ; the com- pressed forehead, with the bold, arched brows, from under which the lai'ge eyes seem to glance over the universe, and the broad projecting nose, express energy nnd wisdom, while mild benevolence rests on the parted lips, and the luxuriant beard and rounded cheeks show sensual power and imperishable manly beauty." — Lilbke. *II. Vatican, Hall of Busts, No. 326. Colossal ; sitting ; hold- ing thunderbolts and a sceptre, with the eagle at his feet. In the best style of the Greeks. Known as Jupiter Verospi. Jupiter— Vatican. JUPl 183 III. Jupiter Serapis (se-ra -pis), Vatican, Rotunda, No. ,'549. Colossal bust ; found on the Appian Way, near Rome, bearing oa his head the modius, or corn measure, and a fillet about the brow. Jupiter, Temple of.. — I. Temple of Jupiter Capito- MNUS, Rome, built by Tarquinius Superbus, B.C. 535, on Capi- toline Hill, where the Palace of the Conservators now stands. It had 3 ranges of columns on the front, and one on the sides. The interior was divided into 3 cells, the statue of Jupiter occupying- the centre, Minerva that on his right, and Juno on the left. The gates of the temple were of gilt bronze ; the pavement, mosaic ; and in a vault beneath were the Sibylline Books. The temple stood 452 years, being burnt B.C. 83. It was rebuilt by Sylla and dedicated B.C. G2; and burned by the soldiers of Vitellius A.D. G9. Rebuilt by Vespasian ; finally plundered, and its gold and statues carried away by the Vandals a.d. 455. It was in this temple that the celebrated bronze wolf stood when struck by lightning B.C. 64, as mentioned by Cicero. See Capitoline Ilill. II. Temple of Jupiter Feretrius, Home, on the Capitoline Hill, near the site of the temple of Jupiter Capitolinus. Built by Romulus ; the first temple erected in Rome. III. Temple of Jupiter Stator, Rome. See Palatine Hill. IV. Temple of Jupiter Tonans, Rome, on Capitoline Hill, so near the temple of Jupiter Capitolinus that it was considered as a porch of the latter. Built by Augustus, in gratitude for his own escape when his litter was struck by lightning and his body-ser- vant killed. V. Temple of Jupiter Victor, Rome. See Palatine Hill. Jupiter and lo, painting. See To. Jura Mts.y a Swiss range, extending from Bale s. w. along the w. shore of Lakes Xeuchatel and Geneva to Lyons, attaining an elevation much less than that of the Alps. See Alps. KaufTman, Maria Angelica, 1741-1807, b. at Schwartz- enberg, Aus. ; commonly stated at Coire, Svvitz.; studied in It- aly; went to England, 17G0; became a favorite of the Royal Family. In 17G8 she was elected one of the 30 original members of the Royal Acad,, through Reynolds, whose admiration for her caused him to remain single. She was chosen with Reynolds, West, and others, to decorate St. Paul's. Married a servant of a Swedish nobleman, who passed himself off for his master. Sep- arated from him and married Zucchi, a Vcuetian artist, leaving England after residing there 17 years. Died in Rome, 1807; 184 KAUL buried in the ch. of St. And. delle Fratte. One of her most no- ted works is the Vestal, in the Dresden Gall. '• No living painter excels her in dignity or in delicacy of taste." — Goethe. " Her reputation, not resting on any solid basis of excellence in art, has passed away." — Caters Biog. Die. Principal Works: Dresd., 197S-79-S0 ; Hamp. Ct., 502; Hermit., 1304-5-«, So. Kens., Her Portrait ; Munich, 152. KauJbach, WilheSm von, 1805-1874, b. at Aiolsen ; studied at DLisseldorf under Cornelias. His works are chiefly large historical pictures, in the Berlin Museum, of which the Battle of the Huns, the *Destruction of Babel, and the Reforma- tion, are the most noted. Kenilworth Castle, Eng. (from Kenulph, King of Mercia), 5 mis. by rail from Coventry or Leamington. The castle was founded by Geoffrey de Clinton, Treasurer of Henry I., but soon became a possession of the crown. By Henry III. it was granted to the Earl of Leicester. Upon the revolt of the Earl, the castle was besieged, and, after six months, taken. In the time of Ed. I., it was the scene of a costly tournament. Edward II. was here confined in prison. In the reign of Ed. III. it passed into the possession of John of Gaunt ; and, upon the accession of his son, Henry IV., it again became the property of the crown, and so continued until Elizabeth bestowed it upon her favorite, Dudley, the Earl of Leicester. Enormous sums were spent by Leicester in the enlargement and decoration of the castle. Queen Elizabeth visited Kenil- worth in 1506, 1508, and 1575, the last being the one immortal- ized by Sir Walter Scott : "The external wall of this royal castle was, on the south and west sides, adorned and defended by a lake, partly artificial, across which Leicester had con- structed a stately bridge, that Elizabeth might enter the castle by a path hitherto untrodden, instead of the usual entrance to the northward, over which he had erected a gatehoiise, or barbican, which still e.x^ists, and is equal in extent and superior in architecture to the baronial castle of many a Northern chief." After the death of Leicester, Kenilworth was seized by the crown, and, at a later period, conferred by Cromwell upon some of his officers, by whom it was demolished for the sake of its mate- rials. After the Restoration, Chas. II. conferred the property upon the Earl of Clarendon. For a long period the castle lay in ruins, but the present Earl has manifested a praiseworthy desire to arrest further decay. Of the original fortress, the only part now remaining is Czesar'a Tower, the walls of which have, in places, a thickness of 16 ft KENS 185 The portions erected by the Duke of Lancaster are called the Lan- caster buildings, among- which was the great hall, 8(3 by 45 ft. The part erected by Leicester, although the most recent, pro- sents the most ancient appearance, having been constructed of a soft, friable stone. " The bed ot the lake is now a rushy swamp, and the massy rnins of the cnstle only serve to show what their splendor once was, and to impress on the musing visitor the transitory value of human possessions, and the happiness of those who enjoy a humble lot in virtuous contentment.'" — ^ott. Kensington Palace, London; w. end Hyde Park; built by Wm. III., who lived and died here, as aiso his Queen, Mary; Queen Anne and husband, and George II. Birthplace of Queen Victoria, and at present occupied by the Royal Family. Kensington, S., Museum. See Part II. ^ South Kens. Kew Gardens ; o mis. w. of London, daily, 1-G ; Sun., 2-G ; by S. W. PJy. from Waterloo Sta. ; and by the Underground. The Gardens comprise 270 acres ; hothouses of orchids, ferns, and cacti ; the Great Palm House ; the Water Lily House, with the Victoria Fiegia, Papyrus, and Lotus ; the Palm House for tropical plants; the Winter Garden, covering Ij acre ; the Ar- boretum and the Rockery. *KiUarney, Lakes of, Ire- land; on the s. w. coast ; 3 hrs. from Cork by rail. The lakes are consid- ered the finest i; Great Britain. At Killarney the Railway Hotel is connected with the station, the^ Knife Grinder— C:i?;«/. Victoria is on the lake, the Lake Hotel is on the Bay of Castel- lough, adjoining Muckross Abbey. One day, with an early start, will suffice for the principal points of interest. The Lakes and environs abound in delightful excursions. ♦Knife Grinder, The, in the Uffizi, Florence, found in Rome, I'jth cent. Supposed, by some, to be from the group of 186 KRAF Marsyas, who was to be flayed alive ; by others, to be a slav« overhearing a conspiracy. "This statue is an enigma to which no satisfactory sohition has ever been of- fered. But as to its power there can be no doubt. Every line glows with the tire of truth:'— Jliilard. Slrafft, Adam, 1430?-1507, believed to have been born at Nuremberg ; one of the most noted of the early German sculp- tors. His most important work is the Ciborium iu the Ch. of St. Lawrence, Nuremberg-, a Gothic spire of stone, 63 ft. in height, wrought with the greatest skill and effect. The top of the spire is bent over as if too high to stand erect beneath the ceiling. Lach'-ry-ma-to-ry. Literally, a tear bottle. A fanciful use attributed to small glass vessels, in shape like the alabastron, but wdth a longer neck, and said to be intended for holding tears con- secrated to the dead. Their real use was to hold perfumes or ointments. Laocoon (lah-ok'-o-on), myth; a Trojan priest, who attempted to dissuade the Trojans from drawing the wooden horse of the Greeks into the city, and advised its being burned. For this, ]\Iinerva, who favored the Greeks, struck him with blindness and sent two serpents to destroy him and his two sons. **Group of Statuary in the Vatican^ Sculp. Gall. No. 74. Discovered in the Baths of Titus, 1506. The raised arms of the iigures, and some portions of the serpents, are restora- tions. The right arm of the father is incorrectly restored, being extended at full length instead of being folded with the hand at the back of the head. M. Angelo first noticed that the group is not wrought from a single block as mentioned by Piiny. '• The Laoco()n whicli stands in the palace of the Emperor Titus may be con- sidered superior to all other works both of pamting and statuary. The whole group — the father, the boys, and the awful folds of the serpents —were formed out of a single block, in accordance with a vote of the Senate, by Agesander, Polydo- rus, and Athenadorns." — Plin'i. (About lUO a.d.) '•When the order was given for the removal of the Taociim, Apollo, and Venus, to the Belvedere, all Rome was filled with commotion ; they threw flowers upon the statues and clapped their hands -from the Baths of Titus to the Vatican Laocoon was borue in triumph." — Gounieyie. "The group of Laoc liin and his sins — so justly denominated by Michael Angelo at the time of its discovery, the miracle of art, Ml portento dell' arte" — is one of thos3 productions whicli would have been pronounced impossible had they never bnen executed. It stands upon the very line by which the art of sculpture is di- vided from poetry and painting. There is no other work of Greek art, of high rank at least, which resembles it." — Hillard. " An immortal agony, with a strange calmness diffused through it, so that it resembles the vast rage of the sea, calm on account of its iaimansity ; or the tu- LAOC 187 mult of Niagara, which does not seem to be tumult because it keeps pouring on forever." — Hawthorne. " From three different scene=5, one united and strictly connected group is formed, depicting the one moment of utmost suffering and horror petrified with fearful truth, and the whole pathos is concentrated in the mighty figure of the father.''— iw6A;e. Laoco8n— Vatican. ... Turning to the \'atican, go see Laocoiin's torture dignifying pain — A father's love and mortal's agony With an immortarp patience blending, vain The struggle ; vain against the coiling strain And gripe; and deepening of the dragon's grasp. The old man's clench ; the cnvenotn'd chain Rivets the living link« — the enormous asp Enforces pang on pang and stifles gasp on gasp." — Bfron, 188 LAST Last Communion, paiuting by Domenichiao. See Jerome. Last Judgment, painting by Augelo, See Ststine Chapel. **Last Supper, a noted painting- by Leonardo da Vinci, in the Refectory adjacent to the Church of S. M. delle Giazie, Milan. The picture was executed 1496-98. It suffered constantly from the smoke of the adjoining kitchen, and, in 1500, the room ap- pears to have been flooded. Even as early as 1642, Scanelli says it was difficult to discover the subjects. In 1652 the monks opened a doorway through the wall, cutting out portions of the central part. In 1726, Bellotte "an indifferent artist," and in 1770, Mazza, ''a wretched dauber," restored (!) the picture. In 1796, the cavalry of Napoleon (against his express order) occupied it as a stable ; in 1800 it was again flooded ; in 1807, Viceroy Eugene took effective measures for the preservation of the picture. Last Supper — da Vinci. Nothing, however, prevents its gradual flaking off the walls. It has been retouched and restored so often " that little or nothing remains of Leonardo, save the composition and the forms gen- erally," " Of the heads there is not one untouched, and many are totally ruined. Fortunately, that of the Saviour is the most pure, being but faintly retouched." The original cartoons are at Wei- mar, Grer. The disciples are divided into two groups of three each, on either side of Christ. On his right the first person is John, with head bowed and clasped hands. Next him is Judas, in profile, with the money-bag in his right hand, and the overturned dish of salt against his arm, his left hand approaching the dish, which LAtJS 180 Christ also is about to touch. Behind Judas is Peter, with his head between Judas and John, and his hand on John's shoulder. The next group is of Andrew with both hands raised in as- tonishment, St, James the Less, with likeness of face to Christ as indicating- relationship, with his hand on Peters shoulder; and lastly, Bartholomew standing, and leaning forward with both hands restiug on the table. On the left of Christy first is James the Greater, who extends both arms in amazement, and behind him is Thomas, with his fore-finger raised as if in menace. The third of this group is Piiilip, with both hands at his breast, and with a mildness of face akin to John's. The next, with both arras extended toward Christ, but looking toward the end of the table, is Matthew, who, with Thaddeus, is intently speaking to Simon sitting at the end of the table, with both hands raised. Of Christ it may be noticed that his left hand is open, as if in supplication, while his right — that toward Judas — is reversed as if in distrust or aversion. Notwithstanding the multiplied ravages of two centuries, enough yet remains of the grouping and of the individual expres- sion of each of the actors to place this picture in regard to force of conception, harmony of detail, and delicacy of touch, among the finest works ever wrought. ^ " In these fading fragments of color, the trained eye of the nrtist can still dis- cover Leonardo's minute beauty of fini.sh, but I must take their judgment on trust. It is a work full of melancholy interest— a picture in ruins — and the im- agination peoples the denuded walls with forms not inferior to those which time has effaced." — Ilillard. Lausanne (lo-zahn), Rom. Lausonium, Switz.. is delight- fully situated on an eminence, 1 ml. from lake Geneva, and com- mands most charming and extensive views of the lake and the distant mountains opposite. The village itself is less pleasing, being divided by a deep ravine, and the streets being irregular and hilly. Pop. about oO,000. The Cathedral^ founded 12o5, and consecrated by Gregory I., stands upon a terrace near the market-place. Among its monu- ments is one to Victor Amadeus VIII., of Savoy, who was elected pope, as Felix V, , by the Council of B ile. This cathedral is noted as the scene of the celebrated Disputation of Calvin, Farcl, and Viret, l.-)8(). The Town HaU^ formerly the epi>c<-)pal ca.'^tle, dates from the 190 LEAM 13th cent. The Cantonal Museum contains a coll, of Nat. Hist., and antiquities from the i^re-historic lake dwellings. IVie Ar- land Museum^ or art gallery, is an interesting coll. of modern works, with a few from the old masters. In the garden attached to Hotel Gibbon is shown the place where Gibbon wrote the con- cluding portions of his Rise and Fall of the Roman Empire. noutea : To Berne, 3 hrs., $2.-20 ; SI. HO ; see Route 3:1 To Martignv, '^M hrs., $1.50 ; $1 ; see Route 31. To Geneva, by rly.. Wi hr., $1.25 ; $0.90 ; by etiur., 3 hrs., $0.90. To Villeneuve, 2 hrs., $0.70. Union station for all trains. Leamington (-lem-; meadow town on the Learn), Eng. See Route 9, Note 15. Leeds, Eng.; pop. 300,000. The older part of the town has narrow and uninviting streets ; the new portion, on the w. , is well laid out and handsomely built. In front of the Court House is a bronze statue of Peel. * Ruins of Kirkstall Abbey 2 mis. distant. See Route 5, Note 10. Leghorn, Livorno, Italy, a modern, well-built city of 100,- 000 pop , dating from the middle of the lOth cent. ; prior to which time it was a small fishing village. Has no antiquities, and few objects of interest. Leys, J. A. H., 1815-1869, b. Antwerp. Studied under Braekeleer ; upon the exhibition of his pictures at Brussels, he at once rose to fame and was elected a member of the Legion of Honor. He executed a series of pictures for the Town Hall of Antwerp. At his death his body lay in state, with his favorite work at his head. " He is one of the few modern painters whoso works will stand by the side of the old masters." — Buxton. Li ba. Legend of Falkenhurg . Liba, the beautiful maiden of Falkenburg was espoused to Guntram, a biMve yoT^ng knight. While they were awaiting the appointed time of their nuptials, Gnntram was honored with an embassy to the Court of Burgundy. Hashening on his mission, he came to a castle, and as the servant led the way to his room at the hour of retiring, Guntram observed a lovely veiled portrait, and asked concerning it. The servant replied '• She was the daughter of the house, most lovely and bewitching, but cruel toward her suitors." Guntram retired, but was unable to sleep ; soon he heai-d a rustling as of a ladyVs dress : arising and opening his door he beheld the young lady before him ; he clasped her hands when she gently asked, " Do j'ou love me? " to which the Knight replied, " More than my life.'' Upon this she took a ring from her finger and placed it upon his. Next morning, as the lord entered, Guntram said, " I have seen your beautiful daughter and she gave me this rine," ''Then," exclaimed he, "God help you, sir ; in three times nine days you will be a corpse ! " Returning homeward with all dispatch, Guntram pressed Liba to hasten their wedding-day. When the LIEG 191 hour arrived he persuaded himself that all would 5'ct be -well, but as they stood before the altar, the dead girl came and placed her hand in his. Then, telling Liba all, he begged her to become his wife before he died. The ceremony ended, he clasped her to his bosom an instant and fell lifeless. Liba entered a convent where she did not long survive her lost Guntram. Liege (le-aizh), Ger., LuTTicn (luttik), a flourishing- mcdern city of 120,000, in the midst of the mining- districts of Belgium. Its principal manufacture is iron, in which it equals the best products of France and England. It was founded in the Gth cent.; fortified in the 10th ; taken by the Duke of Brabant, 1212; by Ch. the Bold, 1467, who levied enormous suras and razed its fortifications; in 1G91, was bombarded for 5 days; in 1703, taken by Marlborough. See Route 19, Note 5, Limoges Ware (lim-ozh'). See Pottery. Linlithgow Castls (lin-lith'-go ; lake of the greyJiound), Scot., 17 mis. n.w, of Edinburgh, on the margin of the lake of the same name. Founded by Ed. I.; destroyed by Bruce ; re- built by the English ; James I. and his successors made it a royal residence, and here Mary, Queen of Scots, was born. Wantonly destroyed by fire, 174G. Lippi, Fra Filippo, 1412-1 4G9, Itab/. Although the upual account of his early life, derived from Yasari, is now generally discredited, yet it appears that, as a monk, he was remarkably free from the austerities usually incumbent upon the brother- hood. That he was an ardent admirer of beauty, there seems little room to doubt; and whilst this love of beauty, in the con- crete, may have led him to elope with a nun or to jump from the window to meet his lady love, or to otherwise scandalize the brethren, it certainly wrought for beauty, in the abstract, one of its earliest victories over the lifeless Byzantine ; and ever after, art; dwelt in a freer atmosphere and in a closer aflBuity with nature. " He is the first artist who, with a rich and playful fancy, heartily enjoyed the fulness of life even in its chance manifestations. " None of his predecessors express attitude and motion so beautifully as he in his grand life-like draperies. '• He was ,in ardent admirer of nature, and being free from excessive asceti- cism, he pave his Madonnas the face of any beautiful woman he chanced to meet; and sought beauty regardlc-s of the authorized limits." Principal Works: Arezzo, 44; Berlin. 58?, (iO: Doria, II. 28; FIrr. Acad.. I. 41-2. III. 12, 2(;: Frink., R; Louvre, 220-1 : Munich. .'■).'i4. 1161) : Naples, Tua Sch., .07; Nat. Gall., .WM), GC6-7 ; Titti, a3S ; Um., 117'.». 1307. Lippi, Filippino, 14(10-1504, Itnly, said to be tlio son o\ nephew of Fra Filippo. His style is that of Fra Lippi and Botti- 19S LIVE celli ; was fond of ornamentation. "Was employed to complete the frescos commenced by Masaccio in the Brancacci Chapel, Florence. He there painted St. Peter; Paul's visit to Peter in Prison ; and part of the Resurrection of the King's Son. He is regarded as one of the greatest artists of his century, particularly in his larger historical works. Liverpool, Eng., on the e. side of the Mersey, which here flows northward ; on the opp. is Birkenhead. In lG50 the town owned but 15 ships ; in 1764, over half the slave trade was ear- ned on by Liverpool merchants ; it now possesses ^ of the foreign trade of Gt. Britain. Since 1740 Liverpool has doubled its popu- lation, exports, and imports every IG years. Present pop, over 500,000. The wet-docks occupy 200 acres ; the dry, 3} ; and the quays, 7 mis. In the river there are tv/o immense landing-stages, where the tugs from the ocean steamers and the Birkenhead ferry-boats mnke their landings. Op the Public Buildiis'GS, the Exchange on Dale St., near the Landing-stage, and St. George's Hall, opp. the Lime St. Sta., are the most noted. In front of the latter are equestrian statues of Prince Albeit and Queen Victoria, and two colossal lions. To the w. rises the Wellington mon. surmounted by a bronze ligure of the Duke, made of gun metal ; across the street to the n. is the Walker Art Gallery and Museum — a fine collection. The or- gan of St. George's Hall is said to be the largest in Eng. Liverpool is noted as the birthplace of Mrs. Hemans. Routes: To London, 5 hrs., §7; $5; see Routes 7, 8, 9. To Edinburgh, 6 hrs., §7 ; §5 ; see Route 7. To Glasgow, hrs., $7 ; $5 ; see Route 7. Several stations. * Loggie, Raphael's, in the Vatican, Home. Passing through t'ne Sala of Constantine we reach the Loggie, of which the gallery to the r. is adorned from designs by Raphael, exe- cuted by his pupils. There are 53 frescos in 13 sections, 12 from the Old Testament, and one from the New, constituting ' ' Ra- phael's Bible." As these decorations resemble, to some extent, those which had at that time been recently discovered in the Baths of Titus, there has always been some question whether they are to be regarded as entirely original works. Kugler, however, remarks that Ra- phael's arabesques differ so materially from the antiques "that there is no occasion for regarding them as plagiarized. '' LIVE 19;? J 94 LO^'D "Nothing can surpass the grace and delicacy of these decorations. Figures, flowers, animals, mythological subjects and architectural ornaments arc combined with the most delightful fancy." — Murray. " The stucco decorations of the gallery are of exquisite beauty." — Hare. I. Arcade, by Raphael, Creation : 1. Creation of Light ; 2. Dry Land ; 3, Sun and Moon ; 4. Animals. II. Adam and Eve: 1. Creation of Eve. Raphael; others, by G. Romano ; 2. The Fall ; 3. Exile ; 4. The Punishment. IIL By G. Romano. Noah: 1. Builds the Ark; 2. Deluge; 8. Resting of the Ark ; 4. His Sacrifice. IV. By F. Penni. Abralia)n : 1. Melchisidek ; 2. Covenant; 3. The Three Angels ; 4. Flight of Lot. V. By F. Penni. Isaac : 1. God appears ; 2. Isaac and Rebec- ca ; 3. Jacob's Blessing ; 4. Esau's Blessing. VI. By P. da Modena. Jacob: 1. His Ladder; 2. Meets Ra- chel; 3. Laban ; 4. His Journey, VII. ByG-. Romano. Joseph: 1. Tells his Dream ; 2. Sold into Egypt; 3. Potiphar's Wife ; 4. Interprets Dreams. VIII. By G. Romano. Moses : 1. The Finding ; 2. The Burn- ing Bush ; 3. Destroys Pharaoh ; 4. Strikes the Rock. IX. By R. da Colle. Moses : 1. Receives the Law ; 2. The Golden Calf ; 3. Breaks the Tables ; 4.. The Pillar of Cloud. X. By P. del Vaga. Joshua : 1. Crosses the Jordan ; 2. Jeri- cho ; 3. The Sun Stands Still ; 4. Divides the Promised Land. XI. By. P. del Vaga. David: 1. Anointed; 2. Goliah ; 3. His Triumph ; 4. Sees Bathsheba. XII. By P. Maderno. Solomon ; 1. Anointed ; 2. His Judg- ment ; 3. The Queen of Sheba ; 4. Builds the Temple. XIII. By G. Romano. Christ: 1. Adoration of the Shepherds; 2. Of Magi ; 3. Baptism ; 4. Last Supper. London, Eng. Is unequally divided by the Thames, much the larger portion being upon the northern side. The river is spanned by 15 bridges, of which the most eastern, or farthest down the stream, is London Bridge, and ^ ml. to the n. of Lon- don Bridge is "Cornhill," the location of the Bank, and the great money centre of the Metropolis. From this point two principal thoroughfares lead westward, parallel with the river, named, as we proceed westward, as follows : The one nearest the river, Victoria Street, Cannon Street (to St. Paul's), Ludgate Hill, Fleet Street (to Temple Bar), Strand (to Charing Cross and St. James's Park), and Parliament Street (to Westminster Abbey). LOXD 195 The other : Poultry, Cheapside, Newgate Street, Holborn, and Oxford Street, to Hyde Park. A third avenue has recently been opened, via Victoria Street and the Embankmient, to Westminster. The city extends about 10 mis. from east to west, and is of little less width from north to south. Its population is about 3^ millions. The financial and business houses of the city are principally lo- cated to the east of St. Paul's ; the galleries, theatres, and places of amusement between St. Paul's and St. James's Park ; the Parks and. residences of the nobility upon the western margin of the city. The railway stations are, with few exceptions, in the suburbs. Americans will find a location in the vicinity of Charing Cross the most convenient ; near which are hotels of every degree of comfort and price desired. Omnibuses abound, but they will generally be found less satisfactory than cabs or hansoms. From the innumerable objects of interest offered to the visitor, the tourist of limited time may well feel some embarrassment in making choice. To aid in the selection, the more important ob- jects and localities are indicated by a star *, or by a double star **. Titles given in capitals will be found under their re- spective heads. 7?o?£< hrs., $15 ; $11.25 ; see Route 12 : via Folkestone-Boulogne, lOX hrs., $14 ; $10.50 ; see Route l."] ; via Newhaven-Dieppe, 16 hrs., $8.25 ; $6 ; see Route 14 ; via .steamer to Boulogne, thence rly. to Paris, 14 hr.s., $8.25 ; $6.25 ; see Route I-'], from Boulogne to Paris. To Rotterdam, via Harwich, 13 hrs., $6.50 ; via Queenboro, 13 hrs., $6.50. London. Places ^nd Objects of Bnterest. I. Galleries and Museums ; II. ^Miscellaneous ; III. Music Halls ; IV. Statues and Monuments ; V. Theatres, etc. I. Galleries and Museums. (See also under the titles in smull capitals.) Bethnal Green Museum, Victoria Park; at 10, Cd ; M. , Tu. . Sat. free. British Gallery of Art, 57 Pall Mall; sum. and wint. exhib., 1 6h I9G LOND ♦♦British Museum, Great Rnssell St. P. 426. Crystal Palace. Dore Gallery, 85 New Bond, daily 10-6; 1 sh. ♦Dudley Gallery, Piccadilly, Egyptian Hall; 1 sh,; spring and fall exhibitions. ♦DuLWicH Gallery. P. 437. India Museum, nr. Albert Hall ; 10-6 ; 6d.; M. and Sat., 1 sh. Geological Mus., Piccadilly, 10-4, 5, daily, ex. F. **Grosvenor Gallery, 137 New Bond. Guildhall Museum of Roman and Mediaeval Antiquities, Cheap- side ; daily at 10. ♦Hampton Court. P. 442. ♦♦National Gallery. P. 457. Natural History Museum, So. Kensington, unfinished. Royal Acadeiny of Arts, Piccadilly ; May to Aug.; 10-7; 1 sh. Royal Coll. of Surgeons ; Anatom. Mus.; 12-4, ex. F. and Sat. Soane Mus., 13 Lincoln's Inn Fields; sum. and wint. exhib., at 11 ; free. Society of Br. Artists, 6 Suffolk St. ; 1 sh., ex. W., at 10. *^SouTn Kensington Museum and Gallery. P. 472. Tussaud's Waxworks, 57 Baker St.; evening, 1 sh. United Service Museum, military, Whitehall Yard ; daily at 11, ex. F. and Sun. Water Colors, 5A Pall Mall, east ; Apr. to Aug. ; 1 sh. Water Colors, 53 Pall Mall; sum., 9-7; wint., 10-4. Zoological Gardens, Regent's Park ; daily, 1 sh. ; M., 6d. II. Miscellaneous Places of Interest. (See also under the titles in small cajjitals.) Albert Hall, So. Kensington, opp. Hyde Park. ♦♦Albert Memorial, So. Kensington, opp. Hyde Park. ♦Bank of England, e. end of Poultry and Queen Victoria St. Barclay's Brewery, Park St., s. side nr. Lond. Bridge. Billingsgate Fish Mkt., on the Thame* below Lond. Br. Bow Church, Cheapside, by Wren, one of his best. BuCKINGHAxM PalACE. Bunhill Fields, cemetery, burial place of Bunyan, Defoe, and Dr. Watts. ♦Charing Cross. Cheapside, from St. Paul's to the Bank. Clement, church of St. See Strand. \.., Eniield/ \' te X ^Wi O lEppuu Yurcsr jn^ Cross) ^/e^attv^ca // ^53 ^ _J fbrtl jclanal ^WOQLWICB r Sxlyfti iJ^LPAXACE o ickenham. rcaaingia,Ly^ ICHOYDOPf X OF LONUON. LOND 197 Cleopatra's Needle. See Victoria Embankment. ♦Covent Garden Mkt. ; 5-7 a.m., Tu., Th., and Sat. ♦Crystal Palace. Exeter Hall, n. side of Strand, nr. Covent Garden. Guildhall. Kensington Palace. *London Bridge, built 1825, best visited 10 a.m. Mansion House, e. end of Poultry, residence of the Lord Mayor. Mews, Royal. See Buckingham Palace. ♦Parks. **Parliament Houses. **Paul's, St. Smithfield, market-place, where Rogers, Bradford, and many others, suffered martyrdom. Spurgeon's Tabernacle, Newington Butt3, s. side Thames. * Strand. Tabard Inn of Chaucer Pilgrims, High St., Southwark. ♦Thames, The. **Tower, The. **Trafalgar Square. Victoria Embankment. ** Westminster Abbey. ♦Westminster Hall. See Parliament Houses. Whitehall. ** Windsor. Zoological Gardens in Regent's Park ; daily, 1 sh. ; Mon, , 6d. Alexandra Palace ♦♦British Museum ♦Crystal Palace ♦♦Dulwich Gallery Geolof?ical Mas Hampton Court India MuKeum Kew Gardens ♦♦National Gallery Sonne Museum ♦So. Kens. Museum ♦The Towfcr Zoological Garden s. M. T. w. T. F. s. o" "o" "o" - _ - ■I llO till dusk. 10 till 4, 5, 6. 10 till 9 p.m., 1 sh. ; Sat., 2/6. 10 till 4, 5. 10 till 5. 10 till 4, G. 1-6; 6d. 1-6; Sun., 2-0. 10 till 5, G. 11 till 5. 10-4; free days-10 p.m.: 6d. 10-4; 1 sh. 9-dusk, 1 8h.; Mon., Gd. indicates days free ; — admission fee. III. Music, Concert, and Exhiiution Halls. ♦Alexandra Palace, concerts ; Muswell Hill ; by rly. from King'.s Cross Station. Canterbury Hall, concerts ; Westminster Bridge Road ; 7 p.m. ♦♦Crystal Pal.\ce, concerts and exhibitions ; Sydenham. Egyptian Hall, concerts ; Piccadilly. Evans' Music and Supper Rooms, Covent Garden ; 1 ah. ; 8 p.m. Maryleboiie Hall. High Street, Marylebone. 198 LOND Metropolitan Music Hall, 287 Edgeware Road. Moore and Burgess Minstrels, St. James' Hall, Regent it. Pavilion Music Hall, Tichborne Street, Haymarket. Raglan Music Hall, 86 Theobald's Road, Holborn. Reed's Dramatic Entertainments, 4 Langhara Place. Regent Music Hall, Vincent Square, Westminster. Royal Music Hall, 243 High Holborn. * Royal Aquarium, concerts, Broad Sanctuary, Westminster.. *South London Palace of Amusements, 92 London Road. St. George's Hall, 4 Langham Place, W. St. James' Hall. Regent st. The Oxford, 6 Oxford st. The Polytechnic, 809 Regent st. Willis' Rooms, King Street, St. James. Winchester Hail, Great Suffolk Street; 6d.; 8.30 p.m. IV. Monuments and Statues. Bartholomew's, St., Hospital, Henry VIJI. Cannon Street, William I V. Cavendish Square, Lord Bentinck. Charing Cross, Charles I. Fibh Street Hill, Fire Monument. Hanover Square, William Pitt. Havmarket, George III. Holborn Circus, Prince Albert. Hyde Park, Albert Memorial. Hyde Park Comer, Achilles. Hyde Park Corner, Wellington. James's Square, St., Williayn III. Kensington Gardens, Jeriner. Leicester Square, Shake&peare. Ludgate Hill, St. Paul's, Queen Anne. Pari. House, Rich. C. Trafalgar Square, Sir C. Napier. Trafalgar Square, Nelson. Victoria Embank., Obelisk. Victoria Embank., Ge7i. Outram. Victoria Embank., J. 8. Mill. Victoria Embank.. Brunei. Waterloo Place, Duke of York. Waterloo Place, Bitrgoyne. Waterloo Place, Coliu Cam23bell. Waterloo Place, Crimean. Waterloo Place, Franklin. War Office, Pall Mall, Lor J Herbert. Whitehall Gardens, James II. V. Theatres. Criterion, Piccadilly, East; at 8 o'clock. Drury Lane, near Covent Garden ; dress circle, 5s. ; at 7. Folly, King William Street, Strand ; at 7.30. Gaiety, 345 Strand; balcony stalls, 58.; boxes, 3s.; at 6.45. Olohe, Newcastle Street, Strand; dress circle, 5s.; at 7.15. Haymarket, Haymarket ; dress circle, 5s. ; at 8. ""Her Majesty's, near Haymarket (Opera House) ; dress circle. 10s. and 15s ; at 8.30. LORE 199 Lyceum^ Welllagton Street, Strand ; dress circle. 5s.; at 7. 'JO. National Opera Hoiise^ now building. Opem Gomiqtie, 299 Strand ; orchestra stalls, 5s. ; at 7.45. Princess\ 73 Oxford Street ; dress circle, 5s. ; at 7. Pnnce of Wale^\ 21 Tottenham Street ; dress circle, Gs. ; at 8. Royal Adelp/d^ near Bedford Street ; dress circle, 5s. ; at 7. Royal Alhnmbra, Leicester Square; fauteuils, 5s.; at 7.30. Royal Olympic, Wych Street; stalls, 6s. ; boxes, 4s.; at 7.30, ** Royal Italian Opera, Bow Street, Long Acre ; dress circle, ia.; at 8.30. Royal Strand, Strand ; dress circle, 5s. ; at 7. St. James\ King Street; dress circle, 5s. ; at 7.30. Vaudemle, West Strand ; balcony stalls, 5s. ; at 7.30. Lorenzo, San, cb., Florence, on the Piazza San Lorenzo, prected, a.d. 390; rebuilt, 1059; burned, 1423; reconstructed, 1425, from designs by Brunellescbi ; completed by M. Angelo. Beneath the high altar is the tomb of Cosmo de' Medici, " Father of his Country." *Bas-re]iefs on the pulpit by Dona- tello and Bertoldo ; s. aisle, *mon to Benvenuti, by Thorwaldsen. Old Sacristy, erected by Brunellescbi ; 4 evangelists, bronze doors, and bas-reliefs by Donatello ; 2d Chapel, an Annuncia- tion, by Fra Lippi. New Sacristy, daily, 10-4; Sun, 10-3; M., 12-3; entered from the ch., but more commonly from the street in the rear of the ch. i fr. See Medicean Chapel. Lorenzo Fuorl le Mura, San, Church of, Rome, f ml. beyond Porta di Lorenzo. In front is the statue of St. Law- rence. A ch. was erected here over the tomb of St. Lawrence by Constantine, about 330 ; rebuilt, 578 ; a new nave added, 121(J, making, in fact, two churches in one. The whole was re- modelled in 1884. In a marble urn at the Confession are the re- mains of the martyrs, SS. Lorenzo. Stephen, and Justin. The columns of the nave are probably from the Portico of Octavia. On the 8th column, r. , will be seen a lizard and a frog. Lorenzo in Lucina, S., ch. on the Pi. S. Lorenzo, Rome, on the Corso, contains the tomb of Nic. Poussin, 2d column on r. ; and over the altar Guide's celebrated *Crucifixion. " Of ilastcr Guido Reni's, second to naught observable in Rome."- BrotcJiing, Louis XIII., of France, b. IGUl, son of Henry IV. and Marie de 3I6die;is; married Anne of Austria ; died at the age of 200 LOUI 42. His reign is noted especially for the persecution of tho Huguenots, and the reduction of their stronghold, Rochelle, after a siege of 12 months. Richelieu was his Prime Minister. Statue of Louis XIII. , in Place des Vosges, Paris, marble equestrian. Originally erected in 1639, but destroyed in the Re- volution of 1792; replaced by the present statue in 1829, Louis XIV., The Giiand Monarque, son of Louis XIII., b, 1G38 ; was only o years of age at the death of his father. Dar- ing his minority his mother, Anne of Austria, was regent. He died at the age of 77, having occupied the throne of France the unparalleled period of 72 years. For a large portion of his reign he kept Europe in a state of warfare, in which he was at first suc- cessful, but lost all he had gained at the cost of the blood and treasure of his kingdom. His death, 1715, caused no regret to the nation he had impoverished. He erected the palace at Versailles, which thenceforth became the royal residence. Statue of Louis XIV., bronze equestrian, in Place des Vic- toires. In 1686 there was erected in this place a gilded pedes- trian statue of Louis XIV. Having been destroyed in 1792, an obelisk to the honor of the Republican Army was erected in its place. In 1806 this was removed to give place to a statue of Desaix, which, in 1814, was melted to construct the Henry IV. on Pont Neuf. In 1822 the present statue was erected. The pedestal presents reliefs of the Passage of the Rhine by the Grand Mouarque habited as a Roman Emperor. Louis XV. y great-gd.-son of Louis XIV., b. 1710; married Maria Leczinski, dau. of the King of Poland. Crowned at the age of 12. Entered upon various military schemes, notably that of the Austrian Succession, and in the end gained nothing. Lost Canada, and after a reign of 52 years went to his grave personally despised, and leaving his kingdom humiliated and more impoverished than when he received the government. I Louis XVI., gd.-son of Louis XV., b. 1754; married Marie Antoinette, dau. of Emp. Francis I. and Maria Theresa of Austria. Crowned 1774. The young king at once set himself to reform the errors of the past administrations; but the na- tion was financially beyond redemption by the ablest ministers, and nothing could stem the current of revolt against the throne. The States General met May, 1789: in June the State prison — the Bastille — was razed to the ground by the populace ; in Oc- tober a mob of market women marched to Versailles, forced the LOUV 201 palace, and brought the king and family to Paris. Finding himself virtually a prisoner, the royal family quitted the Tuil- eriea on the night of June 21, 1791, and fled in disguise ; but, being discovered, they were seized and taken to Paris and im- prisoned in the Temple, In 179;> the king was tried, condemned to death, and on the 21st of Jan. executed in Place de la Con- corde, near where . the obelisk now stands. His queen was be- headed in the same place in the following October. Louvre. See Part II., Louvre. P. 445. * Lucerne (lu-sern), Ger. Luzern (lute-sern), delightfixlly situated at the western extremity of Lake Lucerne, upon both banks of the Reuss (roiss), which here leaves the lake. It is sur- rounded by walls surmounted by nine towers, erected in 1385. In the midst of the finest Alpine scenery, and upon the mosii beautiful of Alpine lakes, Lucerne is among the most charming and popular of the numerous resorts of Switzerland. The hotels are bitualed along the edge of the lake, and offer the visitor a constant view of scenery whose richness and grandeur never abate. To the 1. is the Rigi; in front, the Biirgenstock, and to the r. Pilatus. Within the town there is lit'.le of interest, save Thorwaldsen's Lion Monument. The Second Bridge from the lake, the Capellbrucke, crossing obliquely, has upward of 150 paintings in the roof, representing the lives of the patron saints of the town. The Fourth Bridge., the Spreuerbriicke, is ornamented in like manner with '* The Dance of Death." lite IIof-KircJie^ or cathedral, situated at the extreme eastern border of the town, is of interest chiefly for its celebrated organ. It possesses a fine pulpit, two side altars in carved wood, and some noticeable stained windows. There is usually an organ per- formance daily, (5i-7|, except Sat. and the eve of festivals (1 fr. ). ** The Lion of Lucerne is ^ ral. to the n. of the Cathedral. This magnificent monument, chiselled out of the native rock in the side of a precipice, represents a dying lion, 28 ft. in length, with his paw upon the Bourbon Shield, his side still retaining a portion of the fatal spear. The mon. was designed by Thorwakl- sen, in memory of nearly 800 Swiss who lost their lives in defence of the Palace of the Tuileries, Paris, 1792. Few works of iirt kg profoundl}' impress the beholder, especially when visited at sun- set. Model is shown (free) in an adjacent building. 203 LUCE LUDO 203 The GletscJter Garten, cpp. the Lion (1 fr. ). Stauffefs Museum, near the Lion, contains a large collection of stuffed Alpine animals (1 fr.). Specialties : embroidery, wood, ivory carvings, and crystals. Hotels : the following houses, a"l desirable, are situated along the lake. S. Gothard^ near the station, Swan, du Rigi, Engliaher- Jiof, Schweizerhof, Lucernerhof, National. Pensions of the first class are numerous in Lucerne and its en- virons, as well also in all the villages along the lake, offering an unlimited choice of charming retreats to the summer visitor at prices from 5 to 10 frs. per day. Excursions: By stmr., to Kiissnacht and return, 3 hrs. ; to Fliielen, 5 hrs. ; to Alpnach, 2 hrs. To Rigi-Kulm, stmr. and rly., 8-10 hrs. To Pilatus, stmr. to Alpnach, thence by horse 4^ hrs., to Hotel Bellevue, 11 hrs. Routes: To Bale, 3 hrs., $1.20; $(J.75; see Route 23. To Zurich, 2hrs., $0.S5; $0.60; see Route 20. To iliLAN, via the St. Gothard, stinr. to Fliielen, rly. to Locarno, stmr. to Arona, rly. to Jlilan, 1(5 hrs. ; also direct by rly., 8 hrs. $5.50 ; $4.50 : see Route 25 to Arona. and Route 44 to Milan. To Interlakkn, via the Briinig, stmr. to Alpnach, diligence to Brienz, stmr. to Bonigen, rly. to Interrlaken, 10 hrs., $3. To Berne, rly. 3 hrs., $2; §1.40. To Paris, 13 hrs., $14.20; $10.25 ; see Route 23 to BMe, thence to Paris by Belfort. *Ludovisi, Villa of, Rome; Th. 8-12 ; Winteronly. Cat- alogue \ fr. Permit obtained through Consul. 1 . Room: 20, Juno, very ancient ; 31, Tragic Mask, formerly mouth of a fountain. 2. Room ; * 1, Mars Reposing ; * 7, Theseus and .^thra ; * 9, Satyr; 28, Barbarian ; * 55, Warrior; * 45, Medusa ; ** 41, Juno Ludovisi, the finest head of Juno known. See Juno. A SECOND Casino, distant 5 miu. walk, contains a fine * Aurora by Guercino. (See Aurora.) From the balcony a magnificent * view of Rome. * Lugano doo-gah'-no), Switz. On Lake Lugano, in the midst of wild mountain scenery ; on the route from Lucerne to Milan, and also from Luino to Menaggio. See Routes 25 and 2i). * Lugano, Lake of, Switz., midway between Lakes Maggiore and Como, 16 mis. by 2, of irregular shape. Delightful scenery. From Lnino on L. Maggiore to Mennggio on the L. of Como. By tramway from Luino, 5 mis. to Ponte Tresa ; thence by steamer to Lugano and Porlezza (por-let-sah», IG nils.; thence by tramwaj- to Menaggio, mis. See Routes 25 and 29. Luini,. Bernardo (loo-ee'-nee , Lovinf. 1470?-1530?b. 204 LURL at Luino, Italy ; one of the most successful of the da Vinci Bchool. His works are finished with great care, full of beauty, serenity, and graceful tenderness ; and have often been attributed to Leonardo. Ilis princiiDal works are at Milan, and the adjacent Lombard cities. His Crucifixion, a noted work, is at Lugano. The Brera has numerous frescos of his, which have been re- moved from the walls where they were painted. Nat. Gall., London, has his Christ and the Doctors, and the Louvre nine. Lurlei (loor-lie), Lo-re-lei, on the Rhine. See Route 20. Legend. — The water-nymph, Lore, dwelt on the rock at Ley. Hermann, the young son of Bruno, Count Palatinate, hearing of her beauty, resolved to seek the fairy. Approaching the Ley and singing one of his sweetest songs, he beheld the beautiful Lore beckoning him on. Lost to all but the enchanting vision be- fore him, his boat was drawn into the whirling eddies and Hermann was buried beneath the waves. The fairy was never more seen, but her voice is often heard repeating the words of the traveller. Luxembourg, The Palace of (loox-em-boor), Paris. In the 16th cent, de Sancy erected on this site a large dwelling which was purchased by Duke d'Epinay-Luxembourg, and en- larged in 1583. In 1612, the place was purchased by Marie de Medicis, and the present structure erected in the style of the Pitti Palace, Florence, and called Palais de Medicis. Falling to her son, it was called Palais d'Orleans. It was a royal residence until the Revolution, 1791 ; thence a prison, in which Josephine, Beauharnais, Robespierre, Danton, and others were confined. From 1795-1800, it was the Palais du Directoire and du Con- sulat ; under Napoleon I., was the Palais du Senat ; in the time of Louis Philippe, it was the Chamber of Peers ; under Napo- leon III., it was occupied by the Senate and called Palais du Senat; at present it is occupied by the Prefet de la Seine. The state apartments and chapel are not now open to the public. Luxembourg Gallery, in the Luxembourg Palace. Daily, ex. M. , summer, 9-5 ; winter and Sun., 10-4. Geound Floor : Modem Sculptures, principally of the French School, of which some are peculiar, not to say surprising, illustrations. 4 2 5 3 a 1 6 -A ^- a. Entrance 7 ""s**" 1 LYOX 205 First Flook : Picture Gallery, containing works of living artists. In consequence of constant removals and additions, the numbering is subject to such frequent changes as to render a catalogue of no value. *LuxEMBOURG, GARDEN OF THE, on the s. side of the Palace, open to the public daily. 0)1 the I. is the Fontaine de Medicis ; on the side toward the Palace, sculptures, Acis and Galatea surprised by Polyphemus; toward thu street, the Fontaine de Leda. To the 8. of the Pal. fountain and long basin, around which are numerous statues, among which are Adam, David, Discobolus, Gladiator, Diana, and several noted women of France. Beyond the gardens, at the extreme end of the principal avenue in front of the Pal., may be seen the dome of the Obser- vatory. Proceeding toward the Observatory, through the Lux- embourg Garden and passing the gateway, we come to the Eng- lish (or flower) Garden, in which at the r. is the place of execu- tion of tho Communists, 1871. At the extreme s. end of the English Garden is the Fontaine de I'Observatoire. Lyons (lee-ofi'), the second city in Fr., pop. about 345,000; 315 mis. from Paris, and 222 from Marseilles. The city, in gen- eral, is disappointing ; the streets are narrow and irregular, with tall, ungainly buildings. The more modern portions of the city are, however, very fine, as the Place des Terreaux, the Place Bellecour. and the Quays with their warehouses. The Place des Terreaux is associated with the bloody scenes of St. Bartholomew, 1572, and of the Ptcvolution, 1794, when thou- sands of the citizens of Lyons here suffered death. T'he Gh. of St. Ircnmis is raid to have been erected over the grave of Irenaius, second Bp. of Lyons ; and of the remains of thousands of Christian martyrs, under Sept. Severus, A.D. 202. Marcus Aurelius, Claudius, Caracalla, Germanicus, St. Am- brose, St. Irena^us, and Clement IV. were natives of Lyons. It has long possessed the most extensive manufactories of silk in the world. The city is situated nt the junction of the Rhdne and Saone, the former being crossed by seven bridges, and the latter by ten. A magnificent view is obtained from the Ileiglit of Fourvieitis. Here is also the ch. of Notre Dame do Fourviores, which coiitaina a miraculous image of the Virgin, and, according to Baedeker, 20G MADE " is visited by over one and a half millions of pilgrims annu ally."(?) Routes: To Paris, 10 hrs,, $12.50; $9.30, To Marseilles, 7 hrs., $8.(iO; $6.40. To Geneva, 5 hrs., $4; $3. ♦Madeleine, La (-leen), Ch. of, Paris. Boul. Madeleine, neai Place de la Concorde ; open after 1, daily. Commenced, 17l)4; in 1806, Napoleon decreed its completion for a Temple of G-lory. Louis XVIII. proposed converting it into an expiatory chapel to Louis XVI. and XVII. and Marie Antoinette. It was completed, 1842, at a cost of nearly $3,000,000. Modelled after the Parthenon at Athens, 350 ft. long, 147 wide, having a height of 54 ft. The tympanum contains an alto-relievo of the Last Judgment. Central figure is the Saviour ; on the r , the elect ; the 1., the con- demned, for whom Mary Magdalen is making intercession. In the insurrection of 1S71 , when the insurgents had been driven from the barricades, 300 sought refuge in this church, but an en- trance having been effected, the entire number was put to death. Madonna, The: The Virgin Mary; Notre Dame, Fr.; La Vergine Gloriosa, It.; Unser liebe Frau, Ger.; Virgo Gloriosa, Lat. From the third century onward, the Life of the Virgin, in con- nection with that of the Child, became a favorite subject of Christian art. Under the prevailing Byzantine influences, the principals and accessories of the various subjects, assumed fixed and definite characteristics, which, in general, prevailed until the time of Filippo Lippi, when the freedom of modern art be- gan to be manifest. The more frequent subjects in the life of the Virgin were : The Natiuty of the Virgin, in which there is usually a richly furnished apartment, with neighbors, friends, and attendants. The Presentation of the Virgin in the Temple, variously rep' resented. •* The Marriage of the Virgin^ in which the priest joins the hands, or Joseph places the ring on her finger ; she is followed by a train of maidens and disappointed suitors who are breaking their wands or trampling upon them. (The wedding-ring is now in the cathedral at Perugia !) The Annunciation, usually in an apartment ; Gabriel comes in from above, winged, young and beautiful ; a lily is always repre- sented, and sometimes the Father, above in the clouds. TdADO 20? The Visitation., called also the Salutation of Elizabeth. Tho two women, and sometimes Zacharias, as priest, and Joseph, are present. The Nativity ^ in a stable, at midnight, in winter ; Mary in ap- parent suffering, prior to the 14th cent., but not since; Joseph leaning on his staff ; the ox and ass always present. In the caiiy pictures t-iere were also 3 angels singing ; more in the later. The Adoration of the Magi (mad'-je) ; the child usually has the hand raised in blessing; in later pictures, Joseph is present. The Wise Men, their gifts, and attendants very variable. The Adoration of the Shepherds^ with offerings of doves, lambs, and fruit. In some, the mother is lifting the covering from tho sleeping child. The Purif cation of the Virgin, in the Temple before Simeon, the High Priest. The Flight into Egypt, variously delineated, but more commonly the Mother and Child are on an ass, and Joseph is walki::g be- side them. The Return is similar to the Flight, except that the Child, somewhat grown, is walking. The Repose (none prior to the IGth cent.), angels in attendance, Mary sometimes washing linen. The Holy Family, a favorite subject, pictures innumerable, sometimes only the Mother and Child, seldom more than 5 per- sons, the additional ones being Joseph, St. John, and Elizabeth. The Disjnite in the Temple^ in which the sorrow of the mother is made preponderant. The Marriage at Cana, not a favorite among tho monks, on ac- count of their exaltation of celibacy. In the Crucifixiom and Descents from the Cro^s, the mother is overcome with .<=orrow and in a swoon. In the Deposition, she frequently supports the body, but is sometimes in a swoon. The Death and Assumption of the Virgin ; the Death being fre- quently placed in the lower part of the picture, and the Assump- tion in tho upper. In the Death, an angel places a taper in her hand ; in the Assumption, the Mother rises to meet her son. or he stands by her bedside to receive her spirit. In all the earlier representations of the Mother and Child, no sentiment ajipears to have been indicated but that of pure adora- tion ; in the IGth cent., and particularly under Raphael, mater- 208 MADO nal regard for lier own offspring is distinctly expressed. Indeed, Burckhardt says of Raphael, that, with the single exception of the Sistine Madonna, he painted tender, loving mothers, and took his chances whether or not they should be regarded as the mother of God. Among the masters with whom the Madonna has been a favor- ite subject are Raphael, Murillo, and Correggio ; but Raphael, from the exceeding beauty and the great number of his pictures, has come to be regarded as the great master of Madonnas. The term Madonna usually implies the presence of the child, whilst the term Virgin implies its absence. Madonnas, Raphael's. The following list comprises, it is believed, all the known authenticated Madonnas of Raphael, [In the South Kensington Museum, London, are two Madonnas ci edited tc Raphael : (Madon. No. 55.) One of which appears to be a copy, or replica, of the ^^ Belle Jardiniere,'''' Louvre, No. 362. See Madon. No. 37. (Madon. No. 56.) The other, Madonna di Loreio, is probably the lost Ma- donna referred to in No. 12. It is now owned by Dr. Lamm of Stockholm, and has been loaned to the Museum. (Madon. No. 57.) The Ancajani Madonna, so-called, in the Berlin Gallery, is properly an Adoration. It is said to have bc^en painted about 1500, for a monastery at Ferentello, Italy, which afterward came into possession of the Ancajani family, hence its name. The Child is upon the ground; on the left, Mary, Joseph, and two angels; on the right a king kneeling and a procession of kings advancing. Above are three angels. It is doubtful if this is the work of Eaphael. C. & C. refer it to Lo Spagna."] MADO 209 No. 1. Berlin.— TTie Diotalevi Madonna, Gallery, No. 147. Three fibres. Child sitting on the Mother's lap. She has her left hand on the Child, and her right on the shoulder of St, John, who has his hands folded across his breast. No. 2. Berlin. — 3Iadonna coi Bambini (Madonna with the Children), Gallery, No. 247A. Four figures. An early work. The Virgin is sitting in a rocky landscape and holding the Child, who, with John Baptist, holds a scroll. St. John, at the Mother's knee, is looking up at the Christ. Purchased at Naples for $33,^00. No. 3. Berlin. — Casa Colonna Madonna, Gallery, No. 248, from the Colonna Pal. in Borne, in which it was preserved. Mother and Child only. The right arm of the Mother is around the Child, who is sitting on her lap and has his right hand in the neck of her dress. The Mother holds an open Look in her left hand. (1507.) No. 4. J^KUl.l:^.— Madonna of the ThixtlcjincJi, Gallery, No. 141. One of Baphael's earliest works. Mother and Child only. The Mother has her left hand at his feet and her right holding an open book which she is reading. The Child, poorly drawn, is seated in her lap and holds a goldfinch in his left hand. (Io04 ?) No. 5. Berlin. — Madonna with 8S. Francis and Jerome, Gal- lery, No. 145. Four figures. Child sitting on the IVIother's lap, both her hands clasping his body. The heads of SS. Francis and Jerome at the same height as hers ; one wears a hat. No. 6. Blenheim. — * Blenheim Madonna^ now in the Na- 14 SIO MADO tional Galler}', London, Eng. ; painted for the church of Serviti, Perugia. Four figures. The Virgin sits on a throne ascended by three steps, holding the child with the right hand, and in her left a small open book, into which the chiW. seems gazing. No. 5. No. G. On the left, is John Bap. holding a cross and pointing with his right hand toward the Christ. Nicholas of Bari stands on the right in episcopal robes with book and crozier. (1505.) No. 7. Dresden : **Sistine Madonna, Gallery, No. 80, painted about 1518 for the Monastery of San Sisto, Piacenza, Italy, whence its name. Purchased by Xing' Augustus III. for $45,000. Six figures. The Madonna, of heroic size, is stand- ing upon the clouds and sustaining the child, also heroic, with her arms, and looking with timid anxiety into the dis- tance. On the left is Pope St. Sixtus, on the right St. Barbara ; below are two cupids. This masterpiece of Raphael has, by W'^^^^^'^'^^EI^ many critics, been regarded as the ^^ — ; ■ — ^ first painting in the world. In force and sentiment, as an altar-piece, and in the ease and harmony of its composition, this work has hardly an equal ; whilst in the dignity and grandeur of the Divine Mother, no work can be compared with it. The peculiarly "divine" ex- pression of the Madonna's face is due in part to an exaggerated breadth between the eyes, a characteristic which the Greek sculp- MADO 211 tors were wont to make use of to give divinity of expression to the statues of their gods, and partly to the peculiar non-focusing of the eyes, by which they are made to look at no particular point, but into indefinite distance. Saint Barbara, however devout, is apparently not wholly un- conscious of personal grace. "The head of the Virgin is perhaps nearer the perfection of female beauty and elegance than anything in painting."' — Wilkie. "The Madonna is one of the most wonderful creations of Raphael's pencil. There is something indescribable in her countenance, which expresses a timid as- tonishment at the miracle of her own elevation, and, at the same time, the free- dom and dignity resulting from the consciousness of her divine situation. The Child rests naturally, but not listlessly, in her arms, and looks down upon the world with the grandest expression. Never has the loveliness of childhood been blended so marvellously with a solemn consciousness of a high calling as in the features and countenance of this Child. The eye is at fii-st so riveted on these two figures as hardly to do justice to the dignity of the Pope, the devotion of St. Barbara, or to the rapt expression of the two angel-children." — Kiigler. "A veil flows from her head ; she seems lost in profound thought concerning the divine mystery, which she clasps with motherly devotion ; for a Child is throned in her arras whose lofty mission is foreshadowed in his childish features, while the depth and majesty of his eyes express his divinity as the Redeemer of the world. The saintly Pope Sixtus is reverently looking upward, the impressive dignity of his bearing in strong contrast with St. Barbara, who stands opposite him, with lovely demeanor, her graceful head bowed and her eyes downcast be- fore this revelation of power and glory. The two enchanting angel-boys, leaning on the lower division of the picture, give the last touch of beauty to this magnificent work. It may be said that, in this picture, Raphael has united his deepest thought, his profounde.sb insight, his completest loveliness, which is, and will continue to be the apex of all religious art." — Liihke. No. 8. Florence. — Madonna del BaJ- daccldno. Madonna of the Canopy, Pitti Gallery, No. IGo. Ten figures. The Vir- gin, holding the Child, is .'jeated upon an elevated throne ; on the right are SS. Pc-ter and Bruno, on the left SS. Augiis- tine and Anthony. Above are two angels holding back the curtains of the canopy or (^/?W/^/oc//?Vjo; below are two boy angels with a scroll of music. The picture was commenced Ijy Raphael, I0O8 ; the angels and St. Bruno were added by another arti:5t about 1514, and the can- opy about 1700. i 212 MADO No. 9. Florence. — '* Madonna del Cardellino, Madonna of the Goldfinch, Uffizi, Tribune, No. 1129. Three figures. The Vir- gin, holding- a book, is seated on a rock in the foreground of a pleasant landscape, with trees on either side in the distance. The No. 9. No. 10. child John, on the left, is presenting a goldfinch to the child. Christ, who stands between his Mother's knees. (About 1506.) " There is the Madonna of the Croldfinch, pure and candid, like an angel whose soul is a bud and not yet in bloom." — Taiiie. No. 10. Florence. — "^Madonna del Oranduca^ Pitti Gall., No. 266. Two figures. Half-length standing figure, Mother holding the Child upon her left arm, with her right hand against his side ; Child's left hand at the neck of the Mother's dress. (1504.) "Although slightly and very simply painted, especially in the nude parts, this picture excels all Raphael's previous Madonnas in the charm of profound feeling. We feel that no early painter had ever understood how to combine such beauty with so intense an expression." — Kucjler. "Five or six pictures by Raphael stand out from the rest. One is that Madonna which the Grand Duke took with hiui on his travels. ... A small diaphanous white veil covers the fine blonde hair up to the edge of the brow; the ej'es are lowered, and the complexion is of extreme purity; a delicate tint like that of the wild rose tinges the cheeks, and the small mouth is closed. She has the calmness and innocence of a German virgin." —Taine. No. 11. Florence. — * Madonna delV Im- pannata. So called from the paper or cloth window. Pitti Gall., No. 94. Five figures. Executed partly by Raphael. On the left are Elizabeth and another saint. The Child rests partly in the MADO ^l:^ No. U. Mother's arms with one foot on the knee of Elizabeth, toward whom he is looking; one hand at the neck of his mother's dress ; John is seated at the right, pointing with his left forefinger to the Christ. The figure of John is a later addition. "The incident is most charming; the two women have brought the Child, and hand it to the mother, and while the boy turns, still laugh- ing, after them, he takes fast hold of the mother's dress, who seems to say, ' Look, he likes best to come to me.' " — Burckhardt, No. 12. Florence.— Jlfrt^fonna diLo- reto. The original of this picture has long been supposed to be lost, and it was onl}' known from a copy in the Louvre, No. 378, and one in possession of Mr. Lawrie, of Florence. Recently, how- ever, the original is believed to have been found in Stockholm, having been taken to Sweden at the beginning of the century. Three figures. The Mother is lifting with her right hand the covering from the Child, who apparently has just awakened from sleep upon a pillow ; both his hands are raised to meet his Moth- er's. Joseph's head appears over her left shouder. (See Nos. 39, 41, 54.) No. 13. Florence. — **Madonna della Sedia^ Seggiola, the Chair Ma- donna, Pitti Gall., No. 151. Three figures (1516). Copy in Dresden, No. 83. " She is a beautiful Grecian or Circassian Sultana ; her head is covered with a sort of turban, while striped oriental stuffs of bright colors and embroidered with gold wind around her form ; she bends over her child with the beautiful action of a wild animal, and her clear eyes, without thought, look you full in the face."— Tai7ie. " The most beautiful picture in the world, I am convinced, is Raphael's Ma- donna della Seggiola." — TIawlhorne. " The rare beauty of these little infantile forms, and sweet, holy, motherly ex- pression of the mother, the lovely tenderness of the attitude, and, wiihul, the wondrous expression of beauty upon the children's faces, one can only see in the painting, for no idea of its artistic power can be had from any ongraviug I ever s,&\\\"— Guild. No. 14. Flouenc k. — * Madonna of the Well, Uffizi, Tribune, No. No. 13. tu MADO 1125. Three figures. The Virgin seated, with her right arm around the Child who stands in her lap ; he has his left arm about the Mother's neck, and the right in her dress ; he turns his head toward St. John, who holds in his left hand a cross and in his right a papyrus scroll with the inscription Bcce Agnus Dei, which he extends to the Christ. In the back- ground, at the left, is a fine landscape in which are the ruins of an old castle and several figures about a well. No. 15. Geneva, Switz. — * Madonna of the Goldfinch, M. Reviliod's Coll., No. 12, Rue de I'Hotel de Ville. Similar to, No. 14. and claimed to be the original of the Cardellino of Florence. Regarded by C. & C. as a copy. No. 16. Genoa. — * Madonna della Bovere, Palazzo Bianco ; so named from the oak under which the holy family is reposing. It is a replica, with some variations, of the Madonna de la Maison d'Albe, in St. Petersburg. See No. 46. No. 17. London. — **T7ie Bndgewater Madonna, in the Bridge- water Gallerj^ formerly in the Or- leans Coll., and known as La plus belle des Vierges ; Mother and Child only. The Child, stretched across the Mother's lap, rests his head against her left shoulder. Her left hand is against his thigh and her right near his shoulder. Imperfectly preserved. (1512.) Copies exist in the Nat. Gall, , Berlin Gall. , and Naples. No. 18. London. — Madonna of the Palm-tree, La Vierge au Palmier, in the Bridgewater Gallery, No, 35, for- merly in the Orleans Coll, Three figures ; the Mother on the left, be- neath a palm-tree, is holding by his girdle the Child who, seated in her lap, is reaching for some flowers which Joseph is presenting aa he leans upon his staff. Circular picture, full length figures ; that of Joseph of doubtful authenticity, (1506.) MADO 215 No. 19. London. — Madonna del Passeggio^ Bridgewater Gal- lery, was formerly in possession of the Duke of Urbino, Philip II. of Spain, Emp. Rudolph of Ger., Gustavus Adolphus, Queen Ko. 18. mm0Mm No. 19. Christina of Sweden, Duke of Braciano, and the Duke of Orleans: Four figures. The Mother is standing in a pleasant field and clasping with her left hand the left arm of the Child standing in front. The child John with the cross, upon the left, has his face near the Christ's. At a distance on the left in the background, near two trees, is Joseph half hidden by a hill. Attributed by some to Fr. Penni. Several repetitions. No. 20. London. — **Garvag7i or Aldobranddyn Madonna, Nat. Gall., No. 744. Three figu;es. The Child, reclin- ing against his Mother's right arm, is presenting with his right hand a flower to John Bap., who has raised his left hand to receive it. The Virgin, half length, has her left arm around the youthful John. (1009?) No. 21. London. — *La Vierge aux Candelabrcs, Madonna of the Candela- bra, in possession of Hon. jVIr. Johnstone, London ; formerly in the Borghese Pal., Rome, afterward owned l>y Lucien Bonaparte, the Duke of Lucca, anfl Mr. Monroe of Eng. Exhibited in N. Y. 1883. A circular picture of the Mother and Child, and an indis- tinct face on either side, as also a burning lamp. The Child is 216 MADO sitting on its Mother's lap with both hands upon her neck, Hei left hand rests against his body. (1515 ?) No. 33. London.— *Ecce Agnus Dei (Behold the Lamb of God), No. 21. No. 22. La Vierge a la legende, in possession of the Hon. Mr, Johnstone, London. Three figures. The Child, in its Mother's lap, is holding in his left hand one end of a scroll, the other end of which is hel4 by John, who is standing on the left. (About 1517.) No. 33. — Colonna Madonna^ Eng., executed for the convent o(' S, Antonio, Perugia ; afterward came into possession of the Co lonna family, the King of Naples. Ij general composition much like the del Baldacchino. Seven figures. The Vir- gin seated upon an elevated throne be- neath a canopy, is holding the Child up on her right side. Upon either side ii front, is a saint with a book, that upoi the right with a sword also, behind eac^^ of these upon the throne steps, is a fe- male figure presenting a palm branclj, while upon the throne dais on the righf; is the child John with hands clasped lool; ing up to the Christ. No. 34. — Formerly the Rogers Madon na, from the Orleans Coll. Two figures ; the Virgin half lengths much injured. The Mother is half hidden by a parapet upoisi which the Child is standing with his arms around the Mother** No. 23. MADO 2n neck. Her right hand clasps his right foot, her left is upon hU waist. (1512.) No. 25. Panshanger, Eng., seat of Earl Cowper. — ** The Panshangcr Madonna. Two figures. Child seated on a pillow No, 24. No. Ji6. in the Mother's lap, with the left hand pushed into her bodice ; her left hand is raised near his. (1508.) " Borders on mannerism in the fractious expression of the child. The counte- nance of the Madonna is, however, ex- tremely sweet."' — Ktigler. No. 2G. Pan sn ANGER, Eng. — * The Pink Madonna. Two figures. The Child, seated up- on a pillow in the IMothor's lap, has a pink in his left hand, the light resting on the Mother's left. She also holds a pink in her right. (About 1505.) No. 27. Madrid. — ** 3ia- donna of the Lamb. Madonna del Cordero, Prado, No. J}64, formerly at the Escurial. Three figures. On the left, the Child astride a procumbent lamb, is looking up to Joseph, who bends forward toward him with both hands clasping a long staff. Between them is the Virgin with both hands upon the Child's shoulders. (1507.) ^^ ^^m Wfi^S No. 25. 218 MADO No. 27. " This i3 one of the gems of the master ; and the oriyiniil of many inferior rep licas. The head of Joseph is exquisite." — Eastlald. No, 28. Madrid. — Madonna of the Oak, or Madonna of the Lizard ; Madonna della Lucer- tola; Madonna del Lag-arto, Prado, No. 371. Four figures beneath an oak tree. On the left, John and the Christ are holding a scroll bearing the words " Ecce Agnus Dei,'''* and both also have one foot upon the cradle. The Virgin is hold- ing the Child upon her lap, while her left arm rests upon a piece of antique sculpture, upon which Joseph is also lean- ing with one hand at his chin. (1517.) Copies in St. Peters* burg, and the Pitti, Florence. No. 29. Madrid. — Madonna of the Pearl, La Perla, Prado, No. 369. Five figures. The Virgin has her left hand resting on the shoulder of St. Anne, and her right upon the thigh of the Child, who, partly resting in her lap, stands with one foot in his cradle, with both hands extended to- ward John. In the background at the left is Joseph, at the right, a walled city. This picture was in the collection of Chas. L of Eng., and was sold by Cromwell to the Spanish Ambassador for Philip IV. of Spain. The reported exclamation of Philip on seeing it, " This is my pearl," has given it a rep- utation which the work seems never to have warranted. Kugler says that it has been greatly over-estimated, and that portions of it are believed to be by Romano. (1518.} No. 30. Madrid. — ** Madonna del Pesce, or Madonna of the Fish, Prado, No. 365. Five figures. The Madonna, seated, is holding the Child in her arms ; upon the left an angel is present' No. 28. MADO 219 Ing Tobias, who, kneeling upon one knee, holds a fish in his right hand. Upon the right, book in hand, is St. Jerome kneel- ing, his lion at his feet. (1518.) No. 31. Madkid. — * Madonna of the Hose, La Rosa, Prado, No. 370. No. 32. Munich. — * Madonna Canigiani, Old Pinakothek, No, No. 29, No. 30. 1049. Five figures. The composition of this picture is somewhat artificial in its pj^ramidal structure. Joseph leaning upon his staff stands as the apex ; seated below are the Madonna and Elizabeth facing ; and below and be- tween them, the Child and John holding a scroll. In the background is a pleasing landscape. Obtained by Elector Wilhelm as a part of the dowry of the Princess de Medici. (About 1507.) No. 33. l! = St.: Vlark's. 1 3 7 9|ili|l|l •• •• •4*»»» • • 4* The Piazzetta 5 6 8 Court. 8 .Hoyal Palace 10 Royal Gardens Do ges' Pa] ace Music 7 Gai -den Grand Canal. The Mela Laguna St. Mark's Square. 1. The four Bronze Horses, 7. Entrance to the Court, 2. The Flairptaffs. 8. Bronze woU-onrbs. n. Campanile. 9. Giants" Staircase. Entrance ta the 4. Colonnade. Palace of the Doges. 5. Column of St. Theodora 10. Brid'jre of Sighs, G. Coliinm of the Lion, 11. Clock Tower, Greek cro.ss, each arm being covered by a dome, and has, it is estimated, over 500 columns, mostly brought from tlie East. The Bronze Horses over the principal entrance were for- merly supposed to be the work of Lysippus, and to have been 2S2 MARK brought from Alexandria to Rome by Augustus ; now, however, believed to be of the time of Nero. They stood successively upon the arches of Nero, Domitian, Trajan, and Constantine, in Rome. Afterward they were carried by Constantine to Constan- tinople, thence brought to Venice by Zeno, 1204 ; taken by Bo- naparte to Paris, 1797, and placed upon the Arc du Carrousel ; restored to Venice, 1815. The Vestibule. — In the pavement of the vestibule at the central door is a slab of red and white marble, marking the place of the reconciliation of the Emp. Fred. Barbarossa with the Pope. Over the door is a mosaic of St. Mark in his pontifical Tobes, from designs by Titian. On the r. of the vestibule is the Zeno Chapel, with the magnificent tomb of Card. Zeno, loOo. The r. door of the vestibule was brought, 1203, from St. Sophia, at Constantinople. The central door, in 48 sections, with silver figures, is Venetian of the 12th cent. The 8 columns adjacent were brought from Constantinople, 1205. In the n. cor- ridor are tombs of 3 Doges, and of Maniu, a Venetian patriot. The Interior is of exceeding richness, the pavement being of tessellated marble, the columns of most costly marble, and the vaulting all of mosaic, upon gold ground. Over the central door, mosaic of Christ, St. Mark, and the Virgin, 10th cent., the most ancient mosaic in the cathedral. The building contains over 40,000 sq. ft. of mosaics, of various ages, but all in the Byzantine style. The High Altar is covered by a canopy of verd antique. The Pala d'oro, or altar-piece, is wrought in enamel and jewels upon plates of gold and silver — uncovered only on high festivals. Beneath the high altar are the remains of St. Mark ; on the r. are 2 alabaster columns, from Solomon's temple; at the sides, 8 bronze statues — 4 Evangelists and 4 Doctors of the Gh. ; upon the screen are the 12 apostles, St. Mark, and St. Mary. I Right Transept. — The treasury contains covers of the books of the Gospels from St. Sophia at Constantinople, a vase with blood of the Saviour, a silver column with a bit of the true cross, portion of the skull of St. John in an agate cup, and the episcopal chair of St. Mark. Left Transept. — In the Chapel of the Madonna is a mo- saic of the history of the Virgin. In the Chapel of St. Isidore ia a mosaic of the genealogical tree of the Virgin. The Battistero (bat-tis-tay'-ro), r. aisle, contains a large MARK 235 bronze font, 1545 ; above is J. Baptist, to the 1. of the altar the head of J. Baptist and the stone on which he was beheaded. From this room we enter the *Zeno Chapel, rich in bronzes. * Mark's, St., Piazza of (pee-at-za), the grand central point of Venice, is an irregular square about 600 ft. in length, 2 JO ft. wide on the w. and 8U0 on the e. The eastern side is ter- minated by St. Mark's, the Campanile, and the Doges' Palace ; the s., w., and n. sides by a continuous palatial structure, with arcades, covering a broad sidewalk, along w^hich are shops and cafes. In summer, from sunset till midnight, the entire piazza is filled with an animated concourse of pleasure-seekers. A military band usually plays on Sun., Tu., and Th., 8-10 P.M. The pavement of the piazza abounds with pigeons, which are said to be fed at the city expense at 2 p.m. , n. w. corner of the square. The three flagstaffs in front of the ch., erected 1505, formerly displayed the banners of Cyprus. Candia, and 3Iorea, after their annexation to the republic. The Piazzetta is the small square extending from St. Mark's southward to the grand canal ; on the e. is the Doges' Palace, on the w. is the Royal Palace and the library of Sansovinc. At the termination of the piazzetta, on the right, is The Column of St. Theodore, and on the left, that of the Winged Lion, broujjht from the Grecian Archipelago, 1156. Public executions formerly took place between the columns. The Campanile (cam'-pah-nee'-lay), in front of St. Mark's, is a tower 42 ft. square, 322 ft. in height ; commenced, 911 ; and completed, 1590. The ascent is by an inclined plane in lieu of steps. The summit commands a magnificent view ; (small fee). At the foot, bronze Apollo, Mercury, and Peace, by Sansovino. The Torue dell' Orulogio {clock -tower), to the r. on leaving St. Mark's, is surmounted by two bronze figures, called Moors, which strike the hours upon the bell — one of which, it is said, struck a workman who chanced to come within range of his hammer, and knocked him from the tower, causing his death, Marseilles, Fr. See p. 572. Mars, Greek Aues, myth ; the god of war ; one of the prin- cipal Olympian deities, the son of Jupiter and Juno ; beloved by Venus. Among the Romans he was considered the father of Romulus, and hence the founder of the nation, and the protectoi' of agriculture. His priests danced in full armor. Statues : Cap., 31 colossal, II. 17; Glyp., 'Jl ; Lat., * ; Lndo., *? ; Naples, hi. 834 MARS Mars — Ludovisi Villa. tories of Louis XIV. Mars Ultor, Temple of; Mars the Avenger, Rome.; built by Augustus in his Forum, and dedicated to Mars, who had assisted him in avenging the murder oi; his uncle. Some columns of the struc- ture still remain. WSar'-sy-as, myth., a satyr, who, hav- ing found a flute that Minerva had thrown away, which emitted delightful music of its own accord, was so elated that he challenged Apollo to a musical contest. The Muses, who were the um- pires, decided in favor of Apollo, and Mav- syas, as a just punishment for his rash presumption, was condemned to be flayed alive. Statues in the UfBzi and Vatican. fVSartin, Porte St. (mahr-taii; a as in hat), Paris; intersection of Boul. St. Denis and Rue St. Martin ; a triumphal arch, erected 1C74, in honor of the vic- Reliefs, s. side, Taking of Besanron ; n. side, Capture of Limhurg ; Defeat of the Germans. This arch, as well as that of St. Denis, was one of the last rallying points of the Communists, 1871, who here made a very stubborn and sanguinary resistance, of which the bullet-marks are still visible. Mary, Queen of Scots, Stuart, dau. of James v., b. 1542 ; eight days after succeeded to the throne, and was crowned the following year ; at 5 years of age, sent to France ; at 16, married Francis (then dauphin, the following year King of France). On his death, two j-ears later, she returned to Scotland, At 23, she married her cousin, Henry Stuart, Lord Darnley, who being excluded from participation in the government, became jealous of the Queen's private secretary, Rizzio, and murdered him in the Queen's pres- ence at Holyrood Palace. Darnley now residing separate from the Queen, in 1567, his house was blown up during the night, and he was killed. Tiiree months later Mary married Both well, who was openly accused of Darnley' s murdci. Insurrection soon broke out, Bothwell fled to Denmark, and Mary 'M(ivs—G'?/2}toihel: MASA 23ft was imprisoned in Loch Levin castle. After some months she effected her escape, raised an army, but suffered defeat at Lang- side, near G]asgo\\\ To avoid falling into the hands of her enemies, she fled to England and sought the protection of Elizabeth, her cousin. As Mary was the recognized head of the papist party, who were de- sirous of placing her upon the throne of England, she was de- tained as a prisoner. It becoming evident she was cognizant of the plots against the crown, she was put upon trial for con- spiracy, and, after having been imprisoned 18 years, condemned and executed in the castle of Fotheringay. where she had been so long coniiueil, Feb. 8, 1587, aged 45. She was buried in Pe- terborough Cathedral, but was removed by her son, James L, 1G12, to her pres- ent tomb in Henry VI L Chapel, Westminster Ab- bey. Masaccio (mah-sat- Cho), TOMMASO GrUIDI, 1401-1428; Itnhj. Like his two great predecessors, he has frequently been honored with the title of " The Father of Modem Painting." Taking up the art nearly as they had left it a century previous, by his laborious studies he placed himself in the front rank of those who extrica- ted the art from the imperfections, vices, and technicalities which had thus far hindered its progress. He established new and most important rules of perspective ; he gave to his figures attitudes, .'strength, vivacity, movement, and pose, to be found in the works of no one who had preceded him. Hitherto all the Italian i)ainters had placed their figures upon the front of their feet, or apparently standing upon the toes. In the chapel of the Brancacci, Church of S. M. del Carmine, his figure of Peter in the P>aptism. nude, trembling, an 1 coM. has won admiration to the present day. This chapel, of which Baptism— J/cwacc/w. 236 MAT Masaccio may be said to be the master, has been from his time to this the great school of Modern Painters. Here da Vinci, Perugino, Bartolommeo, Angelo, del Sarto, Raphael, and a mul- titude of others found the best principles of their art. The pleasure one draws from the contemplation of the works of Masaccio, is saddened by the reflection of his death at the curly age of 2") sudden and so unlocked for as to awaken the suspicion of his having been poisoned. " In his exceedingly short life he attained to a greatness and power of vision which have rendered his works the characteristic ones of an epoch, and his ex- ample the decisive influence in all art of the fifteenth century. " In the Brancacci chapel, Florence, the Expulsion from Taradise has not only the earliest nude figure in Italian art, but is a composition of such beauty that Raphael adopted it in his series of Bible pictures." — Lilbke. Principal Works: Barb., No. 67?; Flor. Acad., S6 ; Munich, 1150?; Uffi., 1167? Mat-sys, Quinten, Massys, Messys, or Metsys; 1466- 1531, b. at Louvain, Belg. Becoming enamored of a lady whose father was a painter and had resolved his daughter should marry only an artist, Matsjs abandoned his trade of blacksmith, betook him- self to painting, and be- came one of the first Masters of his age. Speci- mens of his iron work are still preserved inAntwerp. His paintings exhibit small perception of beauty, but great tech- nical skill and delicacy of touch and color. PbincipaIj Works : Ant, 241-2-5-6-7-8-9; Belv., on«; Berlin, 561, 574B ; Bruss., Hist. of St. Anne ; Dresd., 1721 ; Her- mit., 449; Louvre, 279, 280?; Munich, 80; Nat. Gall., 295; Nuremberg, 35?; Ufa., 237. Among his more celebrated pictures are the Two Misers in Windsor Castle, an Altar-piece, and an Entombment in the Antwerp Museum. " There are heads in the Altar-piece not exceeded by Raphael, and, indeed, not unlike his manner of painting portraits, hard and minutely fini&hed. The head of Herod, and of a fat man near the Christ, are excellent."— >Sir Joshua Reynolds. Mayence (mah-yahns'), Ger. Mainz (maintz), a city on the Entombment — Matsys. MEDI 237 Rhine at the confluence of the Main ; the Castelhim Magontiacum of the Romans, Pop., nearly 00,000. It was occupied by Agrip- pa, B.C. 38 ; and by Drusus, the son-in-law of Augustus, i\. C. 14. During the Roman supremacy it was an important military post, and at present is one of the strongest fortresses of Germany. Mayence is one of the reputed places where Constantino saw his vision of the Cross in the heavens ; and is the oldest archepisco- pal see in Germany, dating from 751. Charlemagne here con- structed a bridge across the Rhine, 793, of which remnants may yet be seen at low water. Birthplace of Gutenberg, 1397. * The Cathedral, which was founded in 978, has several times been partially destroyed by fire, and each time rebuilt in the then prevailing style; it therefore presents the architecture of the 13th, 14th, and loth cents. During the French occupancy, 1793, it was much injured and afterward used as a storehouse. Since 1815 it has been restored. The round towers on the e, are of the early structure ; the front, of the 12th cent.; the west choir, of the 13th ; and the cloisters of the 14th. The interior contains numerous monuments. Open from early morning until Hi ; and 3 to 6. The Electoral Palace, 1627-1792, is now occupied as a museum ; it contains a picture gallery, and one of the most val- uable collections of antiquities in Germany, especially in works of the Roman age. Open W. and Th., 2-5; Sun.. 9-1, free. At other times a small fee. Ix THE Gutenberg Platz, near the Cathedral, is a statue of Gutenberg, designed by Thorwaldsen. The Schiller Platz, the forum of the Romans, contains a bronze statue of Schiller, erected in 18G2. Military music in the park, Wed., at 2 p.m. In the Citadel is a circular monument, 45 ft. in height, called the Eigelstein, erected to Drusus by the Roman soldiers. Permit necessary for admission. Routes : To Cologne, by rly., 4 hrs„ $.3.75 ; $2.75 : bcc Route 20 ; by stmr., 9 hrs., $1.90; bco Roulo 20. To Frankfort, i^ hr., §0.(J0 ; $0.40. To Heidel- BEBG, 2 hrs., $1.80; $1.25; koc Route 21, To VViesbadkn, by rly. from Castel, 15 m. To WoKMS, 1 hr., $0.70 ; §0.50. Union station for all trains. ** Medici Chapel of the (maid'-e-chee), Florence ; daily, 10- 4; Sun., 10-3; M., 12-3. Entrance in the Piazza della Madonna, in the rear of the ch. of S. Lorenzo. It was erected, 1G04, of the richest stones, at a cost of $4,400,000, as a receptacle for the Holy Sepulchre, which Emir Faccardino had engaged to recover 233 MEDI from the Tarks and take to Florence. Ascending the steps from the vestibule on the r. is the Chapel of the Princes, on the 1., the New Sacristy. ** The Chapel o? the Princes is octag:onal in form, sup- porting- a dome. The sarcophagi are in six niches in the walls, and contain the remains of Cosmo I., Francesco, Ferdinand I., Cosmo II., Ferdinand II., and Cosmo III. Above the Sar- cophagi are the armorial bearings of 16 Tuscan cities. The decora- tions of the dome by Benvenuto, represent The Creation, Fall, Adam, Noah, Nativity, Death, Resurrection, and Last Judg- ment. ** The New Sacristy was constrvicted by Michael Angelo, and contains some of his most celebrated sculptures. On the right ** The Tomb of Giulio (joo'-le-o) de' Medici, duke of Nemours, son of Lorenzo il Magnifico, and brother of Leo X., surmounted by the figure of the Duke ; on the sides, Day and Night. On the left ** The Tomb of Lorenzo, duke of Urbino, grand- son of Lorenzo il Magnifico, surmounted by his statue ; on the sides, Evening and Dawn. These sculptures by Angelo are among the finest produced by modern art and are considered as worthy of the best period of Greece, and place Angelo among the first masters of history. " Lorenzo de' Medici is like no other that ever came from a sculptor's hand. It is the one work worthy of Michael Angelo's reputation, and grand enough to vindi- cate for him all the genius the world gave him credit for. . . . After looking at it a little while, the spectator ceases to think of it as a marble statue ; it comes to life and you see that the princely figuie is brooding over some great design, which, when he has arranged in his own mind, the world will be fain to execute. No snch grandeur and majesty have elsewhere been put into human shape. It is all a miracle ; the deep repose, and the deep life within it. It is as much a mira- cle to have achieved this as to make a statue that would rise up and walk. How wonderful to take a block of marble and convert it wholly into thought, and to do it through all the obstruction and impediments of drapery ; for there is nothing nude in this statue but the face and hands." — Hawthorne. '• Nothing in modern statuary is equal to them, and the noblest antique figures are not superior ; they are different, which is all one can say. Phidias executed serene gods, and Michael Angelo suffering heroes ; but suffering heroes are equal to serene gods. . . . " One of them, half reclining, awakes, and seems to be shaking off a fearful dream. The head is bowed, the brow frowning, the eyes hollow, and the cheeks emaciated. How much misery had to be endured in order that such a form might feel the burden of life ? Its indestructible beauty has not succumbed, and yet inward suffering begins to reveal its corroding imprint. The superb animal vitality, the vivacious energy of the trunk and limbs ai-e intact, but the spirit MEDI 239 falters ; she lifts herself painfully on an arm, and beholds the light with regret. How sad to raise the eyelids, and to feel that once more must be borne the burden of a human day 1 " By her side a man, seated, turns half round with a sombre air like one over- come, irritable and expectant. AVhat an effort, and what writhing when the mass of muscles furrowing this torso swells aud strains in order to clutch an enemy i Tomb of Lorenzo de' Medici. On the other tomb an unfinished captive, his head half discns^agcd from its stone matrix, the arms rigid, the body conturtud, raises his shoulder with a forinidiiblo gesture. I see th<;re all of Dante's figures; Ugolhio gnawing the skull of his enemy ; the damned half springing from their flaming sepulchres ; but these ore not the cursed ; they are grand, wounded spirits justly indi.^'nant at slavery. " A grand female form extended is sleeping ; an owl in front of it is placed at its feet. This is the sleep of exhaustion, the dull lethargy of an overtaxe0. St. Ursula — MtnUing. MENG 24.- MengSy Anton Raphael (mengss), 172^-1779, b. Aussig, Bohemia. His father Avas court painter to Aug. III. of Poland. He studied under his father, and at Rome, and was appointed court painter by the King of Poland at the age of 17 ; was invited to Spain, where he executed several of his finest works. His pictures are to be found iii all the principal galleries. By some he has been extravagantly praised and called the G-erman Raph- ael ; by others his works have been as severely criticised. Principal, Works: Alb. Villa, Gal. Nobilo, Ceiling; Brcra, 429; Hermit., 1298, 1301-2-3; Madrid, 1435; Milan, Ambros., 46 ; Munich, 153. Mercury, Greek Her'-mes, myth; son of Jupiter and Maia ; the herald of Jupiter and of the gods generally. He was the god of prudence, cunning, fraud, perjury, and theft ; was re- garded as the inventor of the lyre, the alphabet, numbers, as- tronomy, measures, and weights ; was the god of roads and travel- lers, of commerce, good luck, and gymnastics. His attributes were a hat with a broad brim, and later with two small wings ; a herald's staff wound with two white ribbons, later changed into two serpents ; and sandals with small wings at the ankles. The term Mercury is derived from mercari.^ merchant. Statues : Alb. Villa, 52 ; Berlin, 1.5. 127, 224, 742, 707; Borgh. Villa, X. 3; Br. Mu., 171; Cap., 2(i, III. 27; Flor. Nat. Mns., ♦bronze by Bologna ; Glyp., 123, 151 ; Louvre, * ; Ludo. Villa, 30 ; Naples, 73, (74), **Mercury Resting, bronze; Torlo., 38; Vat., (Br.) 65, 132, (Chi.) 232, 4()0, *580, (P. C.) 34, **53, **417. ** I. Mercury Reposing. bronze, Naples; found at Herculaneuin. This statue is in tl-e style of Lysippus, and certainly belongs to the best period of Greek art. As Jupiter's messenger he is reposing on the top of a mountain, as if in fatigue ; his right hand resting upon the rock and his left arm upon his knee. '•This is perhaps the finest bronze statue in the world. The figure is of the size of life, in a sitting posture, the left hand resting on the knee, and the right slightly supporting the figure against the base on which it is .seated. The air and attitude of the figure are those of a person who is enjoying the luxury of rest after considerable muscular exertion, The limbs are in th« soft bloom of early Mercury — X(tples. 244 MERC manbood. The proportions are beautiful, and the expression perfect; in every respect a work of the highest class." — Hillard. * II. Bel-a^e-de-re Mercury, Vat., No. 53 ; found on the Es- quiline, 1534-50; right ankle unskilfully restored. This statue was formerly, and for a considerable period, called the ' ' Antinous," and as such is described in various works on art. The right arm and left hand are wantmg. His chlamys rests upon the left shoulder, and is wound around the left arm. " There can be little doubt that this statue, though possessed of less " subject}" than the Apollo, in point of art surpasses it." — Wood. '' I am strongly inclined to regard the Mercury Bel- vedere as an original of Polycletus. It approaches al- mo.st the exact proportions prescribed bj' him ; and we know that a statue of Mercury ijy Polycletus was transported to Rome. Poi-.ssin declares the Mercury the most perfect model of the human figure." — Ampere. *' Perhaps this is the most beautiful statue in the world."— ^rtre. '• It is an exquisite image of blooming youth. For soft and delicate beauty — beauty which, like that of the vernal rose, the sunset cloud, and the breaking wave, is suggestive of brief continuance and early decay — this statue has no superior, hardly an equal. The busts and statues of Antinous (Mercury) all have a certain expression of melancholy. Their beauty seems too ripe for eai'th. " In this statue the softness of the limbs just stops ^"^ ',S?*^fe- short of languid effeminacy. It is beauty, not like v'*=^=5=s™s?==fT=^^^S' ^^^'^'^ °^ *^® Apollo, in action, but in repose ; filled to _ the brim with sweet sensations ; neither restless from "" * ■' " desire, nor cloyed with enjoyment." — Hillard. III. Mercury, No. 171, Br. Mu. SimHar to that of the Vat- ican and at Munich. Has the attributes of ihe god more fully than either of those. IV. Mercury^ of the Capitol, represented as the god of commerce, holding a purse, wearing a cloak and a traveller's cap, and winged both on the cap and ankles. In his right hand he bears the Caduceus. ** V. Mercury, by G. da Bologna, bronze ; Saloon VII., Nat. Museum, Florence. A small statue of Mercury standing upon one foot, as in the act of springing into the air. One of the lightest, most airy, and graceful jBigures ever wrought in bronze or marble. " It seems a wonder that he did not absolutely fling himself into the air when the artist ga-ve him the last touch. No bolder work was ever achieved ; nothing eo full of life has been done since."— i^ajciftorne. MET 24o Met'-su, Gabriel, Met'-zu, 1630-1067, b. at Leydeu ; one of the most charming- g-enre painters. His favorite subjects were high lii'e, fairs, markets, and interiors, frequently with chickens. His works number IGO, and are found in all galleries. Michael Angelo, See Angela, Michael. Mieris, Frans van (mee'-ris), 1635-1681, b. Leyden, pupil of Gerard Dow, and friend of Jan Steen. Pictures are small ; sub- jects genre, and occasionally of high life. His masterpieces ar« The Tinker, in the Dresden Gall., and The Charlatan in th« Uffizi. His works number 140. Milan (me-lan', mil -an), It. Milano (mee-lah'-uo). Founded 600 B.C. Under the Romans, Mediolanum was one of the leading cities of Italy. The later Emperors frequently made it the seat of the Empire. In the Middle Ages it was subject to frequent siege in the struggles against the Germans. Totally destroyed by Fred. Barbarossa, 11G2, it was rapidly rebuilt, and such was its prosperity and the excellence of its manufactures, that, in 1500, it established and controlled the styles and fashions of Europe, whence the word milliner. The present city has undergone many improvements within the last 20 years, and has now a pop. of 331,000. It bears the im- press of a modern town beyond that of any city in Italy, except Turin. Much as may be found for admiration, there is little be- sides the cathedral that will compensate delay for the traveller whose tour comprehends Central Italy. The Principal Places of Intere.Ht are the Cathedral ; the Galleria Vittorio Emanuele ; the Piazza della Scala ; the churches of S. Ambrogio, and S. Lorenzo ; the Giardini Pubblici ; the Arco della Pace; the Brera Gallery, see Part II.; and Ch. of S. M. delle Grazie ; see Grazic. **TiiE Cathedral : The original church built here was de- stroyed by Attila ; rebuilt, it was burned, 1075 ; rebuilt, and destroyed by Fred. Barbarossa, 1163. The present building was commenced, 1388, under the direction ol Ileinrich von Gmiind, and is not yet completed. The plan of the cathedral is a Latin cress ; it is 480 ft. in length, 183 wide ; height of vaulting, 155 ft.; from the pavement to the top of the tower, 360 ft. It has 93 Gothic turrets, and upon the outside, exceeding 2,000 statues — according to Murray, 3,400 of the 4,500 required to complete the original plan of the structure. Interior : The pavement is marble mosaic. Fifty-two columns, «.^aHei«. MILA 247 from 8 to 12 ft. in diam., support the roof. The columns are surmounted by statues in niches in place of capitals. The vault- ing is painted in imitation of wrought stone. S. Aide : Sarcoph. of Bp. Heribertus Antimianus ; Gothic mon. to Bp. Marcus Corellus. S. Transept : Mon. to Giac. and Gab. de' Medici, by their bro. Pius IV., 1564. Statue of St. Bartholo- mew flayed, by Marcus a Grate. CJioir : Ornate Gothic doorway of the S. Sacristy; mon. to Card. Carraccioii, who crowned Emp. Ch. V. at Aix-la-Chapelle. The 3 great windows contain 350 scriptural subjects. Above is a sitting statue of Pius lY. N. Transept: * Bronze candelabrum, of the 13th cent., in the form of a tree. N. Aisle: Altar-piece, IGOO, by Baroccio. On the altar of St. Joseph, Marriage of Mary, by F. Zucchero. Next chapel contains the crucifix worn by S. Borroraeo during the plague of 1576. The Font was formerly the sarcoph. of S. Dionysius. On the high altar is a tabernacle of gilt bronze with figures of Christ and the Apostles. Beneath the Choir is a subterranean church, used in winter ; thence an entrance leads to the chapel of St. Carlo, of which the walls are adorned with silver-gilt bas-reliefs. TJie Treasury (fee 1 fr.) contains life-size statues of SS. Am- brogio and Borromeo, said to be in silver (?). Ascent to the Dome is made from the S. Transept (25 cent.) by nearly 500 steps to the highest gallery. The early morning (ca- thedral open at 5 A.M.) is most certain to afford a fine view of the Alps. The most i^romincnt peak is Monte Rosa ; on the 1. of which are the Matterhorn, Gt. St. Bernard, and Mt. Blanc. **The view of the immense cathedral, with its forest of turrets, pinnacles, and statues, seen from the upper galleries of the dome, is among the most striking and beautiful presented by any structure ever reared. Gal-LE-ri'-A ViT-TO'-.Tii-o E-MAN-u-E-LE : a grand and spa- cious arcade (1865), extending from the Piazza del Duomo to the Piazza della Scala, nearly 1,000 ft. It is in the form of a Latin cross, with a dome 180 ft. high, and is adorned with statues and lined wiih elegant shops and cafes. In the evening it is a fash- ionable and a most delightful resort. TnE Piazza della Scala (scah'-lah). Leaving the Galleria by the entrance opposite the Cathedral end, we enter the Piazza 248 MINE della Scala, noted pvincipally for its monument to da Vinci^ erected 1872. Below are four of his most eminent pupils — Marcd d'Oggione, Cesare da Sesto, Salaino, and Beltraffio. The principal business street is Corso Vittorio Emanuele, ex- tending from the rear of the Cathedral n. e. past the Public Gar- dens to the Poita Venezia. TiiK CriURCn of St. Ambrogio, where the Lombard and Ger- man Kings and Emperors were crowned with the Iron Crown of Lombardy, was founded in the 4th cent, by St. Ambrose, on the site of an ancient temple of Bacchus, The present structure dates from the 12th cent. This is said to be the church whose doors St. Ambrose closed against Emp. Theodosius after his Thes- salonica massacres. LoiiENZO, S., Ch. of, the most ancient ch. in Milan, being a portion of the Palace or Baths of Maximian, founded by King Ataulph, whose sarcophagus is in the chapel of St. Aquilinus. In the street is a beautiful ^colonnade of Corinthian columns, sup- posed to be a part of the same structure as the church. The Giakdini Publici (jee-ar-dee'-nee poob-lee'-chee ; piihlic gardens)^ on the n. e. part of the city, are the fashionable prome- nade, and the avenue on the n. side, the principal drive in the late afternoon, particularly on Sundays. At the s. w. corner is a bronze mon. to Cavour, with Clio inscribing his name on her tablet. In the n. w. part of the city is the Castello, now occupied as barracks, beyond which is the Piazza cfArmi (dar'-mee'), or driil- ground. On the side of the Piazza, opposite the Castello, is *TnE Arco del Sempione, or Arco della Pace, commenced in 1807 by Napoleon, in honor of the construction and as the terminus of the Simplon Road over the Alps. It was completed by Francis I. of Austria, in 1833. Upon the liberation of Italy from Austrian dominion, the in- scriptions which Francis had placed upon the Arch in his own honor were removed, and the present ones substituted. Routes: ToARONA(Lake Maggiore), 2 hrs., $2.50; fl.75; see Route 44. To CoMO (Lake of Como), IX hrs., $1.10 ; .^CIS ; see Route 45. To Venice, 6 hrs., §>0; $4.10; see Route 46. To Bologna, 5X hrs., $4.60; $3; see Route 47 to Piacenza, thence Route 42, Piaccnza to Bologna. To Genoa, 5 hrs., $3.50 ; $2.50. To Turin, ?j}i hrs., $3.40 ; $2.20-; see Route 43. To Paris. 22 hrs., $20 ; $16.50,' see Route 43 to Milan, thence Route 40, Turin to Culoz, thence Route 39, Culoz to Paris. Union Station for all trains Minerva, Greek Pallas Athena, or Athena, 7nyth^ dau. MINE 24.9 of Jupiter, the principal goddess of the Greeks, in whom wisdom and power were harmoniously blended ; was the chief protector of the state, of agriculture, and of all useful and elegant arts ; maintained the authority of law and the will of the people. In the Trojan war she sided with the Greeks. She is usually repre- sented in armor, with the segis and a golden staff ; in the centre of her breastplate is the head of Medusa. The owl, the serpent, the cock, and the olive tree were sacred to her. Statues: Alb. Villa, *1012 ; Bedin, 4, 124, 1^5-6, 203; Br. Mu., 103-4. 123-8; Cap., III. 16, IV. 54, VI. *71 ; Glyp., 59, 86, 92 : Louvre, 112, *114 : Min.Velletri, 116; Ludo. Villa, 51; Naples, 510 (245), 101 (S2j, *118, 150 (102); Vat., (Br.) IOTA, *114 Min. Medica, (Ch.) 197, 403, 496, 558, (P. C.) 259, *376, *438. **MrNEKVA Medica, or Pallas Giustiniani (joos'-tin-e-ah'-nee), Vat., Brae. Nuovo, No. 114; full length statue, with spear and Minerva Medica — Vatican. Athena VoW-AH—ALbani Villa. helmet ; found in the temple of Min. Med. on the Esquiline Hill. Supposed to be a copy of Phidias, Admirably preserved. " Sculptured in the finest Parian marble, but it has been worked over and the original .surface entirely removed." — Wood. "A most beautiful Greek statue, but much injured by restoration."— //rt/'e. "This statue fills me with admiration. I cannot praise it sufficiently."— Guethe. *ATnEXA Po'-Li-AS, Alb. Villa, No. 1012 ; a full-length statue, with a lioi:-«ikin upon the head in place of the usual helmet. The 50 MINE Mona Lisa — da Vinci. ri^ht arm is extended, tbe baud being higher than the head, and the left nearly even with the elbow. Drapery fine. ^Mirerva Medica, Temple of, Rome, near the Porta Ma.;giore, supposed to be of the time of Gallienus, a.d. 250, and to be a part of the baths erected by him. It is deca:?onal, 80 ft. in diameter, and surmounted by a dome, part of which fell in 1828. One of the most picturesque ruins of Rome. Minerva, Pallas, Temple of; the Portico, now called the Colonnance, Rome, via della Croce Bianca, only two columns, with a stat. of JMinerva and a frieze, remaining. Mithras (mi'-thras), myth. The Persian god of the sun ; was worship- ped also in Rome ; represented as a handsome youth, with a Phrygian cap, kneeling- on a bull which he is slaying. Mo-na Lisa (lee'-za), a picture in the Louvre, purchased by Francis I. for $9,000. Painted by da Vinci ; it is the portrait of the wife of his friend Gioconda, of Florence ; hence the picture is often called La Joconde or La Gioconda. Da Vinci regarded it as still unfinished, although he had worked upon it four years. " The mouth, the lips, the redness of which blends at the corners with the rose tints of the cheeks — this is not color, but actual, living flesh." — Vasari. " Though severely criticised in some respect?, this portrait is sm-e to captivate the beholder by the charming grace of the conception, as also by the sweetness of its almost seductive smile." — Li'ibke. " Da Vmci willingly uses the help of landscape, and thus gives the last touch, in the portrait of the Gioconda, to the thoroughly dreamy effect produced by this portrait of all portraits." — Burckhardt. *Monceau, Pare (park mon-so), or Pakc de Monceaux, Boul. de Courcelles. Paris, -J ml. from Arc de Triomphe, Laid out under the direct on of Phihp Egalita, 1778, and was at once the great resort of beauty and fashion. It became national property in the Revolution. Among the most interesting objects are the cascade, the grotto, and the lake, with mock ruins of a Grecian colonnade. Monte Testaccio (mon'-tay-tes-tat'-chee-o), Ro77ie, to the w. of Porta S. Paolo. The origin of this hill, 170 ft. in height, composed entirely of broken pottery, and which comes to U9 MONT 201 from ancient Rome, yet remains a profound mvstery. The sum- mit affords a fine view of the southern part of the city, and of the Carapagna. Wlontmartre (moft-mart), cemetery, Paris, on an elevation to the n. of the city, so named from the tradition that St. Denis here suffered martyrdom; the earliest burial-ground of Paris. Among- the most noted tombs are those of Gen. Cavaignac, Pre.s. of the French Republic, 1848 ; Halevy, the composer ; Heine, the Ger. poet; Ch. Zeuner, composer; Paul Delaroche, artist. Montmartre was the scene of the final conflict of the French and allies, 1814, and of the Communist insurrection in 1871. That section of Paris is also known as Montmartre. Montparnasse (moft'-par'-nas'), cemetery, Paris; on the s. side of the city ; 30 acres ; interments in private vaults only. Of less interest than Pere Lachaise or Montmartre. IVSorghen, Raphael, 1758-18o3, b. Florence ; the most celebrated engraver of modern times. Among his best known plates are the Transfiguration, the Madonna della Seggiola, Guide's Aurora, and da Vinci's Last Supper. Entombed in Santa Croce, Florence. Moscow (mos'-ko'), the ancient capital of the Russian em- pire, is one of the most magnificent and interesting cities of Europe. It is situated upon the river Moskau, and contains a pop. of about 800,000. The city is gathered in a semi-circle around the Citadel, or Kremlin, which stands immediately upon the river bank. The streets are exceedingly irregular, though generally presenting the appearance of broad, well-paved ave- nues of a modern European city. The innumerable white, semi- oriental structures which greet the vision from every command- ing point, with their unnumbered domes, spires, belfries, towers, and minarets, give to the city a magnificence of beauty scarcely to be found elsewhere in Europe. * The Kremlin. — The historic, as well as the most interesting part of the city is within the walls of the Kremlin. One of its five gates is called tlie Sacred Gate, from a })icture of Christ over the gateway, which, according to the popular belief, has rested there since the foundation of the city. Every person passing beneath the sacred arch is required to remove his hat. Within the walls, in long lines, are the hundreds of French bronze field-pieces lost by Napoleon in his memorable Ru.s-ian campaign. Here, also, is the great bell, 21 ft. in height, 67 in 353 MOSE c'.rcumference, and weighing 400,000 lbs. It was cast 1730, and seven years after was precipitated to the earth from the burning of the bell-tower, a pitce apparently twelve feet in height and of equal width being broken from one side in the fall. Nothing can be done toward threading the streets or visiting the objects of interest, in this city without an English-speaking guide. Any detailed description is therefore unnecessary. The Principal Places of Interest are, the Large Palace, with its endless apartments, stairways, and courts ; the Little Palace; the Arsenal; the Cathedral of the Assumption ; the House of the Holy Synod, where is manufactured the holy oil v/ith which all Russian chil- dren are anointed at baptism ; the Church of the Redeemer, the oldest in the city ; the Convent of the Ascension, con- taining the tombs of the prin- cesses ; the Church of St. Ba- sil, with its 20 domes and towers, the only church open daily, and the Treasury. The Museum, Tu., Th., Sat., and Sun., contains a li- brary of 100,000 vols., and an invaluable coll. of Slavonic MSS., a collection of antiqui- ties, and a picture gallery. Eouteii: Moscow to St. Peters- burg, 15 hrs., $17 ; $12. To Berlin, 54 hrs. ; $16 ; $28. ** OVloses, Michael An- gelo's, stat.^ in ch. of S. Pie- tro in Vincoli, Royne. Designed as one of the thirty statues to adorn the tomb of Pope Julius II., intended to be erected in St. Peter's. Moses, Racbael, and Leah alone were executed by An- gelo, and the monument never completed. " The eye does not know where to rest in this masterpiece of sculpture since the Greeks. ... All that is positive and all that is negative in him is equally flreadful. If he were to rise up it seems as if he v<-ould shout foi-th laws which Moses — 31, Angelo. MO us 253 no human intellect could fathom, and which, instead of improving the world, would drive it back to chaos." — Gregoroviics. ''There are few works against which so many critical objections can be made, and have been made, as upon this wonderful statue ; but it is, nevertheless, one of the most marvellous creations ever hewn by the hand of man from a block of stone. It is replete throughout with the great genius of the sculptor ; its majestic aspect almost inspires awe in the beholder, and it is so full of life that one would scarcely be surprised to see it rise from its seal, or hear it speak in the command- ing tones of the great law-giver of Israel " — Shalefipere Wood. '• We have liere, not the circumspect leader of hosts, or the wise law-giver, but the fiery zealot, who, in his hot indignation because of the idolatry of his people, breaks to pieces the tables of the law. '• He seems to be beholding the worship paid to the golden calf ; his head turns to the left, with flashing eyes ; his beard, agitated by the inward commotion, falls heavily down upon his breast ; the right hand rests upon the tables of the law, and with the left he presses the beard to himself, as though he would check the violent outburst of passion. But the advanced position of the right foot, and the backward movement of the left, give us to understand that in a moment this powerful form will spring to its feet and vent upon the apostates his fierce and withering indignation."' — Li'ibke. Mouse Tower, at Bingen on the Rhine. See Route 20. Legend: A famine having occurred, Abp. Hatto bought up all the corn, and would sell it again only at the most exorbitant prices. One day the starving mul- titude forced themselves into the Bishop's palace, where he was enjoying a lux- urious feast. They begged corn and were told to go to the barn and he would supply them. On reaching the place he caused the doors to be locked and the barn to be set on fire, and as they shrieked from their burning prison, he replied, " Hear how the corn mice squeak." But out of the ashes came thousands of mice, which immediately made their way to the palace, filling every apartment. The Bishop thougiit to escape them by fleeing to the tower in the midst of the Rhine, but the mice swam the stream, gnawed their way into the tower, overcame, and finally devoured the wicked Bishop. Munich (raoo'-nik), Munciien, Monaco; is situated on the Isar, principally upon the south bank. Pop. about 230,000. The city is extremely irregular both as to streets and general plan. There is no distinctly central point or street upon which business locates, or from which the principal lines of travel diverge. Among the most important centres are Max JosepJis Platz., near which are the Royal Palace, the Opera House, and the Post Office ; and Marieii FlaU, the leading financial centre. A broad boulevard with walks and grounds encircles the cen- tral portion of the city, occupying the place of the former fortifi- cations. Within this line is the old city with its primitive, narrow, and irregular streets. Outside is the new city with broad regular streets, exceedingly clean and inviting. Statues, monuments, parks, and well-kept grounds^ meet the visitor on every hand. 254 MUNI MUNI 2.>'5 The art galleries are at the extreme n.w. part of the city ; the railway station, on the west margin. For its fine public build- ings, its numerous parks and monuments, and for its collections of art, Munich ranks among the richest cities of Europe. PriiicijKil Places of Interest : the Glyptothek, or gallery of stat- uary ; the Old Pinakothek, or gallery of early pictures ; the New Pinakothek, or gallery of modern pictures ; the National Museum ; the Royal Palace ; the Bavaria, and the Bronze Foundry. The GLYPToxnEK. ^eeVsiXt 11., Glyptothek. P. 440. **The Old Pinakothek. See Pinakothek, Old. P. 467. **The New Pinakothek. See Pinakothek^ Neio. P. 465. ♦The National Museum, daily, ex.Mon., 10-2 ; Sun. and Th. free ; an extensive and exceedingly interesting collection of ob- jects designed to illustrate the progress of civilization and art. Ground Floor: Roman, German, and Celtic antiquities, and Gothic art. First Floor: weapons, costumes, musical instrumcn!s, and ceramics. Second Floor : Renaissance wood and ivory carvings, tapes- tries, etc. **TiiE Royal Palace: the Festsnalbau, daily, ex. Sun., at 11 ; comprising the Ball Room ; the Card Rooms, with C6 portraits of beautiful women; the Battle Saloon ; the Hall of Charlemagne ; the Barbarossa Hall; the Hapsburg Saloon; and the Throne Saloon. Small fee. * The Nlb-e-liinr/' -en Booms (g hard), daily, ex. Sun., at 11. En- trance Hall ; Marriage Hall ; Hall of Treachery ; Hall of Re- venge ; and Hall of Mourning. A custodian accompanies the visitors and explains (in German) all objects of interest in th3 rooms ; f^mall fee. The Maximillvneum, a military school, occupies a command- ing site across the Tsar at the termination of Maximiliansstrasse. *Tiie Bavakia, a colossal monument, stands upon an eminence at a distance of H mis. to the southwest of the city. The figure is 09 ft. in height, and may be ascended by an internal stairway. Small fee. A fine view is obtained from openings in the head. The Hall of Fame, a Grecian colonnade at the rear, contains about 80 busts of noted men of Bavaria. *TnE Bronze Foundry, daily, 1-0 ; Sun., 12-2 ; in the sub- urbs, is readily ri-ached by tramway. It is interesting, as con- taining the models of many monuments cast for the United States 256 MURI /W^^ Immaculate Cunceptit)ii- rillo. At the termination of Ludwigsstraese is the Siegesthor, a Gate of Victoiy, surmounted by a quadriga. The churches of Munich possess few objects of interest. Routes: To Venick, 17 hrs., $15; $71; Ee« Route 58. To Vienna, 10 hrs., $10; $7.50; see Route G2. To Zurich, 1) hrs., $8; $5.50; see Route 57. To Frankfort, 11 hrs., $9; $6.50; see Route 50. To Nuremberg, 4 hrs., $4 : $2.60. Murillo, BartolomeoEstaban (moo reel'-yo, or mu-ril'lo) ; 1G18-1682, b. at Seville, Spain. Manifesting an inclination for art, he was early placed in a studio. After- ward he went to Madrid and became a pupil of Velasquez. Upon the com- pletion of his studies, he returned to his native city where he spent his life. As a painter, Murillo stands in the first rank. Like Raphael and some other great masters, he had three distinct styles : the early, called frio., or cold ; the second, calido^ or warm; and the later, vapoToso^ or misty. His works are numerous, but are to be obtained only at the most extravagant prices. Died from injuries received by falling from a scaffold while paint- ing in a convent at Cadiz. His Immaculate Conception, Louvre, No. 589, which was pur- chased for $120,000, is a replica of a finer work at Seville. St. Anthony was one of his fa- vorite subjects. Principal Works : Berlin, 410A, 414; Brus., 251: Corsi., VI. 26, VII. 11; Dresd., 6;J3-4 ; Dul., 248, 2&3, 286, .347 ; Eiiinb., 119? ; Glasgow, Repose in Egypt ; Hague, 255, 256 ; Hermit., 360-1-2-3-6-7, 370-2-3-4-5-6-7-8-9,380; Nat. Gall., 13, 74, 176; Louvre, 538-9, 540-1-2-3-6-7; Madrid, in all forty-six, Acad, de San. Ferd., four ; Munich, 348, 849, 357, 368, 871, 376; Pesth, 687, 688,689, 692, 694; Pitti, 56; Rijks, 878; Rotterdam, 272; St. Anthony— Murillo. MUSfi 257 Seville, twenty; Vat., Marriage of St. Cath., and two others ; Vienna Chud., 48 ; Hoy. Acad., Beggar Boys *Mus6e des Thermes (mii-say-day-term), and Hdtel de Ctuny. Paris, 14 Eue du Somynerard. Open Sun. and holidays, 11-4 ; and to strangers with passports daily, except Mon. The Hotel de Cluny was erected about 1480, upon the ruins of the ancient Roman Palais des Thermes. The date of this Roman structure is not precisely known, but from the material employed and the style of workmanship and decoration, it is believed to have been erected by Emp. Constantius Chlorus, about a.d. 305. It is known to have existed in the time of Julian, who was here declared Emperor by his troops in 360. Emperors Valentinian I. and Valens also resided here. These ruins are the most ancient structures existing in Paris. The street in front of the Palais des Thermes — Boulevard St. Michel — is identical with the old Roman road. Upon the withdrawal of the Romans, the Palace became the residence of the French kings, and so continued until the time of Philip Augustus, who erected on the Isle de la Cite a new royal residence, the present Palais de Justice. In 1515, the Palais de Cluny was occupied by Mary, the widow of Louis XII., whose room is still called La chambre de la Reine Blanche, as it was the custom of the Queens of France to wear white mourning. In 1536, James V., of Scotland, married here Madeleine, daughter of Francis I. During the Revolution, Marat here held his political meetings. In 1842, the Palais was purchased by the government and fitted up as a museum. The Small Court, through which entrance is made, presents a pleasing specimen of a medieval turreted chfiteau. Office of the concierge to the left ; entrance to the right. Umbrellas left under the arch. TJie collection comprises over ten thousand miscellaneous ob- jects of Roman and MediaBval times, principally relating to the fine and useful arts, and is particularly rich in wood-carvings and faience. For anything more than a superficial inspection, a cata- logue or a guide is necessary. Catalogue, 4 fcs. Muses, The, mf/th, daughters of Jupiter and Mne-mos'-y-ne. 1. Clio (klio, or kle'-o). Muse of History ; with a roll of paper, or books. 2. Eu-ter'-pc, Muse of lyric poetry ; with a flute. 17 258 MYRO 3. Tha-li'-a, Comedy ; with a mask, staff, or wreath of ivy. 4. Mel-pom'-e-ne, Tragedy; with mask, club or sword, and her head wreathed with vine leaves. 5. Terpsichore (-sick'-o-ree). Song and dance ; with the lyre and plectrum, 6. Er'-a-to, Erotic poetry; sometimes with the lyre. 7. Pol-y-hym'-ni-a, Sublime poetry ; pensive, no attribute, 8. U-ra'-ni-a, Astronomy ; with a staff, pointing to globe. 9. Cal-li'-o-pe, Epic poetry; with tablet and stylus, sometimes with a roll of paper or a book. IVSyron, a celebrated Greek sculptor, b. about 430 B.C.; his principal works were in bronze. Among the most noted was the Discobolus, which was taken from Athens to Rome and placed in the Temple of Peace. Antique copies of this work are in the Br. Mu., the Louvre, the Vatican, the Cap. Mus., and Lancelotti Pal., this last being the best. His Satyr, in the Lateran Mus., is incorrectly restored with castanets. See Discobolus. Naples. The cit}^ lies upon a slope facing the east, upon the crest of which, at the southern extremity near the sea, rises the Castle of St. Elmo ; to the north is the Capodimonte, upon which is the Royal Palace. The station is located on the eastern edge of the city, while the hotels most frequented by strangers are situated along the Chiaia or shore, to the extreme southwest. The principal street extends through the heart of the city, north and south, a distance of about a mile. It was formerly called the Toledo, now the Strada di Roma. Naples is mentioned in history as early as 1000 B.C. In B.C. 326, it became a part of the Roman territories, and was a favorite residence of the Caesars. The last Roman Emperor, Romulus Au- gustulus, died here. In A.D. 536, it was captured by Belisarius ; in 543, by the Goths ; in 1130, by the Normans, who held it till 1194; under the Hohenstaufens till 1268; the House of Anjou till 1435 ; the House of Aragon till 1496 ; the Spanish viceroys till 1707; Austrian viceroys till 1734; the Bourbons till 1860, when Naples became an integral part of the Kingdom o£ Italy under Victor Emanuel. Pop. about 500,000. The great charm of Naples to the visitor is its unequalled scenery, and in the peculiar and multifarious phases of life which present themselves. Apart from these, there are few objects of interest. Of the 300 churches in the city, only the Cathedral with NxiPL 259 La Vervtec' V->;..',!^-^ .SM'. r:.'J^ y^- ^^ „^Tre^^ P'.NvrKONR OF Naples. J'JoKi. t^r 260 NAPL its Chapel of St. Januarius, and perhaps a few o(hers, will repay one who has already seen Rome. The Pompeian Antiquities of the Museum, the Marine collection of the Aquarium, and the views from tSt. Elmo and Camaldoli are unsurf^assed by anything similar elsewhere in the world. Among the noted names associated with Naples, are those of Virgil, Ribera (Spagno'etto), Salvator Rosa, Giordano, Vanvitelli, Pergolese, Rossini, and Bellini. At the extreme s.e. point of the city, on the bay, is the Piazza del Mercato ; thence passing to the westward along Strada Nuova, on the margin of the bay, nearly a mile, we come to the Castel Nuovo, 1. ; passing through the Piazza del Municipio, 1. , is Palazzo Reale and the theatre San Carlo ; on the r. , Piazza del Plebiscito ; thence through S. Lucia, where one finds a never-ending panorama of the strangest mixture of civilization and low life, good nature and careless enjoyment. Beyond S. Lucia we pass between the pre- cipitous cliffs of Pizzofalcone, r., and Castel dell' Ovo, 1.; thence for a mile along the Chiaia, with the spacious grounds of the Villa Nazionale, to the extreme s. w. point of the city. The Cathedral, Strada del Duomo ; commenced 1272, by Charles I. of Anjou ; completed 131(3; overthrown by an earth- quake, 1446 ; rebuilt by Alphonso I. Over the principal entrance are the tombs of Charles I. of An- jou and Charles Martel. Beneath the high altar is the shrine of St. Januarius ; in the Chapel de Seripandi, an *Assumption by Perugino. * The Chapel of St. Januarius, on ther., was erected at a cost of over a million ducats, in obedience to a vow made during the plague of 1527. Its decorations are exceedingly rich, having 8 altars and 42 columns of brocatello, ana five paintings by Domeni- chino. 1)1 the tahervacle of the high altar are the remains of St. Januarius. This saint being thrown to lions by order of Diocletian, and the lions refusing to do him harm, was beheaded and interred at Pozzuoli. In 14!)7, in the time of the Plague, the remains were brought to Naples and placed in the Cathedral. The liquefaction of the preserved blood of some of the saints occurs in May, September, and December, annually, when thousands crowd to see the miracle. The Villa Nazionale (nah'-tzee-o-nah'-le), situated along the Bay at the s.w. , is the principal promenade and drive of the city ; recently laid out with walks, gardens, fountains, and cafes, somewhat in the style of the Champs Elysees. It is deserted NAPO 261 during the day, but from 4 or 5 o'clock P.M. till midnight in sum- mer, it is thronged with Neapolitan life. *The Aquahium, situated in the gardens of the Tilla Nazio- nale, is, from the abundance of marine life in the Mediterranean, altogether unequalled by any collection thus far made. Nothing can exceed in strange beauty and in scientific interest such an exhibition of deep-sea life, (2 fr. winter, 1 fr. summer.) Environs : Naples abounds in delightful and historic locali- ties. Ca-mal' -doll for its unequalled view ; Pozzuoli^ with the tem- ples of Serapis and Neptune; Solfa-ta' -ra^ Lake Avernus, Btiice, Vesucius, Ilerculaneum, Pompeii,, Sorrento, and the island of Capri^ with its blue grotto. Excursions may be made to these localities and return the same day, with the exception of Sorrento and Capri, for which addi- tional time should be allowed. See St. Elmo, National Museum, Palazzo lieale, and Pozzuoli. Routea: To Rome, 6?^ hrs., $G.80 ; $4.80; sse Route 55. To Vesuvius, ex- ciu-sion by carnage and rly., 10 hrs,, f6. To Pompeh, by rly., $0.75, or by car- riage, $1.5), G hrs. Napoleon Bonaparte, b, 1769, at Ajaccio, Corsica; entered the anny in 1785 ; 1703 had command of the artillery at the siege of Toulon ; 1795 was in charge of the troops at Paris ; 1796 married Josephine, widow of Count Beauharnais ; 1796 gained the battle of Lodi, subjugated Italy, and made peace when within 30 miles of Vienna; 1798 sailed for Egypt, took Malta, fought the battle of the Pyramids, laid siege to Acre ; 1799, overthrew the Direc- tory, and was elected First Consul ; 1800, led bis army over the Alps and gained the battle of Marengo, In 1804 he was elected Emperor, and with Josephine was crowned by Pope Pius YW.\ he collected an army of 200,000 at Boulogne for the invasion of England, but his fleet was annihi- lated by Nelson at Trafalgar; 1805, went to Austria and gained Austerlitz ; 1806, placed his brother Joseph on the throne of Spain, Louis on that of Holland, Jerome on that of Westphalia. In 1807 he gained the battle of Jena, and in 1809, Wagram. Having divorced Josephine, he married Marie Louise of Aus- tria in 1810, and the next year his son, the King of Rome, was born. In 1812 he invaded Russia, making his disastrous retreat from Moscow ; 1813, was defeated at the great battle of Le'p-ic, which was followeil by the submission of Paris, Napoleon's abdi- 262 NAPO cation and banishment to Elba, and the restoration of Louis XVIII. to the throne of France. In Feb., 1815, Napoleon left Elba, landed at Frejus March 1st, marched to Paris, and in 20 days was again seated on the throne of France. June 18, 1815, fought at Waterloo ; July 15th, sur- rendered to Cipt. Maitland of the Bellerophon ; arrived at St. Helena Oct. 1815 ; died May 5, 1821. **Napoleon, Tomb of; M., Tu., and Th., 12-4 ; 3 in win- ter ; in the Dome des Invalides, Place Vauban, a large cathedral- looking structure, 1680, surmounted by a gilded dome 86 ft. in di- ameter ; was prepared as a tomb for Napoleon by Louis Philippe. The remains were brought from St. Helena in 1840. They were landed at Havre, and thence transported up the Seine to Neuilly. through the Bois de Boulogne, beneath the Arc de Triomphe, and deposited in their present resting place Dec. 15, 1840. The tomb is an open circular crypt, 36 ft. in diameter, directly beneath the dome. The sarcophagus, 14 ft. in height and 13 ft. in length, weighing 67 tons, is of red Finland granite, brought from Lake Onega at a cost of $28,000. Around the sarcophagus are 12 statues of victory by Pradier, 60 battle flags, and 10 re- liefs in marble. In the pavement is a mosaic laurel wreath. Behind the high altar a stairway leads to the floor below, and thence through a passage to the crypt. Above the door of the crypt is the following inscription, taken from the will of Napo- leon : "I desire that my ashes may repose upon the banks of the Seine, in the midst of the French people, whom I have ever loved." On the sides are sarcophagi containing the remains of Duroc and Bertrand. Returning to the main entrance of the church : On the right : first chapel, is the tomb of Joseph, eldest brother of Napoleon, King of Spain, of black marble, standing in the centre of the chapel. The remains were deposited here in 1864. Right Transept : monument to Vauban, with statues to Genius and Prudence. O/i the left: first chapel, tomb of Jerome, youngest brother of Napoleon, King of Westphalia, a black marble sarcophagus, rest- ing on bronze feet and surmounted by a statue of the king. Ad- jacent are the sarcophagi of his son and one containing the heart of his wife. Left Transept : men. to Turenne, brought from St. Denis, and NAT I 2(>8 representing the hero as dying in the arms of Immor'alitr. the German eagle at liis feet, National Gallery, Londou. See Nat. Gallery. P. 457. National Museum, Florence. See Nat. Miiseum. P. 439. National Museum, Waples. See Hat. Mvseiim. P. 461. Na-vo-na, P \ sizzsif Borne ; the ancient Circus Ag-o Jia'-Us, now officially designated Circo Agonale ; one of the largest Piaz- zas in the city, being surpassed by that of St. Peter's only. It has an oval outline, after the style of the ancient circuses, and is embellished with three fountains. That in the centre was exe- cuted by Bernini, representing the four quarters of the globe, with the rivers Danube, Nile, Ganges, and Rio de la Plata, all surmounted by an obelisk from the circus of Maxentius. The obelisk is of red granite, with hieroglyphics ; now in 5 pieces. Supposed to be of Roman origin in the time of Doraitian. Shaft 51 ft. high, standing on artificial rock-work 40 ft in height. "We stopped to look at one of Bernini's absurd fountains, of which the water makes the smallest part, a little squirt or two and a prodigious fuss of gods and monsters." — Hawthorne. Neefs, Pieter, Elder, 1570-16>1, b. Antwerp; excelled in effects of light and shade ; and especially in torchlight subjects, church interiors, and trim, well-ordered households. Neptune, Greek Po-sei'-don, myth, brother of Jupiter, god of the sea ; rode in a chariot drawn by sea-horses ; first taught the management of horses by a bridle ; the protector of horse-racing ; married Amphitrite. Attributes are the dolphin, horse, and tri- dent. He had a temple in the Campus Martius, Rome. Nero. Rom. Emp. , b. at Antium, a.d. 37; son of Agrippina, the dau. of Germanicus ; adopted by Claudius ; and at 16 mar- ried his dau. Octavia ; pupil of Seneca, the philosopher. On be- coming emperor he put to death Britannicus, the rightful heir to the throne, his mother, and his wife, that he might marry Pop- pa^a Sabina. A great fire having occurred, it was charged directly upon Nero, who, to relieve himself from the odium, accused the Christians and executed many. A conspiracy against him being discovered, many distinguished Romans were put to death, among whom were Lucan, the poet, and Seneca. Learning of another conspiracy, and being abandoned by all his attendants, he fled to a house 4 miles from the city, where, on hearing the tramp of horses, he put an end to his life, a.d. 68. Tomb of Nero. Four miles from the Porta del Popolo, on the 204 NERO road leading northward, is a sarcophagus commonly called tli6 Tomb of Nero, for which, however, there is said to be not the slightest foundation. Nero's Golden House stood on the brow of the hill a short distance to the n.e. of the Coliseum. Afterward the halls and corridors were filled in with rubbish by Titus, Trajan, and others for the substructures of their baths. The present ruins, though identified as long ago as 1818 as belonging to Nero's House, are still often called the Baths of Titus. Of equally happy invention is the story of the custode, showing the pedestals whereon were found the Laocoon and Meleager, both of which were found else- where. Neuchatel (nu-sha-tel), Switz., on the n.w. bank of the Lake of Neuchatel ; pop. about 15,000 ; chiefly engaged in watch- making. It has a castle dating from the 12th cent., the seat of the Dukes of Neuchatel. The Lake is 27 mis. long and 6 wide, but is wanting in the bold and precipitous shores which give at- traction to other Swiss lakes. Newcast!e-on-Tyne is one of the most historic towns in the north of England. The castle was built by Robert, son of Wm. the Conq.; was attacked and taken by David L of Scot. Here kings John of Eng. and Wm. of Scot, held a conference, 1209, as also Alex. II. and Henry III., 1235 ; and Baliol and Ed. I. In 1293, Wallace made several unsuccessful attacks upon the town. In 1318, a Peace Commission was here held; at which, besides the representatives of Eng. and Scot., there were two nuncios from the Pope and envoys from France. In 1342, David Bruce, king of the Scots, made an unsuccessful attempt to reduce the town ; and twelve years later, commis- sioners met here to settle the terms of his ransom. Newcastle was besieged, 1644, and taken the following year. Ch. I. was brought here by the Scots, to whom he had surrendered. In general, the town, from the number of squalid-looking houses, the narrow, crooked streets, and the omnipresent coal- dast and smoke, presents a jDarticularly uninviting appearance. Nice, T^r. See p. 572. N?me, Msme, Fr. See p. 572. Nimbus or Au-re-ola, a haloof light, supposed to emanate from and surround divine persons ; called a niinhiis when iipon the head only, and aureola when it surrounds the whole body. It was originally a Pagan symbol ; adopted as Christian in the 4th NIOB 2G.- cent.; was discontinued in the middle ages ; revived in the 12th cent., but limited to divine persons, the Virgin, angels, apostles, saints, and martyrs. In the 15th cent, the name was inscribed on the rim. A square nimbus in- dicates the person to have been then living. From the 5th to the 12th cents, it took the form of a disc above the head ; from the 12th to the 15th, a broad, golden band behind the head; to the 17th a bright fillet surrounding the head ; disappeared in the ITth and was revived in the 19th. In the 9th and subsequent cents. Satan ap- pears with nimbus. The aureola is confined to the Almighty, Cbrist,the Virgin, and the souls of saints. Niobe (ni'-o-bee or nee -o-bee), mytli^ dau. of Tantalus, wife of Amphion. Proud of her seven sons and seven daughters, she deemed herself superior to Latona, who had but two, for which presumption Apollo and Diana slew her children with arrows, and Jupiter changed Niobe herself into stone. * Niobe (nee'-o-bee) Group of, ktat.i in the UfEzi, Florence ; 17 fig- ures, the mother, the 14 children, and their pedagogues ; copies of a work by Praxiteles or Scopas ; probably once adorned the pediment of a temple in Greece ; found, 1853, near the Porta S. Paolo, Rome. Brought from Asia Elinor by Sosius and placed in the temple of Apollo Sosiauus. A copy of this group is in the Glypto- thek, Munich. * Notre Dame (notr-dahm , Paris^ on the Island ; open daily from morning till night. Founded, 1103, on the site Length, about 420 ft; width, 155 it.; height of nave, 110. The towers are 220 ft. high. The south tower contains the great bell, 10 tons (fee, 20c.). Niobe — Florence. of a temple of Jupiter. 2(5G NYMP The fa(;ade is composed of 3 stories. The first consists of 3 richly sculptured receding portals, the centre representing the Last Judgment, the r. is dedicated to St. Anne, the 1. to the Vir- gin. Over the portals are 28 statues to French kings, from Chil- debert to Philip Augustus. Above are statues — in the centre the Virgin, Adam on r., Eve on 1. The great rose window is 42 ft. in diameter. The 3d story is a gallery of pointed arches, 2G ft. in height. In 1792 this church was converted into a Temple of Reason. The interior barely sustains expectation. The massive columns of the nave present the peculiar feature of Gothic alternating with the circular. The ancient stained glass windows are of great richness and beauty. Tickets for the choir and treasury (50c.), at the r. en- trance to the choir. The choir presents numerous wood carvings from the life of Christ, and also statues of Louis XIII. and XIV., and a Pieta by Coustou. In the chapels around the choir are monuments, chiefly to archbishops of Paris. Abp. Affre, with inscription ; Due d'- Harcourt, rising from his tomb ; Card, de Belloy, representing the aged Cardinal giving alms ; Abp. de Quenlen, recumbent statue ; Card, de Noailles, kneeling. In the Treasury are to be seen the Crown of Thorns, and a piece of the True Cross. 21ie Cour du Chapitre, with its fountain and statues of 8 bishops, should not be omitted. At the rear of the Cathedral, in an open space, is the Fontaine Notre Dame, 1845, a beautiful Gothic spire 48 ft. high, covering a Virgin and Child. Nymphs, w?2/iA. Female divinities of a lower rank, repre- sented in works of art as beautiful maidens partially or entirely nude. They were of several classes. 1. 0-cean' -i-des, or ocean nymphs ; Ne-re' 4-des^ or nymphs of the Mediterranean, 50 in number. 2. Na-i'-a-des^ nymphs of fountains, streams, lakes, and bodies of fresh water. 3. O-re'-a-des, nymphs of grottos and mountains. 4. Na-pm'-ce, nymphs of glens. 5. Dry'-a-des^ nymphs of trees. *Nuremberg, Ger.^ Nurnberg, preserves to a larger extent than almost any other city of Central Europe the aspect and pe- culiarities of the Middle Ages. Until the discovery of the pas- sage around the Cape of Good Hope, Nuremberg was one of the leading commercial cities of Germany. It suffered seriously from NURE 267 the diversion of its trade throuo-h the new channel, and also from the Thirty Years' War, continuing to decline until the commence- ment of the present century. Recently it has become a manu- facturing centre, and is now one of the most enterprising citie? of South Germany, having a population of 100,000. This city is one of the few which has still in good preservation its mediaeval fortifications. The walls are surmounted by towers at frequent intervals, and possess a dry moat 100 ft. in width, and 50 in depth. The small stream of the Pegnitz which flows through the cen- tre of the city is crossed by numerous bridges, and affords con- siderable water-power for small mills. Among the principal manufactures are toys, Faber lead pencils, and playing-cards. In art and literature, the names of Diirer, Wolgemut, Krafft. Vischer, Kulmbach, Hans Sachs, and Melancthon, give Nurem- berg a high rank among German cities. T7ie Principal Objects of Jiitercst are the Castle, the House of Diirer, the Church of St. Sebald, the Rathhaus, and the Ch. of St. Lawrence. *The Castle or Burg was founded 1024, by Conrad II., and enlarged 1158, by Fred. Barbarossa. The house of the Castellan is on the r. at tbe gateway. The attendant points out all the localities and objects of interest, of which especially are the well, 300 ft. deep, having a passage near the bottom leading out from the fortress to the city, the lime tree planted by Empress Cuni- gunde 800 years ago, the various chapels and apartments of the palace, the room containing a collection of instruments of torture for the administration of justice and the promotion of religion — particularly the Holy Virgiit and the Cradle of Justice, in which latter a woman, afterward found to be innocent, was rocked to death since 1800. Near the Ca.stle is the House op Durer, now owned by the city, and remaining nearly as when occupied by the great artist. St, Sebald, or St. Sebaldus. The great attraction of this church is St. Sebald's monument in the centre of the principal floor; a **bronze canopy enclosing a sarcophagus, and possessing nearly 100 figures. Kugler regards this as one of the finest gems of German art. Its weight is nearly eight tons, and occupied Vischer and his five sons thirteen years. Within the sarcophagus are the remains of the saint. On the side of the altar, in a niche below, is the artist with chisel and apron. Among the decora- 268 OBEL tions of the ch. are reliefs by Krafft, a painting" by Kulmbach, n. wall ; and a crucifix by Stoss. Exterior ; upon the buttresses of the e. choir, opp. the Rathhaus, is the Schreyer mon. , a master- piece by Krafft. The n. portal, called the "Bride's Door," also merits inspection. The E.ATIIHAUS (raht-house). The hall is decorated with frescos by Diirer. The guillotine, which has been regarded as an invention of the French Revolution, is here represented, dated 1522. On the second floor is an Art Gallery with statues in wood, plaster, and bronze ; and a limited collection of pictures. *The Church of St. Lawrence, noted for its magnificent rose window and portal, and the Ciborium of KrafEt. This last consists of a Gothic spire in stone, G8 ft. in height with a bent fin- ial, as if from insufiicient height. The whole rests upon three fig- ures, representing KrafEt and his two assistants, who were occupied four years in the work. Suspended from the ceiling is a carved wood Salutation by Stoss. There are also altar-pieces by Diirer and Wolgemut. Routes: To Berlin, 15 hrs., $11.; $8.50. To Dresden, 11 hrs., .$8.; $5.75. To Prague, 9 hrs., $8.50; $6. To Munich, 4 hrs., $4 ; $2.75. ToFbankfort, 5 hrs., $5.50 ; $4. Obelisks, Home. Obelisk of the Lateran, the largest obelisk known, and believed to be the oldest monument in Rome ; supposed to have been erected to Pharaoh Thothmes IV., B.C. 1740. It was taken from Heliopolis to Alexandria by Con- stantine, and to Rome by Constantius, and placed in the Circus Maximus ; removed to its present site, 1587, by Fontana. It is about 150 ft. in height, the shaft being 106 ft. ; it weighs 440 tons. Obelisk of S. M. Maggiore (mad-jo' -ra), supposed to have been brought from Egypt, a.d. 57, by Claudius, and placed at the entrance of the Mausoleum of Augustus. Length of shaft 48 ft.; of red granite, and is now in several pieces. Erected 1587. Obelisk of Monte Cavallo or Quirinale (cah-vahl'-yo), brought from Egypt along with the obelisk of S. M. Maggiore, and placed before the Mausoleum of Augustus. Erected in its present place, 1786. Shaft 45 ft. in length, in several pieces. Obelisk of Monte Pincio (pin'-chee-o), found in the Circus Varianus, and erected on the Pincian, 1822. A granite shaft 30 ft. in length, covered with hieroglyphics, signifying, according to Champollion, that it was erected by Hadrian and Sabina in honor of Antinous. OMME 269 Obelisk op Mo^;te Citorio (mon-tee chee-to'-re-o), brought from Heliopolis bj'- Augustus, placed in the Campus Martius and used for a fun-dial. Removed to its present place, 1792. It is of red granite, covered with hieroglyphics ; is in several pieces. Accordmg to Lepsias, the hieroglyphics slate that it was erected to Psammetichus I., about six centuries B.C. The entire height is 134 ft., that of the shaft being 72 ft. Obelisk of the Piazza del Popolo (pe-at-za-d,el-pop o-lo), brought by Augustus from the Temple of the Sun at Heliopolis, and placed in the Circus Maximus, B.C. 23. It had fallen from its pedestal prior to 3(3!) a.d. , and remained buried till 1587, when it was exhumed and erected in its present place. It is of red granite, 78 ft. high ; now in three pieces and covered with hieroglyphics, supposed to date about B.C. 1500. Obelisk of the Piazza della Minerva. The hieroglyphics indicate the date of the seventh century B.C. Supposed to have stood in the Campus Martius. Erected here, 1667, by Bernini. The placing it upon an elephant is of Bernini's marvellous taste. Obelisk of the Piazza Navona. See Natona. Obelisk of the Pantheon. See Pantheon. Obelisk op Trtnita de' Monti. Red granite, with hiero- glyphics ; formerly stood in the Circus of Sallust, an ancient im- itation of that in the Pi. del Popolo. Found near the church of Sta. Croce in Gerusalemme. and erected here, 1822. Shaft 48 ft. Obelisk op the Vatican. See St. Peter's. Oinm3ganck, Balthasar Paul, 1755-1826, b. Antwerp. His subjects were landscapes and animals, especiall}'^ sheep and goats. His scenes are produced with the utmost fidelity to na- ture, such that the season of the year and lime of day can be recognized. O-no'-frio, St., cli. on the Janiciilum, Rome, 1439 ; has its chief interest in its possession of the remains of the poet Tasso, who died in the convent adjoining, April, 1595. The tomb is in the Chapel of St. Jerome, first on left. Clement VIII. invited Tasso to visit Home that he might be honored with the Poet's Crown. Arriving in November, and the weather being bad, the ceremony was postponed until Spring. His health failing, he came to the convent of St. Onofrio, saying, " My fathers, I have come to die among you." Fourteen days after he expired. **Madonna, in fresco, by da Vinci, in a passage on the first floor. Opera House, Place diV Opera, Paris. Opened 1875: the 370 ORCA largest theatre building in the world, cost $9,000,000, seats 2,400 spectators. On the facade are sculptures : beginning on the r. , The Dance, Tragedy, Elegy, Fable, Song, Idyllic Poetry, Lyric Poetry, and Music; above these are medallions of Bach, Pergo- lesi, Haydeu, Cimarosa. Best observed by walking around the building. The interior equals the exterior in the grandeur and beauty of decoration. The grand staircase is stated to be un- surpassed by that of any modern structure. The stage is 178 ft. wide, 7-4 in depth, and nearly 200 ft. in height. Orcagna, Andrea (or-cahn'-yah). Andrea Ahcagnuolo Di ClONE, 1308-1368. One of the greatest of the early Italian painters ; pupil of Giotto and And. Pisano. Most of his works have been so injured as to leave them of little interest. Has a large altar-piece in the Nat. Gall. The famous frescos of the Campo Santo, Pisa, long attributed to Orcagna, arc no longer be- lieved by the best critics to be his. '' His masterpiece of sculpture is the magnificent tabernacle of the High Altar of Or San Michele, in Florence ; perhap.s the most splendid piece of decorative art in the world." — Lilbke. Principal Works : Nat. Gall., 569-T0-l-2-3-'l-5-6-7-8. Orley, Bernhard varij, 1488?-1542, b. Brussels, pupil of Raphael ; court painter to Margaret of Austria and to Mary of Hungary. Pictures are of fine finish ; subjects, altar-pieces and cartoons for tapestries. A successful imitator of Raphael. Pkincipal Works : Ant., 461-2-4; Bruss., 2.5, 27, 368; Dresd., 2421. Ostade, Adrian van (ose-tah'-deh), l(jl0-168o, b. Lu- beck. When quite young he went to Haarlem to study under Frans Hals, whose works were in great repute. In 1662, filled with alarm at the approach of the French troops, he made prep- arations for leaving Holland and returning to his native coun- try. He sold his pictures and effects and went to Amsterdam, with the intention of embarking for Lubeck. He was there pre- vailed upon to abandon his fears, and to establish himself in that city, where he continued his profession with great celebrity until his death. Number of known works, 380. " The pictures of Ostade usually represent the interiors of alehouses or kitch- ens, with Dutch peasants smoking and regaling, drunken frolics or quarrels. He has, however, treated these grotesque subjects with such humor and spirit, and has given so lively and natural an expression to the various characters of his heads, that we forget the low vulgarity of the objects to admire the truth and finesse with which he animates the actors of his scenes. His coloring is rich, clear, and glowing, his pencil uncommonly light and delicate, and, though his pictures OSTA 271 have the appearance of the most polished finii^hing, his touch is spirited and free." Principal Works : Ant., 4fi6 ; Brnss., 259 ; Cassel, 399, 400, 401 ; Darma., 3(32 ; Dresd., 12S3, 1287; Dul.. 107, 152, 190; Hague, 104,105; Hermit., 945-7-50,951- 2-3-4; Louvre, 3(i9. 370-1-2-3, 82, 87; Munich, 835, 878; Nat, Gall., 846; Pesth, 642, G45; Rijks, 2SS-9, 290-1 ; Vienna. Chad., 231. Ostade, Isaac van (ose-tah'-deh), 1621-1G57, b. Luheck, brother, pupil, and imitator of Adrian. Subjects were similar, especiall}'- village scenes and travellers halting at inns. Winter and skating sce^ies were also his favorite themes. " His rustic court-yards are, perhaps, scill more picturesque than his interiors, and must certainly have been more difficult to color harmoniously." Principal Works: Amst., Hoop., 88; Brus.s., 2(50; Hermit., 962; Nat. Gall., 847, 963 ; Louvre, 376-7-8-9, 91 ; Munich, 843 ; Rijks, 292. Ostend (oast'-end'; east end), Belg., pop. about 20.000; founded in the 9th cent. ; walled in the IHth ; sustained a mem- orable siege by the Spanish from IGOl to 1604, in which it lost 50,000 men and the besiegers 80,000. See Route 11. Note 3. *Cxford, Eng., pop. about o0,000. It is a place of very re- mote antiquity, but the first fact connected with it that is known with certainly is, that in the reign of Alfred, who at one time resided in Oxford with his three sons, the place was noted for a monastery which was founded in the year 787. "Edmund Ironsides was murdered there. Canute frequently resided at Oxford, and Harold Harcfoot, his son and successor, was crowned and died there. " In the year 1067, the town was stormed by William the Conqueror, and a cas- tle was built by him, now partly occupied by the county jail and house of correc- tion. During her contest with Stephen, the Empress Maude was closely besieged in Cxford Castle by her rival, but escaped in the night with only three attend- ants, and the castle surrendered next morning, Henry II. resided at Oxford during the great part of his reign, and here his valianc son, Richard Coeur de Lion, was born. " In the martyrdoms of Mary's reign, Latimer, Ridley, and Cranmcr were burnt at Oxford, in front of Baliol College. During the civil wars, Oxford, after once or twice changing masters, became the headquarters of the King. After the bat- tle of Naseby, it surrendered to the parliamentary army under Fairfax. During the reign of James II. the university firmly resisted an illegal command of that prince to elect a Roman Catholic to the presidency of Magdalen College. James proceeded thither in person and expelled the contumacious meinbens, whom, how- ever, when alarmed by the preparations of the Prince of Orange, he afterward restored. '• The origin of the University of Oxford, like that of the town, is involved in obscurity. The earliest charter of privileges to the University as a corporate body is of the 2Sth Henry III. In 1603 the University obtained from James I. the privilege of sending two representatives to Parliament." — Black. The University comprises 20 colleges, tbe Bodleian and Radcliffe Libraries, and 5 halls. The colleges were founded : University 272 PAIN College, "said to have been founded by Alfred, but this is be- lieved, on good grounds, to be a mistake," 1429; Baliol, 1268; Merton, 1264; Exeter, 1314; *Oriel, 1326; **Queen's, 1340; **New College, 1380 ; Lincoln, 1427 ; All-Souls, 1487 ; Magda- len, **tovver, 1457; Brazenose, 1509; Corpus Christi, 1516; Christ Church, 1524; Trinity, 1554 ; St. John's, 1555; Jesus, 1571; Wadham, 1613; Pembroke, 1624; Worcester, 1714; Ke- ble, 1870. The number of students connected with the University is about 2,500. Some of the colleges have extensive grounds, which are laid out in shaded and delightful walks. The bell of Christ Church, called the "Great Tom," weighing 17,000 lbs., at ten minutes past 9 every evening, strikes 101 strokes, being the num- ber of students for which the college was founded. The place of the martyrdom of Latimer, Ridley, and Cranmer is marked by a cross in the pavement of one of the principal streets. Blenheim, the residence of the Duke of Marlborough, is nine miles distant. Painting. Whatever the Greeks may have achieved in the art of painting, nothing of all the works of the many artists men- tioned by the Greek and Latin writers, has descended to our time. Our knowledge is limited to the few specimens of wall decorations and mosaics discovered at Pompeii and Herculaneum. These show that ancient art had attained a high degree of per- fection, both as to form and color, and that Roman art was de- rived altogether from Greek models. In somewhat the same manner our knowledge of early Chris- tian painting is derived solely from the wall decorations of the catacombs in the vicinity of Rome. But while the catacomb pictures have their sources in the antique, and follow, from the second century to the eighth, the general art culture of the cen- turies in all their varying jjhases, still, the choice and concep- tion of subjects become of the greatest importance to us as indi- cating the relation of early Christian sentiment to art. The antagonism of Christianity to the Mythology of Greece and Rome, and to the worship of their divinities, forbade any repre- sentation or image of Divine Beings. Christian hope, however, sought expression, and wrought with pious tenderness its symbols upon the abodes of the departed. Among the earliest of these were the X P, a monogram for Christ, and the Alpha and Omega, the beginning and end, and similar symbols, expressive in gen- PAIN 273 eral of trust in the future life. The later symbolism, becoming- more positive, represents Christ as a Shepherd, the Apostles as twelve sheep, and his followers as lambs. Yet under this dis- guise, the art, such as it was, was altogether antique ; the Christ was Apollo, the figure was pagan, and was frequently surrounded by cupids. The Evangelists were symbolized, Matthew, as having a human head ; Mark, of a lion ; Luke, of an ox ; John, of an eagle {lide The Evangelists. statues Musce des Thermes, Paris). The representations in the second and third centuries were principally of the Resurreciion, sometimes the Nativity and the Raising of Lazarus, but none indicative of suffering by Christ, or of martyrdom. In the third and fourth centuries we find the first indications of special honor to the Virgin. She appears seated upon a throne, but without halo or nimbus, these still being pagan sym- bols ; her figiire was gentle and in good proportion. No child ap- pears with the Virgin until after the Council of Ephesus, 3ol. In the fifth century, the decline in art and civilization becomes apparent in the want of harmonious proportion of the figures de- lineated — being unnaturally long or short. "With the conversion of Constantine and the consequent sub- jugation of paganism, the repugnance to representations of ob- jects of worship is no longer manifest. Pictures of the Saviour now appear, though still with Grecian characteristics ; first of 18 274 PAIN Earliest known. Apollo and afterward of Jupiter, with beard and halo ; the head small, the face elongated, and the body of undue length. In re- gard to the so-called portraits of Christ, St. Augustine declares "that as to the personal appearance of Christ nothing is known." The removal of the seat of empire to By- zantium, and the decline of Rome, gradu- ally extended Byz'-an-tine influence, and llually established Byzantine art through- out Italy. Burckhardt remarks : " The Byzantine system was indeed partly foiinded oa reminiscences of antiquities, biat so stiH as to be hardly recognizable. Satictity always takes the form oi moroseness, since art was not permitted to arouse the thought of the supernatural by producing forms that were free, as well as grand. Even the Madonna becomes sulky, though the small lips and thin nose seem to make a certain attempt at loveliness ; in male heads there is often an expression of malice quite odious. The drapery, arranged in a particular number of motives, has a special way of falling into delicate stiff folds and breaks ; when the type requires it, it is merely a surface of ornaments, gold and jewels; in other places, in easel pictures constantlj^, and often in mosa- ics, the gold serves to represent the high lights. The movements and positions become more and more lifeless, and in works cf the 11th cent., like the old mo- saics of S. ilarco, they preserve hardly a trace of life. " This style now gained great influence in Italy also. Not only did many im- portant countries and towns, Rome among the number, remain for quite a thou- sand years in an apparent, and partially real, dependence on the Greek empire, but Byzantine art likewise possessed special qualities, which for a time assured its predominance over all Italian art. In both countries the religious feeling was the same : it was not till the middle of the 11th cent, that the ecclesiastical breach between Rome and Byzantium was, once for all, decided. "The artistic treatment of the action and expression does not go beyond what ancient art supplied to the Christian painter ; incidents like the Adoration of the Magi, the Last Supper, the Miracle of the Loaves, only appear as figures stand- ing in a row with some slight expression in the attitudes, and the signs of life here apparent soon stiffen into a purely conventif-nal arrangement. " The first object of Christian art was to teach, and the aim of the artist was to render the truth he desired to present, without any regard to the beauty of the representation : and as the truths were supposed to be immutable, the represen- tations also came to have a like fixedness. " Thus in Constantinople, where, in course of time, the practice of almost all the best art of the Christian world was concentrated, there grew up a system of adapting a certain arrangement of the scenes to be represented, a particular man- ner of depicting single figures, according to their importance and rank, and a special treatment of every detail. Every one learned this system by heart as far as his capacity allowed, and then reproiuced it, for the most part without any reference to nature. This repetition of something learned by heart is the essen- tial characteristic of what we call the Byz-antino Style," PAIN 275 Chvii^l— Seventh century. Hence it is that this style presents so many almost identical Madonnas, so many scenes with sacred figures exactly alike. In the seventh century the decline of Italian art becomes evident in the general rudeness of the work. The nose and hair are straight, the brows and eyes semicircular, the neck broad and heavy, the expression a wild, dis- mal stare. The nimbus appears as a Greek cross. About 700, the Council of Constan- tinople decreed that, in crucifixions, the human figure should supplant that of the lamb, and from that date on- ward ' ' crucifixions " take their place in Christian art. At first Christ is represented as fully clad, youthful, erect on the cross, calm, and with open eyes. In this cent, the Keys first appear as appertain- ing to St. Peter. In the ninth century, the eyes become staring, the hair straight down the forehead, and, in gen- eral, the t^te exhibited is barba- rian. The Virgin is in a long robe, without a girdle, with '• wooden hands, projecting ears, and the figure and pose of a mummy," Winckelmann remarks that "in the ninth century, By- zantine mosaics sink into a rude- ness for which it is not easy to find a historical reason in the civilization of the times." To this time there appears to have been no representation of Christ as suffering ; the nearest approach to such sentiment is the Bearing of the Cross with Simon. In tho tenth and eleventh cen- turies art had become extinguished in Italy. The twelfth century took pleasure iu depicting suffering. The Crucifixion — Earliest known. 276 PAIN Christ— Twelfth cent. image of Christ was repulsive, the hands formless, the head large and grim, with red hair, red patches on the cheeks, wrinkled brow, and large, staring eyes, sometimes closed. During all this long period, the colors em- ployed in religious painting were entirely symbolical, and were used according to their signification, and in no wise with regard to harmony, beauty, or the inclination of the artist. Each color had usually a good and an evil sense, as it was used in connection with good or evil beings. White signified purity and joy. i?grf, love, royalty, and power ; also war, hatred, and punishment. Blue or sapphire, truth, fidelity, and heaven. Yel'ow or gold., goodness, faith, and marriage ; also deceit and jealousy. Green or emerald., hope or victory. Violet., love and truth united ; also passion and suffering. Gray, humility and mourning. Blacky darkness, sorrow, wretchedness, hell. White and red roses., love with innocence. Bec^and green^ love and hope, ^Vhite and hlack^ purity of life. Hence, Christ, after the Resur- rection, and Mary, in the Immacu- late Conception and Assumption, are robed in white. The usual dress of the Virgin is a red tunic, with blue mantle ; but after the crucifixion, violet. St. John has a blue tunic and red mantle. St. Peter has a blue tunic and a yellow mantle. Mary Mag- dalen, as a penitent, wears blue and violet ; as a saint, red. At last, after a downward course for nearly a thousand years, the human mind turned once again toward nature and the beautiful. Modern Art found its earliest masters. Creation of Kdam— Twelfth century. In the thirteenth century, PAIN 277 To Central Italy belongs the high honor of having given birth to these new and better impul-es. In Siena, Pisa, Arezzo, and Florence, while the Byzantine sti'l remained supreme, there be- gan to be a manifest effort toward truth and beauty. The morning star of this new day-dawn was Cimabue (1240), whose works, whilst fol- lowing traditional ar- rangements, show a clear perception of the elements of human grace. Forty years later came the great Giotto, who so largely abandoned the Byzantine, and so en- kindled a new enthusi- asm both by his untiring energy and his new con- ceptions of art, that he has ever been regarded as " the father of mod- ern painting." A love of nature, beauty, and grace once awakened, the larger cities of Italy soon be- came each a fostering home of Art, where, in due time, under some leading master, arose a favorite or leading style designated a "school," and characterized by some peculiarity or excellence of composition or coloring adopted by the master. Hence, the Schools of Venice, Bologna, Florence, Titian, Correggio, etc., and, later, of Germany, Holland, France. Miracle of the "Loaves— Twelfth century. Schools of Painting. In connection with each painter in the list is given his leading subject or style. Abbreviations: ired., religions ; J/rtti., Madonnas ; J/j^«/z., mythological ; Hist., historical; Fi'j., figures; Land., landscapes; Port., portraits; Int., interiors,* Gn., genre ; Var., subjects various. * indicates see further under t/ioae titles. 278 PAIN British School. 1618-1, Claude ; Land. 1605-1668, Mignard, N.; Port, d- Deco. 1609-1674. Boullongne, L. de; Bel. 160G-1656, Hire, L. de la; Hi^i. 1610-1695, Mignard, P.; Port. *1G13-1675, Poussin. Gras.: Laiul. 1617-1()55. Sueur, E. le: Rel., Myth. *1619-1690, Brun, C. \c: Hist., Myth. 1621 -1676, Courtois. J.; Battles. 1659-1743, Rigaud, H.; Port. 1661-1743, Desportes, F.; Dogs. *1684-1721, Watteau, A.; Fetes. 1684-1745. Loo, J. B. van: Hist., Myth. 16t6-1755, Oudry, J. B.; Chase. 1688-1 7o7. Moiue, Fr. le ; Myth. 169;)-1749, Subleyras, P. ; Rel. 1704-1770, Boucher, F.; Pai^toral. 1705-1765. Loo, G. A. van; Myth d: lori. I "1114-1789, Vernet, C. J.: Seaports. 1725-1805, Gi-euze, J. B. ; Port dk Gn. * 1748-1 825. David. J. L.; Hist., Myth. 1755-1842. Brun, Mmt-. le ; Part. *1758-18:^f5, Vernet. A. C. H. ; Horsen. 1758-1823. l^rudhou: Fig. 1767-1821, Girodet; Fig. 1770-18.'57. G6rard. Fr.; Poit., Hist. 1771-1835, Gros Ant. J.: BalUes. 1774-183:;. Gu6rin ; Fig. *1789-1863, Vernet. H.: Battles. 1791-1824, Gericault ; Fig. tfc Horses. 1794-1835. llobert, L. L. ; Genre. *1795-1858, Scheffer, Arv ; Scrip. *1797-1856. Delaroche. P.; Hist. 1799-1863, Delacroix, E.; Hist. German ScHOOii. ?-1378, Wilhelni. \V. von ; Jtel. ?-14ol. Lochner. S.: Eel. 1420-1499. Schongarcr, M.; Eel. 1434-1519, Wolgemut, M.; Bel. *1460-1523, Holbein. Eld.; Rel. *1471-1528, Durer, A.: Fig. d: Var. *1472-1553, Cranach. L.: Fkj. *1497-1543. Holbein. Yr.; Fig. *1515-1586. Cranach. L., Yr.; Fig. 1574-1620. Elzheimer. A.; Land. 1606-1688, Swndart. J.: Hist, d: Port. 1631-1685. Roos, J. H.; Animals. *16S5-1749, Denner, Bait.; Old Faces. 1712-1774, Dietrich, C; Copies. *172S-1779, Mengs. A. R.; ih/th. *1 741-1807, Kauffmann, A.: Port. 1768-1814. Mind, Gott.; Cats. 1783-1867, Cornelius, P.; Faust. 1789-1869, Overbeck, Fr.: Rel. lS(l4_lb74, Kaulbach : Hi^t. 1768-1839, Koch ; Laiid. 1794-1872, Sclmon-. Ju. ; Hist.Nibelvng. 1808-1880, Lessing,C. F.: HUt.ib Laim. 1816-1859, Rethel ; Hist. 1816-185S, Leutze; Hist. & Land. Italian School. The principal .subdivi.sion.s of Italian Art, arc into the Schoola of Lombardy, Venice, Bologna, Florence, Siena, Rome, and Na- ples. Occasionally an artist appears with the characteristics of no distinct school, in which case he is ranked in that to which his Btyle most nearly corresponds. 1200 ? ?, Gnido of Siena : Rel. ♦1240-1302?, Cimabue; Fl. Rel. 1260-1320?, Duccio; Si. Rel. *1266-1337. Giotto: Fl. Rel. 1280-1348, Lorouzetti : .S7. Rel. *lo00-1366, Gaddi, T.; Fl. Fresco. *130S-1368?, Orcagnn : Fl. Rel. 1316-1409, Aretino, S.: Fl. Rel. i:324 ?, Giotiino: /-'/. Rel. *i;2.5-1396, Gaddi, Ag. : Fl. Rel. 1370-1450. Fabrino ; Fl. Rel. ♦1387-1455. Angelico, Fra.: Fl. Rel. 280 PAIN 1394-1474, Squarcione ; Padua, Fig. *1395-147U, Bellini, J.; Ven. Eel. 139K-1479. Dono, Piiolo di : Fl. Birds. *1401-1428, Masaccio; Fl. Fig. *1412-14(i'.», Lippi, Fra; Fl. Madon. *1415-14'.)2, Francesca, P.; FL Persp. 14:20-1498, Gozzoli ; Fl. Rel. *1421-15j7. Bellini, Gen.; Veil. Fig. *1427-151K. Bellini, Gio.; Ven. Fig. *1430'?-1495?, Crivelli: Veri. Rel. *1481-15IJ(;, Mantegna; Fl. Kel. Hist. 14::i2-14S8, Verrocchio ; Fl. Fig. 143:^-1498, Pollajuolo, A.; Fl. Fig. 1439-150H, Roselli ; Fl. Rel. *1440?-1494, Santi, Gio.; FL Rel. *1441-1521, Signorelli ; Fl. Hist. 1443-15'.)(), Pollajuolo, P.; FL Fig. *144(1-1.5:24. PeruLnno; i^^. Fig. *1447-1510, Botticelli : FL Myth. *1449-1.59t, Ghirlandaio, D.; Fl. Rel. *1450-1517, Francia, Fr.; BuL Rel. 1450-1 5'^:2 ?. Carpaocio, V.; Ven. Hist. *145'i-1519, Vinci, da ; Lorn. Fig. 1454-1513, Pinturicchio ; Fl. Rel. 1455 ?-1523, Montagna ; Lorn. Rel. *14o5'?-15"25, Borgonone ; Lorn. Rol. *1459-1537, Credi, Lor. di ; FL Rel. *1460-1504, Lippi, Filippino ; Fl. Rel. 14(3(5-1.524, Garbo, G. A.; FL Rel. *14()9-1517, Bartolommeo, Fra; FL Rel. 1470-1 5->0. Basaiti, M.; FL Rel, 1470-15-^3, Viti, T.; Fi. Madon. *147()-1.53a, Luini, Ber.; Lo7n. Rel. 1473-1529, Morone, F.; Lorn. Rel. *1473-1.549, Sodoma, II; FL Rel. 1474-1515, Albertinelli ; FL Rel. 1474-1558, Dossi, D.; Lorn. Myth. *1475-15(i4, Angelo, M.; FL Fig. *14Tti-15il, Giorgione ; Ven. Fig. *1477-157(5, Titian ; Ven. Fig. 1479-1560, Dossi, D.; FL Rel. *14S0- 15-28. Paltna, Vec; Ven. Fig. 1480-155S, Lotto, L.; Lorn. Rel, *14S0 ?-1530 ?. Spagna, Lo ; jY«p. Rcl. 1481-1536. Peruzzi, B. ; >SL Rel. *148.3-1520, Raphael ; Eom. Fig. *1483-1554?, Alfani, D.; FL Rel. *1483-1539. Pordenone ; Ven. Port. 14S3-15()0, Ghirlandaio, R.; Fl. Rel. 1484-154-2, Bagnacavallo, B.; Bol Rel. 1484-1549, Ferrari, G.; Lorn. Rrl. 1484-1549, Sesto, 0. da ; Lorn. Fig. *1485-1.547, Piombo, S.; Ven. Port. 1486-1522, Morando, P.; Lorn. Port. 1486-1551, Beccafumi, D.; SL Rel. 1488-15-28, Penni, G. F.; Horn. Fig. ♦1488-1525, Sarto, A. del ; Fl. Rel. 1490-1549, Imoi.a, da; Bom. Fig. 1490-1570, Primaticcio, F.; BoL Myth. 1490 ?-1525 ?, Benvenuto, G. B.; BoL Fig. *1491-1553, Bonifazio, V.; Vefi. Rel. *1494-15:J4, Correggio; Lorn. Fig. 1494-1556, Pontormo, J.; FL Port. 1495-1543, Caldara, P.; Lorn. Rel. *1498-154(5, Romano, G.; Horn. Fig. 1498-1555 ?, Morctto, II ; Ven. Rel. 15U0-1547, Vaga, del; Ro7n. Fig. *150i)-1571, Bordonc. P.; Ven. port. *150-2-1572?, Bronzino, A.; Fl. Port. *1504-1.540, Parniegiano ; Lorn. Rel. *1509-15fi6, Voltcrra, D. da: FL Rel. 1510-1578, Moroni, G. B.; Loni. Port. *1510-1592, Bassano; Ven.. Gn. 1512-1574, Vasari, G.; i^/. Port. *1518-1594, Tintoretto ; Ven. Fig. 1522-1,582, Schiavone, A.; Ven. Port, *1528-1588, Veronese, P.; Ven. Bib. & Myth. * 1528-1 61 2, Baroccio, F.; Earn. Fig. *1535-]G07, Allori, Al.; Fl. Port. *1544-1628, Palma, Yr.; Ven. Myth. *1555-1619, Carracci, Lud.; BuL Rel. 1557-1633, Crespi, G. B.; Lu?n. Fig. *1557-16()2, Carracci, Ag. ; BoL Rel. Myth. *1559-1613, Cigoli, L. C. da ; FL St. Fran. *1 560-1 6.J9, Can-acci, An.; Bol. Myth. * 1569-1609, Caravaggio, M. A.; Naj}- Gn. *1575-1642, Guido TReni) ; BoL Fig. *1577-1621, Allori, Ch.; FL Land. *1578-1660, Albani; BoL Mvch. 1580-1615, Schedone ; Loin. Fig. *15S1-1641, Domenichino; Bol. R»4. 1581-1647, Lanfranco ; BoL Groups. 1590-1650, Padovanino; Ven. Fig. *1591-1()66, Guercino ; BoL Fig. *1596-1669, Cortona ; FL Rel. *1()05-1685, Sassofen-ato ; Bom. Madon. *1615-1()73, Rosa. Salv.: iVa}). Laud. *1(;16-1686, Dolci, C.; FL Fig. 1(:25-1713, Maratta, 0.; Bom. Mad. 1632-1705, Giordano ; JSTap. Rel. 1697-1768, Canaletto: Feji. Archi. 1702-1787, Batoni (Battoni), P.; Bom Fig. 1712-1793, Guardi ; Ven. Arch. 1510-15F6 1.550-1628 *1 588-1656 1597-1628, *1598-1662 * 1599-1660, *1618-16S2 1630-1691. 1746-1828, Spanish School. Morales. L. de; Bel. , Ribalta, F. de ; BeL , Ribera, J. de ; BeL , Ribalta, J. de ; BeL , Zurbaran, F.; Monks. Velasquez ; Var. " Mnrillo : Mad. tfe Var. Leal, J. de V.; BeL Goya, F.; Caricature. PAIN 2«i For reference to the follo^ying• i)aiuters, see under the name adjoined. AUegri, see Correggio. Allori, Ag., see Bronzino. Amerighi, see M. A. (Jaruvaggio. Barbaielli, see Giorgione. Barbieri, see Guercino. Bazzi, see Socloma. Beato, II, see Angelica. Biagio, see IHntiiricchio. Bigordi, see G/iirlanaaio, D, Bondone, see Giotto. Boninsegna, see D^iccio di. Bonvicino, see II Moretto. Buonarroti, see 31. A ngelo. Caliari, see P. Veronese. Caravaggio, P. C, see Caldura. Card], see CigoU. Carucci, see Fontormo. Clone, see Chxagna. Claude, see Lorraine. Conegliano, see Cima. Dughet, see G. Poussin. Fiesole, see Angelica. Filipepi, see Botticelli. Frate, II, see Bartolommeo. Gel6e, see C. Lorraine. Grannucci, see Q. Romano, Guidi, Toraniaso, see Musaccio. Licinio Regillo, see Pordenone. Li:ciani, see Piombo. Mazzuoli, see Parinegiano. Fippi, see G. Romano. Ponte, see Baasano. Porta, delJa, see Bartolommeo. Raibolini, see Fr. Francia. Razzi, see Sodoma. llegillo, L., see Poi'denone. Reni. see Guido. Rhyn, see Rembrandt van. Ilobusti, see Tintoretto. Ricciarelli, see Volterra. Salvi, see Sassof errata. Sandro, see Gozzoli. Santi, see Raphael. Sanzio. see Raphael. Spagnoletto, see Ribera. Spincllo, see Aretino. Tisio, Ben., see Garafalo. Vannucci, see Perugino. Vannucchi, see del i)lc injury. In ^Q'i, the palace of Vespasian was occupied by Em p. Constans, and it is probable that it continued habitable for a century afterward. At length it fell into entire ruin, and the whole became se 284 PALA covered with d6bris that for centuries little was to be seen except here and there some nameless ruin, till at last all knowledge of the buildings and localities on the Palatine was lost. Since 1846 extensive excavations have been made, and many localities uncovered, and their structures and rooms identified. i2«. dt e'er Chi Arch, of Constantine Forum, Plan of the Palatine PIill. 1. Entrance from the Fo- rum. 2. Birthplace of Augus- tus. 3. Temple of Jupiter Sta- tor. 4. House of Tarquin? 5 to 10. Palace of Vespa- sian and Domitian. 5. Basilica. Tablinium. Lararium. Peristyle. Triclinium. Nymphffium, or Bath. Biblioteca. Pal. of Sep. Severus. Temple of Jupiter Vic- tor ? House of Germanicus. 15. House of Romulus ? 16. Palace of Tiberius. 17. Palace of Caligula. 18. Porta Romana. 19. Museum. 20. House of Cicero. 21. Convent Grounds, cover- ing in part the Pal. of Augustus. S. Bonaventura. 22. Entering from the Via Sacra (vee'-ah-sack'-rah) (1), beyond the Forum, on the r. are seen the massive ruins of the Palace of Caligula (17). Ascending the first section of the stairs and turn- ing to the 1. we proceed along the base of the hill, where stood many houses of the Patricians, till nearly opposite the Arch of Titus. Bivtli'place of Augustus. Near this point (2) — probably some- what farther toward the Coliseum — was the site of the house of Octavius, ' ' at the top of a staircase ; " where his son, Octavius (Augustus), was born. After the death of Augustus, it was con- verted into a chapel and consecrated to him. Turning to the r. and following the depression toward the PALA 285 summit of the hill, on the r. are seen portions of Roma Quad- rata (walls), dating prior to Romulus. Beyond r. are the foun- dations of the Temple of Jupiter Stator (3), built by Romulus in pur- suance of a vow made to Jupiter when in a battle with the Sabines. Here Cicero pronounced his first oration against Cati- line. The large pavement blocks here seen are a portion of the ancient Via Nova. On the 1. fragments of the Porta Mugonia, one of the three gates of the Rome of Romulus. Adjacent was the seat (4) of Ancus Martius. King of the Sabines, and of Tarquinius. It was here that the latter was murdered, and that Tanaquil, his wife, addressed the mob from a window. ** Palace of Vespasian (zian) and Domitian (do-mish -e-an) (5-10). Vespasian filled the depression between the Veliau Hill on the 1. and the Germale on the r. with massive cross- walls, and upon these erected his imperial palace. Afterward Domitian rebuilt and enlarged the residence of Vespasian, and it was occupied by several successive emperors. The ruins at present uncovered are chiefly those of the Ves- pasian palace. This was the seat of imperial power during the 2d and 3d centuries. The front is the Atrium — the station of the guard — an oblong court surrounded with columns. Ba-sil-i-ca Jons, or Hall of Justice (5). Here the Emperor sat for important trials. At the farther end was the elevated tribune, separated from the nave by a marble railing. A frag- ment of one leg of the Emperor's chair yet remains in the pave- ment. Below was the prisoner's box or " Confession." The Tab-lin' -i-u/ni (0), the great Throne-room, where audiences were granted by the Emperor. It was covered by a vast arch supported only by the side walls. In the niches were found statues, among which were a colossal Hercules and Bacchus. The La-ra-ri-um (7) was the chapel of the household gods or La-rcs. At the farther end is a small marble altar having on the front the figure of the Genius Familiaris, with head covered ; at the sides, the Laves with boots, pitcher, etc. The Peristyle (8). To the rear of these three rooms, was a large open court with statues, fountains, flowers and shrubbery, surrounded by a colonnade. This was a favorite resort of Domi- tian, who from his constant fear of being murdered, had the walls covered with a kind of marljle polished to reflect like a mirror. 2^he 2n-c/in -i-um (9} or Dining-room. In the centre, a flight 286 PALA of steps leads down to a structiu-e called the Baths of Livia, ol which Vespasian made use as substructures for his palace. It was from this hall that Pertinax, hearing confusion among the guard, went forth to be murdered in front of the palace. Beyond la the Vomitorium, to which the gorged feasters retired to tickle tbeir throats with a feather, that they might return with renewed appetite. The Nym-phoi' -um (10) or Bath-room, with niches for statuary, exhibits remains of an alabaster pavement and an oval fountain. In this room the Eros of the Louvre was discovered, 1862. Be- yond the portico are some ruins designated the Biblioteca (11) or Palatine Library, adjacent to which is a room with seats against the walls, called the Accademia. Neither of these rooms has been identified with any great degree of certainty. To the left we pass to the rear of the Palace of Augustus, enclosed within the Convent grounds, and at present inaccessible ; and at some little distance beyond we find the ruins (12) of the Palace of Sept. Severus, which, though of greater extent than those before men- tioned, are of comparatively small interest, from their not having been identified. Returning, near the corner of the Nymphseum, are the foun- dations of the Temple of Jupiter Victor (13), erected by Fabius Maximus, in obedience to a vow made at the battle of Sentinura, B.C. 295. The grand stairs have been partly restored — on which is an altar, with grooves for the blood of the victim. This point commands an extensive view of the city and the valley of the Tiber to the west and south. **TnE House OP G-ekmanicus (14), excavated 1869. Its waits are decorated with paintings unsurpassed by any yet found at Pompeii. Central room : r., Mercury releasing lo from Argus ; middle wall, Galatea and Polyphemus ; 1., lead water-pipes, upon which are inscriptions indicating the history of the house. Room to the r. decorated with garlands and vases of flowers and fruit, with masks ; room on the 1. with arabesques and airy figures painted on a white ground. The Triclinium, to the r. in the court, with red walls, is ornamented with large landscapes. The stairs near this room lead to the small bed-chamber and other rooms of the house. The House of Romulus (15). This point is sometimes des- ignated as the house of Romulus, and sometimes as the Den of the Wolf. (Highly apocryphal ! ) PAL A 287 The Palace of Tiberius (16) stood alonj? the northern edge of the hill, looking down upon the Yeiabrum. Here Livia, wife of Augustus, and mother of Tiberius, died at the age of 83 or 86. The arches seen are the quarters of the guard. From the vicin- ity of the house of Germanicus a covered passage extends to near the Casino, at the main entrance. It was in this passage that Caligula was assassinated, A.D. 41, when returning from witness- ing a play in the atrium of his palace. *Palace of Caligula (IT). To the left, and farther along the margin of the hill, extending to the Via Sacra, upon the n.e. corner of the Palatine. Extensive ruins of this palace remain, of which considerable portions have been excavated, although the purpose of the different rooms has not been clearly determined. " Here Caligula lived his half-insane, imperial life. Here at a public banquet bursting into a fit of laughter which caused the consuls to inquire into the cause of his mirth, he informed them he was thinking how by a single avoi d he could cause both their heads to roll on the Hoor." Here, also, Claudius, his successor, on being informed at a feast that his wife Mrssalina wtts dead, '* asked no questions and went on eating his supper;" and here Agrippiua, his next wife, gave him his last supper of poisoned mushrooms, to make way for her son Nero. The Bridge of Caligula (18) extended from his palace to the summit of the Capitoline Hill ; built that he might the more i-eadily hold intercourse with Jupiter in his temple. It was de- stroyed by Claudius. Below, at the corner near the Forum, may be seen remains of son»e of the arches. Porta Romana (18). Some ruins at the extreme corner are identified as the ancient gateway of the Palatine, near which, outside, were the Sabine Temple of Victory, and the Temple of Cybele. The Museum (19), nearer the entrance, contains many objects of value found in excavating — statues, busts, reliefs, coins, ivory, glass, etc. The House of Cicero (20) was on the lower ground between the Porta Romana and the present entrance. In this vicinity also resided C. Gracchus, F. Flaccus, L. Q. Catulus, the poet, Marius, and Claudius. The Palazzo Reale (pah-laht'-zo-ray-ah'-lay), Naples, erected, 1600 ; burned, 1837 ; rebuilt, 1841. Upon applying at 238 PALI the door, the porter (small fee) conducts the visitor to the office, where he will be furnished with a card of admission to the palace and also to Capodimonte, Caserta, and other places (no fee). An attendant (1 fi'. ) shows the visitor through the palace and gar- dens. Adjoining the palace is the Theatre San Carlo, the most capacious in Europe: built 1737; burned, 1810; since rebuilt, Man}'^ of the compositions of Rossini, Donizetti, Bellini, and Mer- cadante, were first performed here. Pallavicini Villa. See Genoa. Palma, Giacomo (Jacopo), called II YECcnio (vek'-ke-o), or the Elder, 1480-1523, b. at Serina, Italy. One of the best masters of the Venetian School in the management of light, shade, and color. His backgrounds are usually of a warm summer landscape. He excels in fine, elegant female figures, and in rich and tasteful apparel. In the voluptuous tenderness of his female forms and in the richness of his coloring he is scarcely inferior to Titian. His Three Graces, in the Dresden Gall., are said to be portraits of his daughters ; and his St. Barbara, that of Violante, his favorite. Peincipal Works: Belv., seven; Bergamo, 156, 285?; Berlin, 174, 197A ; Borgh., 32 ; Brera, 168, 284 ; Colon., Holy Fam ; Dres., 242-3-4-5-6 ; Hamp. Ct., 115, 79?, 163?; Hermit., 90, 91, 92; Louvre. 274 ; Munich, 588; Naples, 28; Picti, 38, 84, 254 ; Siena, 81 ; Venice, Doges' Pal., 593 ; Uffi., 619, 623, 650 ? Palma, Giacomo (jack'-o-mo), called Giovine, or the Younger, 1544-1 628 ; nephew of the Elder. Preferred mytho- logical subjects, half-nude figures in the midst of a delightful landscape. Principal, WoBKS : Cassel, 97, 101, 98 ; Naples, 57 ; Venice, Doges' Pal., 40. Thie Last Judgment and Christ adored by two Doges, among his best works. Panorama, Avenue des Champs li^lysees, Pafis, adjacent to the Palais de Tlndustrie. Open daily, 2 f rs. ; Sun. , 1 fr. At present exhibiting the " Siege of Paris." A remarkably vivid representa- tion. Pantheon, The (pan-tay-ofi), or oh. of St. Genevieve, Paris. A church was erected here in the 6th century over the tomb of St. Genevieve, the protectress of Paris. Having fallen into decay, it was rebuilt at the instance of Mme. de Pompadour, Louis XV. laying the corner-stone, 1764. It occupies a most commanding position near the Luxembourg Palace, and is one of the finest architectural structures of the city. The tympanum, 117 ft. long and 23 ft. high, contains a group PANT 289 of statuary by d' Angers, of " France conferring honors u^on her illustrious men." On the 1. are Fenelon, Malesherbes, Mirabeau, Carnot, Voltaire, Rousseau, Lafayette, and David; on the r.. Napoleon and soldiers. Beneath is the inscription, "• Aux Grands Horames la Patrie reconaissante." Below are two groups, the Baptism of Clovis, and Attila and St. Genevieve. The plan of the church is that of a Greek cross, each arm ter- minating in a pediment. The interior is of less interest than the visitor naturally antici- pates. The dome was decorated by Gros, representing Clovis, Charlemagne, St. Louis, and other kings of France paying hom- age to St. Genevieve. Beneath are extensive vaults, in which rest the remains of Lagrange, Bougainville, and Marshal Lannes. Mirabeau and Marat were interred here, but were afterward removed. There are cenotaphs to Voltaire and Rousseau. The columns in and around the building number 250. The summit commands one of the finest views to be obtained of the city and suburbs to the south and east. ** Pan -the-on, The, Rome., midway between the Corso and Piazza Navona. In front, in the centre of the Piazza, is a small obelisk standing in a fountain. The hieroglyphics refer it to the time of Pi04. Charles V. founded the Royal Library and the Bastille. 1515. Francis I. greatly improved the city, commencing the Louvre and the Hotel de ViUe. 1547. Henry 11., husband of Cath. de Midicis, killed at a tournament. His threp BOU6 came to the throne puccepsively. 292 PARI 1559. Francis II. married Mary, Queen of Scots. 1560. Chas. IX. commenced the Tiiileries. St. Bartholomew's massacre. 1574. Henry III. assassinated at St. Cloud. 1580. Henry IV., husband of M. de Medicis. First of the Bourbons. 1610. Henry IV. assassinated. Louis XIII. commenced the Palais Royal, the Luxembourg, and the Jardin des Piantes. 1643 to 1715. Louis XIV. City greatly improved. The Louvre extended ; Hotel des Invalides and the Observatory erected. Versailles built. 1715 to 1774. Louis XV. The Pantheon, the Pal. du Corps Legislatif, and Mint erected. 1774. Louis XVI. Revolution. 1789. Bastille demolished. 1793. Louis XVI. and Queen Marie Antoinette beheaded^ 1504. Napoleon, Emperor, greatly improved the city, laid out new streets, erected bridges, fountains, and monuments ; constructed the Place du Carrousel. 1830, Louis Philippe improved and embellished the city. 1848. Revolution. Louis Napoleon elected President. 1852. Coup d'etat. Louis Napoleon, Emperor, completed the Louvre, and greatly improved the streets, parks, and all public works. 1870. Louis Napoleon overthrown. Republic re-establishr^d. JS71. Communist insurrection. The Tuileries, the Hotel de Ville, and many pub- lic buildings burned. The City, lat. 48^ 51', long. 2° 20' east, is located upon both banks of the Seine and the islands of La Cito and St. Louis; a much greater proportion of the city being upon the northern bank. Upon the n. side of the river are the Tuileries, the Lou- vre, the Hotel de Ville, the Madeleine,- the Opera House, and the Arc de Triomphe. On the He de la Cite are Notre Dame and the Palais de Justice. On the s. bank, called the Latin Quarter, are the Chambre des Deputes, the University of France, the great Schools of Law, Medicine, and Theology, the Luxembourg Pal., the Pal. des Thermes, the Jardin des Piantes, and the Hotel des Invalides. The city contains a population of 2,230,000, and is divided into 22 arrondissements, each having a mayor. The government is administered by the Prefet of the Seine, assisted by a Municipal Council of 60 members. The annual receipts of the city govern, mentare about $25,000,000. The city walls are 22 mis. in extent, and have 65 gates. The central point of the city is Place Royal, along which passes the great thoroughfare of the city from s. e. to n. w. Be- ginning at the Pi. de la Nation, at the s.e. margin of the city, this grand avenue, from PI. de la Nation to PL de la Bastille, is called Rue du Faubourg St. Antoine ; from PI. Bastille to near Hotel de Ville it is called Rue St. Antoine ; from Hotel de Ville. PARI 293 past the Louvre, to PI. de la Concorde, Hue de Rivoli ; from PI. de la Concorde to the Arc de Triomphe, Avenue des Chamj^s Hysees ; and beyond the Arch, Ave. de la Grande Armee. Omnibus Lini^s : .From Place Royal, omnibus lines extend to all parts of the city and suburbs, each line having " correspon- dence " (cor-ess-pawn-dawnce) with every line whose route it crosses — i.e.., giving transfer tickets. Fare, including correspon- dence, G sous ; fare on the top (the Imperial), 8 sous. Tramways (horse-cars) : Recently, innumerable tramways have been constructed, principally from the suburbs and neighboring villages, some of them into the heart of the city. They are not intended, however, as a means of transit in the mid -city. Since the establishment of the Republic, the names of numer- ous streets and avenues have been changed, particularly those referring to the Napoleonic or Imperial periods. Places and Objects of Interest. I. Churches, which see respectively : Augustin. St. Eustache, St. Chapelle E.vpiatoire. ; Germain-on-Laye, St. *Chapelle. St. i Germain I'Auxerrois, St. ♦Denis, St. *Madeleine. Etienne du Mont, St. *Notre Dame. *Pa'itheon. Roch, St. Siilpice, St. II. Galleries and Museums, which see respectively : ♦Jardin d"Accliinatation. | *Luxemboui-g Gallery. *Musee des Thermes. Conservatoire des Arts. *6cole des Beaux Arts. Hotel des Invalides. *Jardin des Plantes. **Louvre. ranorama. III. Miscellaneous, which see respectively ; Arc du Carrousel. ♦Arc de Triomphe. Bastille, Place de la. ♦Buis do Boulogne. Bois de Vincennes. Chambre des D^put^s. Champs ^ly.-ocs. Chami) de Mars. Circuses. ♦Concorde, Place de la. Denis, Porte St. IV. Theatres: Anibigu Coiiiique, dramas, Boulevard .S^ Men- till. Chatclet, comedies, Place du Chdtelet. Fran<,ais, drama, Place du Thefltte Fntnrals. Giit6, lyiic opera, Sg. des Arts et Me- tiers. Gymnasc, comedies, Boul. Bonne-Nou- velle. Od6on, dramas, Place de POdeon. iliysees, Palais de l\ Gobelins. Halles Centrales. Hotel de Villo. July Column ; see Bastille. Luxembourg Garden. Martin, Porte St. ♦Monceau, Pare. Montmartre. Montparnasse. ♦♦Napoleon's Tomb. Palais de 1" Industrie. Palais de Justice. Palais Royal. Pere Lacliaise. Place de la Nation. Place des V'osges. Sorbonne. Tour de St. Jacques. ♦Tuileries, Jardin des. Straa- Opera BoufiEc, operettas, Bout. bonrfj. Opera House, opera, Ave. de I' Opera. Porte St. Martin, drauias. Boitl. St. Martin . Renaissance, operettas, Boul. St. Ifar- tin. Vaudeville, comedies, Boul. des Capu- cities. Vari6les, vaudevilles, Bovl. Mont martre. 294 PARI The different parts of the house are designated as follows : Avant Scene , boxes adjacent the stage ; Fauteuils, arm-chairs ; Logea de Face, boxes in front : Logea de C6te, side boxes; Baignoires, beneath the gallery; Amphitheatre, upper gal- lery. Prices range from 1 to 10 frs. Cajm ChantantH (kah-fayshon-ton). Open-air entertainments, concerts, bal- lets, operettas, and plays. A card invitingly states " Entrelibre'" (entrance free), but compensation is fully exacted on the refreshments everyone is expected to take. The most noted are in the Champs :6lys6e: on the right, Cafe des Ambassadeurs and Alcazar d'ilte ; left. Cafe de I'Horologe. Environs: St. Cloud, *St. Germain-en-Laye, *St. Denis, **Versailles, Mal- maison, Sevres, Fontainebleau, which see. Conserv. des Arts ]&cole des Beaux Arts . . Gobelins S. "o" 10-4 "o" M. _ "o" T. a "o" W. ? a o" Th a "o" \ a s. z o" o" a u 10-4, Ifr. 10-4, Ifr. (Su. 12-4; 50c.) 1-3. Hotel des Invalides Jardin d'Acclimat Jardin des Plantes Louvre Galleries Luxemb. Gallery Musee des Thermes . . . St. Denis Sainte Chnpclle St. Germain-en-Laye.. Sevres 11-1. 9-dusk. Ifr. : Sun., 50c. 11-5; 4 in winter 9-5 ; winter, 11-4. 10-4. 11-4; a, on passport. lOK-4, 5 ; 50c. Sun. aft. ser. 12-4 ; W., 12-3. lOX-4, 6, Ifr. ; Sun., 50c. 12-4, 5, fee. Tomb of Napoleon Triauons ... 12-3, 4. Closed fevo days. 12-4, 5. Versailles 12-4. Gardens all day. indicates days free ; — admission fee. Routes: To Antwerp, 12 hrs., $8 ; ^5.75 ; see Route No. 18 to Brussels, thence Route 16, Brussels to Antwerp. To Bale, 10 hrs., fl3; $10. To Berlin, via Cologne, 24 hrs., $25 ; $18.50 ; see Routes 18 and 19 (in part) to Cologne, thence Route 59, Cologne to Berlin. To Bebne, 12 hrs., $14 ; $10.30. either by Bale or Poncarlier. To Bordeaux, 9 hrs., $14; $10.80. To Brussels, 7 hrs., $7.25; $5 ; see Route 18. To Cologne, 11 hrs., $11.75 ; $9 ; see Routes (in part) 18 and 19. To Fontainebleau, 2 hrs., $1.40 ; $1 ; see Route 89. To Geneva, via Jfacon, 12 hrs., $15.25 ; $11.50 ; see Route 39 ; via Pontarlier, 15 hrs., $14 ; $10.60 ; see Route 38. To Lausanne, 13 hrs., $12.75 ; $9.30 ; see Route 38. To London, via Calais, lOX hrs., $15; $11.25; see Route 12; via Boulogne, lOX hrs., $14; $11.50; see Route 13; via Dieppe. 16 hrs., $8.25; $6; see Route 14; via Bou- logne, thence by steamer, 14 hrs., $8.25; $6.25 ; see Route 13. To Lyons, 9 hrs., $12.50; $9.25; see Route 39 to Macon. To Marseilles, 13 hrs., $21; $16. To Madrid, via Bordeaux, 35 hrs., $37 ; $27. To Turin, 22 hrs., $20 ; $16.50 ; see Route 39, Paris to Culoz, thence Route 40, Culoz to Turin. To Vienna, via Munich, 35 hrs. , $36 ; $27. To Versailles, see page 546. iITmC. Envibons East. }Sr PARK 295 Parks, London.— GiuA-.ii Park, coutaiuing- GO acres, adjoins St. James's Park upon tbe n. w. On the e. side are Stafford House, Bridg-ewater House and Spencer House. At the w. cor- ner of tbe Park, passing- under the Wellington Arch, and crossing Piccadilly, we enter Hyde Park, 2| mis. w. from St. Paul's, lying between Ox- ford St. and the continuation of Piccadilly ; comprises 388 acres. The two principal entrances are at Hyde Park Corner, Piccadilly, and the Marble Arch, Oxford St.; respectively the s.e. and n.e corners of the Park. In earlier times it was the property of the abbots and monks of Westminster, but on the dissolution of these establishments by Henry YIII. it became the property of the Crown. From May to Aug., between the hours of 11-1 and 5-7, the Park is thronged with the equipages of English nobility. Private car- riages only are admitted. At the s.e. corner of the Park, called Hyde Park Corner, is the Wellington Arch, erected 1828. At the n.o. corner is the Marble Arch. Beyond the Park, westward, are Kensington Gardens and Palace, to the s. of which are the Albert Memorial and Albert Hall, near the site of the first Crys- tal Palace. St. James's Park, comprising 91 acres, a short distance s. w. of Charing Cross, was originally laid out by Henry VIII., im- proved by Charles 11., and completed by George IV. , in 1829. Its e. side is bordered by the Admiralty, Horse Guards, and Treasury ; the n. by Carleton House, Marlborough House, St. James's Palace, and Stafford House ; the w. end by Buckingham Palace. In 1648 Charles I., guarded by a regiment, walked through this Park from St. James's Palace to the scaffold at Whitehall. Regent's Park, containing 4G2 acres, is located in the north- western part of the city. Within this Park are the Botanical and the Zoological Gardens. **Parl lament Houses, London. Admission on Sat., 10-4, upon application at the office of the Lord Great Chamberlain, s. end, near the Victoria Tower. Edward the Confessor is said to have had here a Royal Palace, to which additions were made by Wm. the Conqueror and Wm. II. In llGo, Thomas a Becket was superintendent. On New- Year's day, 12oG, Henry III. gave a feast to 6,000 persons, when 80,000 dishes were set. In 1299 the palace was partly destroyee compared to St. Vctcr' i,'" — Foutaua. 304 PETE " But thou of temples old and altars new Standest alone, with nothing like to thee." — Byron. '• The temple is an image of infinitude ; there are no bounds for the sentiment! to which it gives birth.*'— J/ad. de Siael. "When the visitor has passed into the interior, and so far recovered from the first rush of tumultuous sensations which crowd upon him, he will be struck with, and, if not forewarned, disappointed at, the apparent want of magnitude.'"' — Hillard, " The exterior and interior appear to me more like an apotheosis of the pope dom than a glorification of Christianity." — Frederika Bremer. The Coronation Stone (1). In the pavement immediately beyond the central door is a circular slab of porphyry, upon which emperors were formerly crowned. Beyond this, a mark in the pavement indicates the comparative lengths of the other great cathedrals, thus : St. Peter's, 613 ft. ; St. Paul's, 520 ; Florence, 489 ; Milan, 443 ; St. Sophia, 354 ft. The Nave. On either side are three double pillars, supporting the great gilded arch. The height of the nave is 153 ft.; width, 89 ft. Upon the frieze is an inscription in Latin, the mosaic let- ters of which are 4 ft. 10 in. in height (Murray, 6 ft.). Upon the fourth pillar to the r. (2) is the celebrated bronze statue of St. Peter, said to have been cast from a statue of Jupiter, and be- lieved to date from the 5th century. The Dome rests on four massive piers, each of which is 234 ft. in circumference. In the piers are niches with statues 16 ft. in height, overhung with balconies. The four great relics of St. Peter's — the Lance of Longinus, the Head of St. Andrew, a Piece ■)f the True Cross, and the Napkin of St. Veronica — are kept within the walls of these piers. The Bal-dac-chi'-no (-kee-) (5), beneath the Dome, covering the High Altar and the reputed tomb of St. Peter, is a bronze canopy, 95^ ft. in height, and weighing about 58 tons. It is feupported by 4 twisted columns of bronze, the metal of which was taken from the Pantheon. " It is difficult to imagine on what ground, or for what purpose, this costly fabric was placed here. It has neither beautj' nor grandeur, and resembles nothing so much as a colossal four-post bedstead withouL curtains.'' — Hillard. "Bernini displays all the errors, the decorative madness, of the baroque style in the colossal bronze tabernacle over the high altar." — Liibke. The High Altar, beneath, is used only on great occasions, and none but the Pope himself, or a Cardinal specially author- ized, may ofl&ciate. Descent is made to the confessio., or shrine of St. Peter, by a double flight of steps. At the foot is a statue of PETE 305 Pius VI., by Canova. The tomb of the Apostle is directly behind the bronze doors. The 89 burning lamps are never extinguished. Tiir; TmiiUNE, or termination of the Nave, coutuiii.s, above the high altar, the famous cltair of St. Peter, alleged to have been his episcopal seat. It is enclosed in bronze and supported by 806 - PETE four fathers of the church — Augustine, Ambrose, Chrysostom, and Athanasius. r., (8) tomb of Urban VIII. ; 1., (9) **tomb ol Paul III., by della Porta, one of the finest monuments in the ch. Prudence and Justice are said to be portraits of the pope's mother and sister. " St. Peter's is a world of art, but the specimens, with a few exceptions, are by no means of the first class.'" — ffillard, " Those who expect to find monuments of great historical interest will be totally disappointed." — Uare. '• The sepulchral monuments, with the exception of those of recent date, are, for the most part, scarcely worthy of St. Peter's as works of art." — Murra>j. From the Tribune, proceeding to the left around the church : (10) r., Tomb of Alex. VIII., by Martino ; (11) 1., on the great pier, Mosaic of the Healing of tlie Paralytic by Peter and John ; (12) r., Altar of Leo I., above which is Attila's Iletreat, one of the best bas-reliefs ever executed in marble ; (13) the Sarcophagus beneath the altar contains the remains of Leo IT., III., and IV. The sarcophagus, with high-reliefs of Christ and the Apostles, is of early Christian times. South Aisle ; (14) r. , mon. of Alexander VII. , by Bernini ; figures of Justice, Prudence, Chastity, and Truth, the last being the work of Bernini; (15) 1., Punishment of Simon Magus, an oil painting on slate, by Fr. Vanni. The South Transept has confessionals in eleven languages. (16) r.. The Incredulity of Thomas, mosaic; (17) front, the tomb of Palestrina, the composer ; above the central altar is a mosaic of Guide's Crucifixion of St. Peter; (18) 1., St. Francis, by Do- menichino. South Aisle; (19) r. , door leading to the Sacristy, above which is a mon. to Pius VIII., the last erected in the church. Best point of view of the dome and transepts. (20) 1., Death of Ananias an^l Sapphira, after Roncalli. (21) Capella Clementma ; (23) r., tomb of (xregory the Great, below the altar ; (2B) in front, *monument of Pius VII., by Thor- waldsen ; (24) 1. , on the great pier is a mosaic copy of Raphael's Transfiguration, covering four times the space of the original ; (25) r. , beneath the arch, mon. of Leo. XL, with relief of Henry IV. of France recanting Protestantism ; figures of Wisdom and Abundance ; (26) 1., tomb of Innocent XI., with relief of Sobieski delivering Vienna. (27) r., Capello del Coro, or Choir (Sunday, *musical services, ladies admitted only with black dress and veil ; gentlemen in- PETE 307 evemng dress) ; (28) 1., *tomb of Innocent VIII., bronze, by A. and P. PoUajuolo; opposite is the tomb of the last pope, whoso remains rest here till the death of hiti. successor. (29) Chcqiel of the Presentation; over the altar, the Presenta- tion, by Komanelli ; (30) r., door leading to the Dome ; above is the mon. of Maria Clementine Sobieski, wife of Charles Edward, the Young Pretender ; (ol) tomb of the Stuarts, James III. and his sons, Charles Edward and Henry. (32) Baptismal Chapel, the font of which consists of a sar- cophagus cover from the tomb of Hadrian ; afterward of the tomb of Otho II. Crossing to the North Aisle ; (33) St. Peter, mosaic, over the Jubilee door, placed by Clement X., 1075 ; (34) Capella dcl'a Pietd, so named from M. Angelo's *Pieta, executed in his 24th year. At the r. end of the chapel is the Capella della Colomia Santa, containiug a white marble column, against which Christ leaned when disputiag with the Doctors, enclosed in an iron network; at the 1. end is the Capella del Crocifisso. (SI) Beneath the arch, r., mon. of Leo. XII.; (36) I., Cenotaph and bronze portrait of Christina, dau. of Gus. Adolphus ; (o7) St. Sebastian, after Domenichino ; (38) under the 2d arch, r., tomb of Innocent XII. , the last pope who wore a beard ; 1. , (39) Countess Matilda. (40) Chapel of the Holy Sacrament ; tabernacle of bronze and lapis lazuli ; altar-piece in fresco, by da Cortona. A stone in the pavement marks the tomb of Julius II., who commissioned M, Angelo for the erection of the splendid mausoleum, of which the "Moses" and 'Captives" were to be a part. At the r. (41) is the tomb of Si.xtus IV., bronze, of whom Hare remarks, '' Sixtus IV., with whose cordial concurrence the a'^sassination of Lorenzo de' Medici was attempted." (42) beneath the 3d arch, r. , tomb of Gregory XIII., who.se adoption of the new or Gregorian Calendar (1582) is commemoratpd in the bas-reliefs. (43; 1., tomb of Greg- ory XIV. (44) on the great pier, Communion of St, Jerome, mosaic, after Domenichino. (45) Gregorian Chapel ; To the r., (46) *mon. of Gregory XVI. Over the altar, (47) *Madonna del Soccorso, from the old ch. of St. Peter ; beneath the altar, tomb of Gregory XV., cupola with mosaics. (48) beneath the preat arch, r. , tomb of Benedict XIV., statue of the pope, with Charity and Science. (49) I., Chapel of St. BaHl. 808 PETE (50) North Transept, occupied by the Ecumenical Counpil of 1870 after which, it was closed for 10 years. Beneath the arch, beyond the Transept, r., (51) **tomb of Clement XIII., by Canova, one of the finest mous. in the ch. (52) 1., on the great pier, Peter Walking on the Sea, mosaic, after Lanfranco. Claqiel of the Archangel Michael. (53) r., The Archangel, mosaic, after Guido ; front, (54) the Burial of St. Petronella, mosaic, after Guercino ; (55) beneath the arch, r., tomb of Clement X.; 1. , Raising of Tabitha, mosaic, after Costanzi. *TiiE Sacristy — most desirable hours, 9-11 ; entrance at (19) south aisle — consists of three magnificently decorated halls and several rooms. In the halU., statues of Peter and Paul are from the old basilicas ; the 8 fluted columns are from Hadrian's V^illa. Guide necessary for the remaining rooms, \ fr. Madonna, by G. Romano ; Christ, Death of Peter, and Execution of Paul, all by Giotto ; robe worn by Charlemagne at his coronation, 800. The Crypt. Permit obtained at the Sacristy (19). The Grotte Vaticane contain the tombs of many of the popes and a few sar- cophagi of interest. The Dome. Permit obtained at the Sacristy (I9.). Ascent on Th., 8-10 A.M. Upon the walls are tablets with the names of royal personages who have made the ascent. Upon reaching the roof the visitor unexpectedly arrives at a small village, the dwellings of some of the custodians. Above this point the stairs wind up between the inner and outer domes to the lantern. A ladder leads from the lantern to the ball, which has room within for 16 persons. The *view from the top of the dome is the best to be obtained in Rome. Petersburg, St., is situated principally upon the south bank of the Ne-va, near its entrance to the Gulf of Finland. The central point of the city is the Admiralty, upon the banks of the Neva, in the midst of a small park. It is surmounted by a tall and exceedingly slim gilt spire, which is a conspicuous ob- ject upon approaching the city from almost every direction. From the Admiralty, the leading avenues of the city radiate in various directions ; of these the principal is the Nev-ski Prospekt, a broad, well-paved, busy street, lined with the buildings and shops of a modern European capital. Immediately adjacent to the Ad- miralty is the Imperial Palace, on the e., and St. Isaac's on the s. w. The principal places of interest are : The Imperial or Winter Palace, the Hermitage, St. Isaac's Cathedral, the Kazan Cathe- PETE 309 dral, the Cathedral of SS. Peter and Paul, the Smolnoi Church, the Academy of Science, the House of Peter the Great, the ]\Iu- 8eum of State Carriages ; and, in the environs, Tsarkoe Selo, and Peterhof, The public or Imperial buildings are so extensive, and the va- rious collections so immense, that nothing less than several weeks will suffice for a satislactory inspection. Besides, so few persons understand anythiug of either English or French, that a guide is absolutely indispensable to any excursion or enterprise in St. Petersburg. **TnE Imperial or Winter Palace, the winter residence of the Czar, is an extensive structure, 450 ft. in length and 350 in width, constituting a quadrangle. Some impression of its mag- nitude may be drawn from the fact that, in addition to all the galleries, halls, and offices pertaining to the Court of the Emperor, there are, during his residence in the Palace, no less than G,000 members of the Imperial household dwelling within its walls. The picture gallery of the Palace is rich in modern works illus- trative of the history of the Russian Empire. The crown jewels, which in magnitude and value far surpass those of every other court of Europe, will be viewed with interest. The celebrated Orloff diamond, the largest in the world, being 8^ carats larger than the great Koh-i-noor, is mounted upon the Imperial sceptre. The Hermitage, or Art Museum. See Part II. , Hermitage. **St. Isaac's Cathedral, in the midst of a large open space on the s.w. of the Admiralty, is one of the most magnificent Ktructures of the far north. It is in the form of the Greek cross, and is surmounted with a gilt dome and cross. The facade of either side presents a Greek portico, with polished monolith columns of granite, GO ft. in height. The interior corresponds in richness and beauty to the grandeur of the exterior. The nu- merous shrines, covered with gold and encircled with diamonds and gems, tlie glitter of the golden altar screen, and the massive columns of malachite and lapis lizuli, united with the gravity of the Russian service, with which the great bell frequently intones, serve to render this the most impressive temple of devotion in the world. "With three days of every s-jven, religious l-olidays, and with frequently occurring services in commemoration of coronations, births, weddings, and deaths in the extensive Imperial Family, 310 PETE together with fetes extra and an occasional marriage ceremony, the visitor will not want for opportunities of witnessing the highly impressive service and ceremonial. Evening service most interesting, though less usual. *TiiE Ka-zan' Cathedral is situated upon the Nevski Pros- pekt, and is approached by a circular colonnade, in imitation of St. Peter's at Rome. In front are fine statues of Smolenskoi and de Tolly. The interior corresponds in its magnificence and dis- play to St. Isaac's. The special object of interest is the image of " Our Lady of Kazan," which is covered with gems, the diamonds of the crown being of exceeding value. Around the cathedral are banners of important victories v/on by Russian arms. **TnE Cathedral of Sts. Peter and Paul, upon the north bank of the Neva, and within the walls of the fortress, contains the remains of all the Czars, with the exception of one, from the time of Peter the Gt. to the present. They are deposited in white marble sarcophagi, about 3 ft. in height and width and ten in length, placed upon the main floor of the church, along the sides and near the altar. The sarcophagus of Peter the Great is at the upper end. at the right, on which is affixed, at each suc- cessive centennial of his birth, a small golden star. The Smol-noi Church, at the eastern extremity of the city, is peculiarly rich in its effects, the entire structure and all its decorations, even to its 24 monumental-looking stoves, being of the purest white. In connection with this church is a celebrated seminary for young ladies of noble birth. The institution is de- signed for 500 pupils, of which 200 are educated at the expense of the government. **TnE Museum of Science is one of the most extensive and most valuable collections of natural liistory extant, and wiU of itself require several days for a fair examination. The Museum of Imperial Carriages contains a collection of state carriages, sledges, sedan chairs, and some fine tapestries. * House of Peter. Across the Neva, and upon its northern bank, is the small house occupied by Peter the Gt. It contains three small rooms, one of which is consecrated as a chapel and covered with gold. Environs. — The two most important localities to visit, outside the city, are Tsarkoe Selo and Peterhof. **Tbar-koe Se lo, reached by rail in about 30 minutes, was built by Catharine II. for a summer palace. Adjacent to Tsarkoe PHID 811 Selo are the grounds auJ palaces of Archduke Constantine and other members of the Imperial Family. The variety and beauty of the g-rounds, as well as the value of the various collections in the palaces, render this excursion one of exceeding interest and l^leasure. *PETERnoF, also about half an hour s ride by rail, was erected by Peter as a suburban residence. Amon;j the innumerable ob- jects of interest in the place are 3G8 portraits of Russian ladies. The gardens and fountains are reputed as scarcely inferior to those of Versailles, especially upon the evenings of the illumina- tions. Adjacent are also the cottage of Catharine II. , the Palais de Paille, and the English Garden. Routes: To Beklin, 44 hrs., $30; §'23. To Moscow, 15 hrs., $.17; $12. To Stockholm, by steamer direct, about 2 days ; or along the north margin of tho Gulf of Finland, stopping at several Finland cities, 3 days, about $10. This last is one of the most chaiTninf^ and romantic routes in Europe. Phid'-i-as, a Greek sculptor, about B.C. 490-432. " He seems to have belonged to a family of artists, and to have first turned his attention toward painting. He was the pupil of Agelada.*, and probably of He- gias ; and his great abilities were developed in -executing or superintending the works of art with which Athens was adorned during the administration of Peri- cles.'" — Smith. Among his most noted works were Jupiter, of which an antique copy is in the Vatican ; Athena at Platcea ; and Athena of the Acropolis. Until recently the marbles of the Parthenon have, without question, been attributed to Phidias, but later writers state that the connection cf Phidias with these works is a matter of uncertainty'. Philip li., of Spain, son of Emp. Ch. V., b. 1527. Married Mary, Queen of Eng. '' A bigot and a de.^pot whose reign was an inexorable crusade against political and religious freedom," He crushed the lleformation in Spain, exterminated the Spanish Moors, removed the capital to Madrid and built the Escorial. He attempted the subjugation of the Netherlands, England, and France, in all of which he failed. Died 1098. Physicians. American physicians are referred to when per- manently residing in the place; in other cases, English- speaking residents. Aix-la-Ch'ipelle. Dr. Hall ; Dr. Schuster. ' Bordeaux, Dr. Brcen. 21 Pare des Char- Amsterdnm, Dr. Davids, Ileerenyracht > tronn. .s/r.,237. I Boulogne, Dre. F. H. Walker, and J. Badtii, Dr. Herman Muller. I Harvey. Bi'tle. Dr. JunL'. I Brussels. Dr. Collignon. 51 liuedeSCaS' Berlin, Dr. Oppert, Leip-rlger Sir., 128. i tart; Dr. Thomson, 14 Hue d" Egmont, Bcrue, Dr. Dcnimc. iJonn, Dr. Burger. ' Cologne, Dr. Sticker, //. Ccuino Str. 4 312 PICP Dieppe, Dr. D. W. Williams. Dresden, Dr. Cams, Lilttichau Sir.; Dr. Pierson, Rdcknitz Sir., 10. Florence, Dr. Forrest, 27 Via Lungi AUenuaii. Frankfort, Dr. Bresgen, Rocli Str., 37. Geneva, Dr. Wilkinson, 1 PL die Lac. Genoa, Dr. Breiting. Hamburcj, Dr. Oppert. Hague, Dr. Coster, Plaats, 14. Havre, Dr. Tarral. Homburg, Dr. Lewis. Lausanne, Dr. Joel. Lucerne, Dr. Steeger ; Dr. Nager, iTa- joe/i Platz, U.18. Milan, Dr. Walker ; Dr. Capelli. Munich, Dr. Ranke. Naples, Dr. Wyatt, Pa?. Calabritto, Strada Caterina (1 Chia^a. Nice, Dr. Guerney ; Dr. Crossby. Ostend, Dr. Saulmann, Boul. du Nord. Paris, Dr. Johnson, 10 BouL MaleS' herbtfi. Petersburg, Dr. Carrick. Rome, Dr. Gason, 8 Via Sebastino ; Dr Aitkin, 52 Via Frattina. Rotterdam, Dr. Maury. Turin, Dr. Pacchiotti. Venice. Dr. Levi ; Dr. Richitti. Vevay, Dr. Leeson, 4 Qicaide le Veveyse, Vienna, Dr. Biegel, Lichtenscein Sir. 12. IFzesftaden, Dr. Cohn, Rhein Utr., 13, Picpus, Cemetery (pic-pu), 15 Rue de Picpus, Paris, (| fr.). Lafayette and his wife are here interred, in the farther corner on the right. Here also are buried many victims of the Kevolution. At the farther end is the " Cimetieredes Guillotines," where rest 1,300 who were executed. *Pietro, S., in Vincoli (pe-a'-tro-in-vin'-co-ly ; Peter in Chains)^ Home. Built, 443, to preserve the chains with which Peter was bound ; repaired and rebuilt in 555 ; in the 8th cen- tury ; in 1503 and 1705. The principal objects of interest are the celebrated **statue of Moses, by Angelo (see Moses) ; and r. aisle near the upper end ; r. Leah, 1. Rachel, both by Angelo. The chains of Peter are kept in the Sacristy, or sometimes in a glass cabinet about midway of the r. aisle. Exhibited on the first of August. The twenty Doric columns are from the baths of Titus. PInacoteca (pee'-nah-ko-ta'-cah). See Part II., Vatican Picture Gallery. P. 478. Pinakothek (-take). See Part II. PinakotheJc, Munich. *Pinclan HiSI (pin-chee-an), Bo7ne. From the e. side of the Piazza del Popolo ascent is made by terraces up the steep side of the Pincian, reaching a small park laid out in walks and gardens. This is the fashionable resort for two hours prior to sunset every day, but particularly on Sundays. The terraces command a fine \le\w of the city and St. Peter's. In the centre of the grounds is the Obelisk of the Pincian. See Obelisks. P'lnturlcch'io (-rick'-ke-o ; little painter), Bernardino db BiAGiO; b. at Perugia, 1454; d. at Siena, 1513. His most noted works are in the ch. of S. M. del Popolo, Rome ; in the cath. at Spello, and in the library of the cath., Siena. Was the assistant of Perugino in the Sist. Chap. , Rome. His later works are of less merit. Piombo, Fra Sebastian de! (pee-om'-bo), Luciani, 1485. PISA 313 1547, b. Venice ; pupil of Gio. Belliui and Giorgioue. He wat wanting in design, but was one of the first Italian masters in coloring and portraiture, and after the death of Raphael was called the best painter in Rome. His lator works show an especial pre- ference for long hands and fingers, and for a violet coloring. " The Portrait of And. Doria, in the Doria Palace, ie by some regarded as the finest portrait in the world." Pisa (pee -zah), Italy ; situated m the midst of a plain on both sides of the Arno, 50 mis. from Florence and 6 from the sea. Although it was a town of note in Roman times, it now possesses but little of historic interest. From 1000 to 1300, Pisa was the most important and powerful maritime town of Italy. The de- feat of Meloria, near Leghorn, 1283, terminated its political su- premacy. In art, Pisa has the honor of being the home of Nicolo Pisano, 12o0, who was the first to abandon the Byzantine. In his pur- suit of more natural methods, he was the precursor of the Renais- sance and modern art. Here also were the homes of Giotto and Andrea Pisano, whose influence was scArcely less than that of Nicolo. The chief interest of Pisa centres in the four buildings, the Cathedral, the Campanile, the Baptistery, and the Campo Santo, grouped together in the Piazza del Duomo, in the n.w. part of the city. Carriages may be obtained at the station for the trip, say 3 or 3 hours, at reasonable rates. *TuE Cathedral, 10G3, 313 ft. by 105, built of white marble with black and colored ornamentation, is a basilica, in Tuscan style, with a facade of 4 galleries, ^llie door opposite the Cam- panile, at which entrance is usually made, is the only one of the ancient bronze doors preserved. It presents 24 sculptured illus- trations, and is of peculiar interest as a specimen of mediteval art. The liiUrlor posses.'^es G8 columns captured in war, and the chandelier whose motion suggested to Galileo the idea of the pen- dulum. The pulpit is the work of Nicolo Pisano. On the pillar at the intersection of the Nave and s. Transept is *St. Agnes, by dd Sarto ; opp. a Madonna, by del Vuf/a. Over the high altar is a Crucifixion, by Jjo!of/na. The Choi?' contains two angels, in bronze, r. and 1. by Bolcgna ; the Christ, in the niche, " is the la.st and greatest work of Cima- bue." The mosaics of the dome are also by him. The facjado of the Cathedral is toward the baptistery. *TnE Campanile (cam'-pah-nec -lay), Bell Tower, or, as it 314 PISA is usually designated, the Leaning Tower, 1174, is of 8 stories, each having a colonnade, and is 179 ft, in height, and departs 13 ft. from the perpendicular. The cause of the inclination has long been discussed, and "the spongy nature of the ground" generally assigned. But from the fact that leaning towers are frequent in central Italy : that no other building.?, of similar weight and height, even when standing near, meet with like acci- dents ; that the short towers possess a greater degree of inclina- tion than the taller and more exposed ones, and that none of them ever possesses sufficient want of perpendicularity to endanger stability, or ever go on to the point of danger, it would appear that there is too much uniformity in conditions for mere acci- dental results. The ascent (50c.) of 294 steps, gives a commanding view. There are 7 bells, the heaviest weighing G tons. The Baptistery, 1153, is a circular marble building, ICO ft. in diam. and 190 in height, and of great architectural beauty. Within is the Baptismal Font, and the celebrated ** Pulpit of Nicolo Pisano, 1260. On the sides are the reliefs which for 7 centuries have been the subjects of uninterrupted admiration. 1, The Annunciation and Nativity ; 2, Adoration of the Magi ; 3, The Presentation ; 4, The Crucifixion ; 5, The Last Judgment. In the corners are the Apostles. " In the Birth of Christ, the Madonna rests on her pillow with the dignity and conscious magnificence of a Juno ; and in the Adoration of the Magi she has the air of an empress on her throne, receiving the meet tribute of subject princes. These are conscientious and most impressive studies from the antique, which is revealed line by line in the treatment of the figures. And we still find motives among the Itoman Sarcophagi of the Campo Santo, which afforded a model to the gi-eat i-egenerator of sculpture. In the treatment of the nude, which prevails in his Last Judgment, he displays a wealth of resolirce, united with a complete knowledge of form, unknown to antiquity." — Lubke. The Echo of the Baptistery, when fortunately heard, is never to be forgotten. **The Campo Santo. Upon the final retreat of the Crusaders from the Holy Land in 1200, they brought 53 ship loads of earth from Mt. Calvary for this cemetery. The enclosure, commenced 1278, is decorated upon the inner face of the walls by frescos of the earliest Tuscan school. Entrance upon the s. side. To the 1. round the colonade. S. Wall : The w. half of the s. wall contains no paintings of note. Among the sculptures, *mon. to And. Yacca, by Thorwald^ PISA 3l5 '^m >M 31 G PISA sen ; V. , Christian sarcoph. of 2d' or 3d cent, with relief of the Good Shepherd ; XL. , Roman sarcoph. with Rape of Proserpine. W. Wail : 45, Virgin and Child, by G. Pisano ; stat. of Gio. Pisano, by Salvini ; on the wall, Chains of the harbor of Pisa captured by the Genoese, lGo2, restored to the Pisans, 1848 ; XII., XIII., Rom. sarcoph. with Etruscan urns. H. Wall : Paintings— Creation, Man, The Fall, Expulsion from Paradise, Cain and Abel, The Ark, Deluge, Noah's Sacrifice ; also the following, by Gozzoli : Noah's Vintage, Curse of Ham, Babel, Hist, of Abraham, Isaac, Jacob, Esau, Joseph, Moses, Aaron, Fall of Jericho, David, Solomon, Queen of Sheba. The tomb of Gozzoli is below the History of Josei^h. Sculptures — 57, Greek relief from a tomb ; 78, Greek head. XIX., XX., sarcoph. with Bacchanalian fccenes ; XXI., sarcoph. from which it is said Nic. Pisano copied figures for his pulpit ; several sarcophagi with mythological reliefs, B. Wall: Paintings — Ascension, Thomas, Resurrection, Cru- cifixion. Sculptures — mon. of Count Mastiani, by Bartolini; mon. of Greg. XIII.; mon. to Angelica Catalan! the songstress; Nic. Pisano, by Salvini. **S. Wall, e. end : **Triumph of Death, representing the van- ity of Pleasure, the tranquillity of a Religious Life, Death, the Resurrection, Souls taken to Heaven, and to Purgatory. " Queens, kings, popes, and archbishops, with their ministei's and their crowns, lie in heaps, and their souls, in the shape of nude infants, issue from their bodies to take their place in the terrible eternity. Some are welcomed by angels, but the greater number are seized by demons, hideous and base figures, with bodies of goats and toads — a grotesque pack, gambolling and capering around their quarry — a singular mingling of dramatic passion, morbid philosophy, accurate observa- tion, awkward triviality, and picturesque impotence."— Tatne. The Triumph of Death and the Last Judgment, as well as Hell, have generally been attributed to And. Orcagna, but it is now believed that they and the Temptation and Miracles of the The- baa Hermits are by P. and A. Lorenzetti, 1340 ? Pisano, ^^icolo iirtee-sah' -no), Ital?/ ; 1200-1278, b. at Pisa; one of the greatest of the early architects and sculptors ; exe- cuted the celebrated pulpit of the Baptistery at Pisa, 1260, and a pulpit for the Duorao at Siena, 12GG. " He gave the death-blow to Byzantinism and barbarism, established new prin- ciples of architecture, and holds the same relation to Italian art which Dante does to Italian literature." "The antique spirit has continued to be the inalienable inheritance of Italian ai't ever ^ince the days of Nicolo Pisano." — Lilhle. PITT 317 PIttI Gallery. See Part II., Pitti. P. 512. Place de la Nation (plas' deh-lah-nah'-see-oft), formerly called Place du Trone, at the e. end of the city, a mile beyond PI. de la Bastille. In 1660, on the conclusion of peace with Spain, Louis XIV. here erected a throne from which he received the homage of the citizens, whence the former name. Bronze statues of Louis IX. and Philippe le Bel surmount two lofty Doric columns. Place des Vosges (plahs -day'-vozhe'), formerly Place Il'>yale, Rue Turenne, near PI. de la Bastille. In this square, then the court of the Palais des Tournelles. occurred the tourna- ment in which Henry II. lost his life, 1505. After this event Catherine, his wife, demolished the Palace and erected the pres- ent buildings around the square. No. 9 is noted as once the residence of Victor Hugo, and No. 21 as that of Richelieu. In the centre is a marble equestrian stat. of Louis XIII. Pompeii (pom-pe -1-1, commonly pronounced in Italy pom- poy'-e)^ 15 mis. from Naples; may be reached by carriage, or, better, by rly. There are usually 4 trains daily; time 50 m.; fare 2 fr. ; admission 2 fr., which also pays for the guide ; gratu- ities forbidden : Sundays, free. In summer, on account of the oppressive heat of midday iu the shadeless streets, it is particu- larly recommended to make the visit in the early morning or toward evening. As a guide accompanies the visitor, and as he takes his own route, any detailed description of the numberless objects and lo- calities of interest is rendered unnecessary. About 70 acres, com- prising ^ of the space within the walls, has been excavated up to the present time. It is imbedded in ashes to the depth of 20 ft. Principal Objects of Inter efit are the *Amphitheatre, with 35 rows of seats ; the Theatre ; the Forum ; three Triumphal Arches ; Temples of Venus, Mercury, Jupiter, Augustus, aud Neptune ; the Barracks, in which were (S'6 skeletons ; Houses of Diomed, Mcleager, Sallust, Pansa, the FuUonica, the villa of Cicero, and two museums. Its Destruction. At the time of its overthrow, Pompeii had a pop. of about 30,000. In the year a.d. 63 an earthquake destroyed the Ba.silica, Forum, the temples, and many private dwellings. These were scarcely rebuilt, when, in a.d. 79, the first known eruption of Vesuvius took place, burying the entire 818 POMP city in ashes and cinders, mixed with, boiling water. The first shower of ashes, which fell to the depth of 3 ft., caused the in- habitants to flee for safety. Upon its cessation it is supposed many returned to secure their valuables, when there fell a shower of red hot ashes and rapilli to the depth of 7 or 8 ft., followed by others, till the city was buried to the depth of 20 ft. Pliny the Younger describes the catastrophe as follows : '" It was already seven o'clock in the morning, and yet there was to be seen but a faint light like that of twilight. The buildings were shaken by such heavy shocks that there was safety nowhere. We resolved to abnndon the city. Ar- rived without the city, we paused. The sea seemed to be turned back upon itself and to retreat. Over against us a black and awful cloud, crinkled with darting, wavy fires, opened and showed vis great flames like thunder-bolts. Almost in an instant the cloud fell to earth, covering the sea. The ashes began to fall upon us. Turning my head, I perceived behind a dense smoke, which was following us and spreading itself over the ground like a torrent. While we could still see, I advised my mother to leave the principal road, lest the crowd which was following ujxjn our steps should crush us in the darkness Hardly had we left it, when the dark- ness so increased that we seemed to be, not as involved in a black, moonless night, but as shut in a chamber where every light had been extinguished. There was nothing to be heard but the lamenting of women, the wails of children, and the shouts of men. One was calling a father, another a son, another a wife ; people could recognize one another only by the voice. Many besought aid of the gods ; others fancied that they no longer lived, and believed this to be the last and eter» nal night, when the world was to disappear into its grave." The number of skeletons thus far exhumed is about 500. Pompey, the Great, Rom.; b. e.g. 106. General of greafc ability and success. Was honored with a triumph in 81 : consul with Crassus B.C. 70. The Senate refusing to sanction some of his acts while in command in Asia, he united with Caesar and Crassus, forming the First Triumvirate. Married Julia, the dau. of Cassar ; in 55, was consul a second time with Crassus ; in 52, was sole consul. Enmity having arisen between Pompey and Csesar, the latter who was in Gaul, at once marched upon Rome ; whereupon Pompey fled to Macedonia. Csesar following, a deci- sive battle was fought at Pharsalia. Pompey being defeated fled to Egypt, but was murdered as he was about landing, B.C. 48. Pom-pey, Theatre of, Rome; built by Pompey, repaired by Tiberius, Caligula, and Theodoric ; and in the Middle Ages was converted into a stronghold. The site it occupied was between the present chs. of S. And. della Valle and San Carlo a Catinari. Here, 1864, was discovered the bronze Hercules, now in the Vati- can. Near by was the Curia in which Ceesar was assassinated. Pon'-te St. AngelO, the Pons .^lius of the Romans, now POPO 319 called the Bridge of St. Angelo, built by Hadrian, a.d. lOG, aa a passage to his tomb, remains now nearly, as left by him. In the Middle Ages booths occupied both the sides, but in 1450, a cro'.vd having caused the death of 200 persons on the bridge, the booths were removed. The statues of Peter and Paul were placed at the extremity in 1530 ; and the 10 angels and the para- pet in 1G68. Pop'-o-lo, S. M. del, ch. , in Pi. del Popolo, Rome ; said to have been erected upon the place where the ashes of Nero were discovered and cast to the winds. Right aisle: 1st and 3d chapels, and the ceiling of the choir, fine paintings by Pinturicchio. Be- low are several monumental works by Sansovino. Upon the high altar is a miracle-working Virgin, which stayed the plague of 1578. Chapel to the 1. has An. Carracci's Assumption. Chigi Chapel, 1. aisle, planned by Baphael. The group of Jonah and Whale was modelled by him. Pordenone(por -day no-nay), Cio. Ant. Licinio Regillo da.y 14S3-1539, b. at Pordenone ; painted figures with great ex- cellence ; attained a delicate softness of flesh rarely surpassed by Titian. His composition was simple, coloring excellent. Many works in the galleiies attributed to him are unauthenti- cated. The S. Lorenzo Guistiniani, in the Acad. , Venice, is one of his best. " He is not inferior even to Titian in the softness and warmth of his coloring, especially in his flesh tints." — L'dbke. Principal Works : Borgh... X. 9?; Doria, II. 18: Dresd., 252; Hamp. Ct, 71, 9--', 1C2, 104; Hermit,, 116, 117?, 118?; Madrid, ;]41 ; Munich, 482; Pitti, 50; UfE., 016? Por-ta Maggiore (mad-jo-ray), Rome; a gateway in the wall on the eastern side of the city. Of interest especially as af- fording the best view of the structure of the ancient aqueducts, which here are built into and upon the city wall. See Aqueducts^ Rome, Aqua Claudia, and Anio Novus. Potter, Paul, 16:J5-1G51, b. Enkhuizen, IIol. He studied with his father, who was an indifferent painter, yet his progress was such that at 15 years of age he was an accomplished artist. Going to The Hague, he was met with great favor by the Prince of Orange. He removed to Amsterdam in 1052. Kuglcr con- siders '' that of the masters who have striven pre-eminently after truth, he is beyond all question, one of the greatest that ever lived." His industry must have been extreme, as, living only to the age of 29, he left 103 pictures. His masteqneces are the '^20 POTT Young Bull at The Hague, valued at $25,000; and the Dairy Farm at St. Petersburg, "The Young Bull approaches the nearest to deception of any really fine work of art I have seen. The painter seems to have omitted nothing that he saw in nature which art: could rep- Young Bull — Potter. resent, and yet its reality ia free from any still-life un- pleasantness. It is admired for its truth, but to a culti- vated eye it has that some- thing more than mere truth that is indispensable to a work of art ; it h:is great taste throughout, displayed no less in the general arrange- ment of the masses and forma than in the most minute par- ticulars." — Ze.sKe, R. A. This picture was car- ried by the French to Paris, and regarded by them as the fourth in value of those thea. in their collections, the Transfiguration, the Last Communion, and Titian's Peter Martyr, only surpassing it. The Dutch offered 00,000 florins for its return. The Grosvenor Gall. (Xo. 42), has a similar subject by Potter, which Kugler prefers to the Young Bull. Principal Works: Amst. Hoop., 1)0-1; Berlin, 872A; Borgh., XII. 22; Cassel, 525-fi-7; Darm., 395?; Dresd., 1420; Hague, 111, 11.3; Hermit., 1051-5-6-7-9; Louvre, 899, 4C0, G8S-9; Munich, 1103; Nat. Gall., 849; Rijks, 305-7-8-9; Turin, 377; Vienna, Chud., 26G. Pottery. The most extensive and val- uable collections of ancient pottery are in the Museums of Naples and the Vati- can. They consist of vases, urns, and cups, evidently intended for festive occa- sions, bridal gifts, prizes, and similar pur- poses — not for common use. They v/ere found in tombs in Greece, Sicily, South- ern and Central Italy, and date from the Gth to the 3d century B.C. As the decora- tions relate to the dress, customs, and mythology of the Greeks, the workmanship is believed to be that of Greek artists, even of POTT 321 those specimens found in Etruria, During the Roman period, tbis branch of decorative art seems to have been extinct in Italy. Nothing of it has been found in Pompeii or Herculaneum. Of this early fictile art, there arc recognized four distinct styles. 1. TnE PnmNiciAN, usually called the Kgyptian^ probably of Corinthian workmanship ; of a yellowish or pale red, | ainted in black or brown, with occa- si(mal touches of white or pur- ple, with horizontal bands of stripes filled in with flowers or animals. The figures and ani- mals are stiff, angular, and life- less, and the garments hang in long regular folds. 2. The Early Greek and Etrl'SCAX ; deep red ground with decorations in black. The fig- ures retain much of the stiffness of the former style, but the forms of the vases are more varied and the distribution of orna- ment more significant. The figures in general correspond to the early Greek statuary. The leading type is the female bust, which was rude among the Egyptians, severe with the Etruscans, and voluptuous among the Greeks. In the Early Etruscan, the figures of men are in red flesh-color ; of women, cieam-color, with decided outlines of black. 3. The Classical, of a deep black, pol- ished ground, with figures in red. The decorations arc arranged in two or three dis- tinct rows, the fio^ures of which, in delicacy of outline and expression, indicate the best period of Grecian art. In this, as in the following style, the subjects are historic and mythologic. The figures are separate, and full of expression, both as to attitude and gesture. The accessories are simple and symbolic ; night is indicated by a star ; a chamber, by a curtain; the sea, by a shell or a dolphin ; the earth by an undulating row of dots. This style gradually passpd into 822 POTT 4. The Decorated, "in which the noble Greek symmetry of the work as a whole, and its adornment, give place to an ex- aggerated richness that finds expression in enormous ornamental vessels, sometimes 5 feet in height, and in superfluity of orna- ment." The subjects — satyrs, youths wrestling, dancing bac- ■chantes, goddesses, veiled female dancers, toilettes, revellers, horses and chariots, are of the highest artistic excellence, and often of the most exquisite beauty. Vases were not decorated later than the time of Augustus. After that time, glass, gold, and silver were used for ornamental vessels. During the Middle Ages the Potter's Art seems to have been lost. Majolica (ma-yol'-i-ca), [Faience, Fayence, Raffaelle, della Bobhia^ Gubbio, Palissi/, and Limoges ware]. About the middle of the 12th cent, a soft, coarse enamelled pottery of the Moors was introduced into Italy from the island of Majorca, thence the term Majolica. In the 15th century, establishments for the manufacture of similar wares were erected in various cities of Italy, of which those at Pesaro and G-ubbio were the earliest. Fayence, Faience (fi-ofts), derived, as stated by some, from Faenza, Italy, and by others from Fayence, France, comprises various species of glazed earthen and porcelain wares. Italian Faience. In the loth century an establishment for the manufacture of pottery was erected at Pesaro, to which a patent was granted "for the application of gold to Italian faience." At a later date the Pesaro ware was executed in relief. Gubbio Ware. In 1511, Master Giorgio of Gubbio succeeded in adding to the Pesaro ware the color and splendor of the ruby. POTT 5:j3 These wares are usually without relief, in deep blue and yellow, with a strong metallic lustre. liifffdelle Ware (raf-fay-el). The works at Urbino, Italy, pro- duced excellent majolicas under the direction of Ciarla and delhi colle Raffaell-'. These names having been confounded with that of the great painter, the Raffaclle wares for a long perird pos- sessed an exaggerated value from the supposed conuect'on of that artist with their manufacture, Delia Rohbia Ware. The Italian faience attained its greatest perfection in Florence under Lucca della Robbia (14UU-1481). He gave it a brilliancy of coloring, an effectiveness of relief, and a hardness of er.amel wliich had hitherto been unattained. He was the most noted artist of these wares, and is often mentioned as the inventor of majolica. " Services of this ware were deemed Pnitable presents for crowned head?, and the Italian porcelain, as it was called for a time, monopolized the admiration of Europe."' Frexcii Fayexce or Faience : Pallssj, Limoges. About tje time that the manufacture of majolica was beginning to de- cline in Italy, it was attracting attention in France. Palissy (pah-lee-se ), In 15o5, after IG years of experiment, Bernard Palissy of Saintes, France, attained the highest success in color and relief. His dishes are covered with leaves, shells, fish, and reptiles, and ore especially celebrated for the high relief of the figures, fidelity of tint, and the accuracy of the modelling. The great beauty and perfection of his work ])rought hira the most distinguished patronage, but as no one of his successors could attain the excellence he had gained, his :irt perished with him. Not more than o7 pieces of his work are now known to exist. All the copies of his work are quite inferior both as to design and execution. Limofjcs (lim-ozh ). This term is api)lied to a fine enamelled ware which was perfected at Limoges. France, in the 15th cent. The enamel is laid u{)Ou a ground of gold or copper. One of the most noted masters of this art was Limousin, from whom the French wares of that period were called Limousins. This art nourished from the time of Francis I. to that of Louis XIV. The most celebrated specimens of this work, and the largest evel executed, 5 ft. in length, are in the Mus('e de Cluny, Paris. The color is usually black with various tints upon a white ground. During the reign of Louis XIV. French faience assumed an e^ 824 POUS aggerated style, with sometimes fantastic designs. ServiceA were made, of which each piece was given the shape of the article it was designed to contain, embracing all vegetable and animal forms. Poussin, WichoSas (poo-saii), 1594-1065, b. at Andelys, Normandy ; went to Home, 1024. Stucied under Sacchi and Domenichino, but took his style from the works of Raphael ; was an ardent student of the antique. He spent the most of his life in Rome where he had married. As a painter he possessed more industry than imagination. His early works are labored and wanting in freshness ; his later exhibit a more luxuriant fancy. Among his most important works is the Seven Sacraments, of which he painted two series, both now in England. His master- piece is the Bacchanalian Dance, in the Nat. Gall., London. The Louvre has nearly 40 of his works. " The manner of Poussiii is heartless and profltleps." — EusJcin. Principal Wokks: Barb., SG ; Belv., one: Berlin, 407, 47SA ; Cassel, 280; Corti., IX. 6; Dresd , 648; Dul., 27!l, 291, 295, 300, £05, 310, 815, 33G ; Edin., 354; Hamp. Cfc., 380; Hermit., 13:i4, 1898, 1400, 1413, 1414; Liecht., VIII. 637; Liver. Inst., 126, 126B ? ; Louvre, 415-16-17, 421, 426, 483-4-6-7, 440-;?-5-6-7-8-9, 451-53; Montpellier, Mus. Fabre, several; Madrid, 2043, 2051; Munich, 408, 417; Nat. Gall., 40, 42, 62; Vat., 1. Poussin, Caspar (poo-safi), Dughet, 1013-1075, pupil of N. Poussin. His real name was Dughet, but he adopted the name of his brother-in-law, who was likewise his teacher. He devoted himself principally to landscapes. His dark back- grounds give his pictures a peculiarly sombre cast. Pozzuoli (pot'-zu-o'-ly), Italy, G mis. to the w. of Naples, on the Gulf of Pozzuoli. Town itself of no interest. At the w. end is the Temple of Serapis (fee H ^^■)- The Statue of Jupiter Se- rapis in the Museum Naples was found hero. To the w. of this ruin is that of the Temple of Neptune and the Temple of the Nymphs (both partly submerged), from which several sculptures have been recovered. The Amphitheatre, the most perfect and interesting of these ruins, is on an eminence outside of the town. Here Nero himself entered the arena, and St. Januarius was thrown unharmed to the beasts. A short distance from the Amphitheatre is Solfatara (sol fah-tah'-rah) (^ fr. ), a half extinct crater, from which smoke and sulphurous gas yet issue. It is not known to have erupted for the last 7 centuries. Two mis. or so to the w. is Lake Aver- nus, Virgil's entrance to the Infernal Regions. PRAG 825 Prague, Prag iprahg-j, the ancient capital of Bohemia, is delipfhtt'ully situated upon both banks of the Moldau, and has a population of nearly 165,000. It possesses a far greater interest in its history than in its art. "With this city are associated the names of Huss and Jerome, Wallensteiu, Tycho Brahe, and Em- peror Sigismund. A mile to the w. occurred the memorable bat- tle of Praj^^ue. 1620, in which Protestantism was conclusively ever- thrown in Bohemia. Principal Places of Interest are the Rathhaus, where after the Battle of Prague, 27 Protestant leaders were executed, as also eleven officers of his own arm}', by command of Wallenstein, 16.J3 ; the Teynkirche, with the tomb of Tycho Brahe ; the Hradschin or Capitol ; the Cathedral, the Mausoleum of the Bohemian kings; the Burg or Imperial Palace, Wallenstein's Palace, and the National Museum. RoitUn : To Dkesden, 5 hrs.; $3.25 ; §2.30. To Vienna, 8 hrs.; §«.T5 ; §5. Prax-it'-e-les, a Greek sculptor, born at Athens, about 392 B.C. Nothing is known of his history personally, ex- cept that he was a citizen of Athens. He is believed to have wrought above fifty works, among which are Venus of Knidos ; Eros, of the Vatican ; Saurok- tonos ; and the Faun of the Capitol. See Vemis; Faiui; Eros; and Apollo. " There is no doubt that the soft harmonious charm of all this masters works is aided by a pe- culiar delicately softened method of handling, full of tender grace, which brought out in its highest perfection the glow and polish of the Greek mar- ble. . . . The quiet of a soft dreamy mood, exalted into a gentle enthusiasm, was the real at- mosi)herc of his art.'" — L'ubke. Psyche (si -kee), Myth of; a beau- tiful maidea beloved by Cupid, in consequence of which Venn.? per- secuted Psyche and imprisoned Cupid. Cupid, however, escaped and prevailed upon Jupiter to interfere in behalf of Psyche, and their nuptials were celebrated in the palace of Jupiter on Olympus. Cupid and Psyche, Painting^ **a series by Raphael in the Villa Farnesina, Rome. See Farneaina. Siatckb: Capnan Psyche, Xapl.'s, 117: Louvro. 371 ; Cap., VI. .«i3. r.'=yche, Capuan— J\'a;j/^s. 326 QUEE Queenstown, on the s.w. coast of Ireland, first landing- place of Atlantic steamers, 12 mis. dist. from Cork, of which it IS the port ; formerly called the Cove of Cork, but given its pres- ent name in honor of the visit of Victoria in 1849, who here dis- embarked. Passengers and mail usually landed by tug. The land-locked harbor is defended by two forts at the entrance, and is one of the most commodious and best protected in the world. The city, which has a population of about 11,000, has little of interest. Passage to Cork may be made by rly. or boat. Qtsir'-i-nal Palace, Piazza del QMirinale^ formerly di Monte Cavallo, Rome. The residence of the King and Crown F/ince. Prior to 1870, it was the summer residence of the popes and the seat of the later conclaves of Cardinals. Upon the election of a new pope, the announcement was made from the balcony fronting the Piazza. Napoleon I., Francis I. of Austria, and Francis I. of Naples have occupied apartments here. Pius VII. died here, 1823. In the absence of the royal family the apartments are shown to visitors. In the 5th, Sth, and 9th rooms are Gobelins; lOih, Mosaics from Hadrian's Villa; 14th room, *Flight of Pius IX., 1848, Ocerbeck ; 17th, *St. Peter, Raphael; *Paul, Fra Bartohmmco ; 19th (Audience Chamber), * Triumphal Procession of Alexander the Great, by TJimnoaldsen., ordered by Napoleon I. In the Chapel, * Annunciation, by Gtddo. In the Sala dd Consistorio, *Madon- na, with SS. Peter, Paul, and Cardinals. No fee, but attendant should be given a gratuity. In front are the groups of the ** Horse Tamers. See Castor and Pollux. RafTaeile Ware. See Pottery. Raphael Santa, Raphaello Sanzto, 1483-1520, born at Urbino, Italy. The greatest of modern painters. He commenced his studies with his father, Giovanni Santi, but upon his death, 1494, went to Perugia and became the pupil of Perugiuo. This portion of his life is called the Umbrian, or Peruginesque Period ; and his style the Peruginesque, being a meie imitation of Peru- gino's. The most important of his works during this period are the Coronation of the Virgin, now in the Vatican, and the Sposa- lizio, or Marriage of the Virgin, in the Brera. Going to Florence, in 1504, he studied the works of Masaccio, Angelo, da Vinci, and Fra Bartolommeo ; from which he was led to abandon his previous style, adopting what is called his second, ©r Florentine style. Among the works of this period ore the En- RAPH 827 tombmeut, Borghese Gall. No. 38 ; Mad. del B.-ildacchino ; and Mad. del Granduca, iu the Pitti ; St. Catherine, in the Nat. GalL In 1508, Raphael ~ was invited to Rome by Julius II., to dec- orate the Vatican ; and in the twelve suc- ceeding years he pro- duced the works which have placed him at the head of the great masters of Modern Painting. He here abandoned his Florentine style, and entered upon one more fully his own, happily combining the highest excellence in composition, de- sign, expression, and coloring, undoubted- Raphael. ly influenced by the antique with which he now came in contact. Among the principal works of this period, are, frescos, Cupid and Psyche, 12 pictures; and Galatea, in Villa Farnesina ; The Loggie, Helio- dorus, Constantine. Borgo, Bolsena. St. Peter, School of Athens, in the Vatican ; ill oil, St. Michael and the Dragon, Holy Family, and the Belle Jardiniere, in the Louvre ; the Sistine, Dresden ; Mad. della Sedia, in the Pitti ; and the Trans- figuration, in the Vatican, his last work, and usually considered as the first mas- terpiece of Modern Painting. He died at the early age of 37, and was honored with a magnificent fu- neral ; and, in accordance with hi? wish, entombed in the Pantheon, Rome. "As compared with his groat predecessors, da Vinci and Angclo, his distin- guishing excellence luay be snmmed up as that of an harmonious beauty of ex- St. Michael— /.owe ;-e 82S RAPII pression, color and form ; neither so tborough in execution and modelling na th« first, nor so original, powerful, and subjective, as the fecoivir—TCugler. Sposalizio — Milan. (See p. 302). Principal TT'orAs; Berlin, 3frcs., Madon. of the Colonna Family; Madon cl the Duke of Newland. Blenheim, coll. of Marlborojigh, Madon. Ansidei. Cowper coll. Niccolini Madon. Bologna, Acad. Art, St. Cecilia. Dresden Gall., Sistine Madonna. Florence, Fitti Gall., Julius II.; Madon. del Baldacchino; Madon. del Gran- du;a; Ag. Doni and Wife; the Vision of Ezekiel ; Leo X.; Madon. della Scdia. Cjizi, Madon. of the Goldfinch ; Julius II. Geneva, Eeciiiod coll., Sladon. of the Goldfinch. "London, JVat. Gall., The Chevalier's Dream ; the Aldobrandini Madon. St. Catherine. Dudley coll.. Three Graces ; Crucifixion. Ellesmere coll.. Bridge- water Madon. Madrid, Mtia., Madon. del Pesce: Holy Family; the Visitation ; Card. Bibiena. Milan, Brcra., The Sposalizio. Naples, J/m.s., Holy Family. Munich, Plna., Madonnas della Tenda, della Tempi, and Canipiani. Paris, Due d'Azimale coll. Orleans Mndon. Louvre, La Belle Jardiniere; Madon. of the Veil ; Holy Family of Fr. I.; Holy Fam.; John Bap.; St. Margaret- REMF> 329 St. Michael ; St. George ; St. Michael and the Dragon ; Bait. Castiglione ; Portrait of a young man ; Jeanne of Arngon ; Portraits. Perugia, Con. S. Severo, The Trinity. Rome, Vatican, Pina., Coronation of the Virgin ; Predella ; Three Virtues-, Transfiguration ; Madon. del Folignio. Staiize, Disputation ; School of Athens; Parnas.'.us ; Jurisprudence ; HeliodoruB ; Mass of Boise- na ; Vision of Attila ; St Peter delivered; Incendio del BoTijo. Ch. of S. Axigus- tin?, Isaiah. Cfi. of S. Jf. delki Pace, Sibyls. Fnr- ne-.ina, Galatea. Ripoldn Collection, Madonna of the King of Naples. Boria Palace, Portraits of Kava- gero and Beazano. Sciarra Palace, The Violinist. Bor- yhese Palace, Entombment. Burberini palace, Forna- rina. St. Peteksburg, Jler- mit, St. George ; and 4 Ma- donnas. Vienna, Bel., Madon. nux Herbes. Entombment— Z?or-{7/i. RAPHAEL'S TRANSFIGURATION. Sec Transfiguration. Rembrandt van Ryn, Riiyn, Run (riu), 1007-1069, b. at Leyden, IIol. One of tbo most celebrated painters of the Dutch Scliool, and one of the first masters of liijbt, shade, and color. At the age of twenty-two, he established himself at Amsterdam. Here he received many commissions for portraits from distin- guished personages. Discarding the mythological and religious, he chose his themes from actual life, and hence his works are en- tirely materialistic, frequently wanting in jioetic orarti.stic taste. 11 is works number over 000 and command the highest price. The Christ Blessing little Children, in the Nat. Gall., was purchased for .s.'Jo.OCO, His masterpieces are the Night Watch, at Amster- dam, and the Anatomical Lecture, at the Hague. " Ilis pictures carry one completely away with their weird charm and their mysterious poetic force. . . , There is, however, no trace of the ideal senso RENI Anatomical Lecture — Hembrand^. of form that mafks the Italians, but rather an art full of intrinsic truth ; ina=tei» fal strength and skill compensating one for the lack of beauty by sharply detined chnracterizatiop, life-like individuality, warmth of sentiment, and picturesque charm." — Lubkc. I'KiNCiPAL WonKB : Amst, Hoop., (>5; Ant.j 29:3, 2!)4?, 295?; Au^s- bur;;, 547; Berlin, 80-3- 5-fi. 806A, 80S-10-12-23- 28A ; Brera, 446; Brnns., A)^\\t\ Bmss.,277; Cas- scl, seventeen; Darm., .^n. .S48; Drcsd.. 1214- lG-17-19, 1220-3-5-8, 12.'J2; Dul., 179, 189, 20(3, 282; Frank., 144; Hermit., *792, **797, and twenty-nine others ; Hague, 114 -5- (1-7-8; Li cht.. 172-8-4 ; Lou- vr'.', 404-7-8-9-10-12-18- 14-15-16-17-18-19, 690 ; Dutch Sch., 96, 98 : Madrid, 1544 ; Munich. 196, 828, 320, 337, 848, 847-8-9, 850-1-2, 860, 882. 1299; Nat. Gall., 48. 45, 54, 72, 190, 221, 24-^, 672, 775. 850, 289?, 757; Pe.sth, XIV. 648; Pitti, 16, 60 ; Rijks, 348, 349; Turin, 480; Uffi., 922, 979. Reni, Guido. See Guido. Reynolds, Sir Jos'nua, 1723-1792, b. at Plympton. His distaste for stucly and his love of drawing- was early manifest, to the great di.spleasure of his father, who rebviked these tenden- cies by inscribing on the back of one of his drawings, " Done by Joshua, out of pure idleness." When he was eight years old lie made a drawing of Plympton school so very accurate that liis father did himself and his son justice by saying, "This is wonderful." At the age of 18 he went to London, and commenced study under Hudson, the most distinguished portrait painter of the time, where he remained two year.s. In 1743 he returned to Plympton, where he passed three years to little advantage painting portraits. Resolved to visit Ro ne, in 1749 he embai^ked for Italy, visit- ing on the way, Gibraltar, Algiers, and other localities, reaching his destination after a voyage of six months. He remained in various parts of Italy nearly three years, visiting all the most noted collections of art, and diligently making studies of the great masters. Returning to England he was elected the first President of tha iloyai Acad, of Gt. Britain, which had just been inaugurated. RIAL 331 the kin^ conferring upon him tbe honor of knighthood. Ke re- mained president of the Academy for twenty-one years, and died 1793, and was entombed in St. Paul's Cathedral. rniNCiPAT. Works : Dul., 143, 1-16, 2:yl 285, 310 ; Edinb., 12. 20, 30, 4!) ; Green- wich IIosp., ptn-tiaits ; Hermit., 1000-1-2 ; Ken.Mng. Tort. Gall., five; Nat Gall., 7fc!, 70, lOG, 107, 111, 102, 30fi-7, 754, SS5-7-S-0, 891. Rialto, Ponte di Cpon'-ta-dee ree-ahl'-to), a foot bridge over the Grand Canal, Venice, a single arch of 74 ft. span, 32 in height, resting on 12,000 piles ; built 1588. Ribera, Josef de (yo-sef-da-ree-bay-rah), II Spagno- LETTO, 1588-1050, b. at Cativa, Spain ; d. at Naples. Going to Home when young and living in poverty, he studied the works of Caravaggio, Raphael, and the Carracci. Afterward he went to Parma and Modcna and studied Correggio, Returning to Naples, he was appointed court painter. His anatomical subjects were painful and depicted with a horrible reality; such as the Flaying of St. Bartholomew, Ixion on the Wheel, Cato of Utica. His works are numerous and are to be found in all the larger collections. Prikcipal Works: Augsburg, 372; Berlin, 403: Borgh., VI. 10; Cassel, 263; Corsi., VIII. 25; Dresd., 60S-10-12-13-15-1S-19; Frank., 52; Hermit.. .SoO-1-2- 3-4; Louvre, 54S-9, 55D, 32; Madrid, 95(5-9. 9G3, 977-S. 9?2-3-0, 998, 10C6-11-12, and others, in all. fifcy-eight; Munich, .^54, 363, S«l-5-6 ; Naples, Saladi Corrcg., 12, 13, 14, Sala Grande, 59 ; Pesth, 707 ; Pitti, 19 ; Turin, 397 ; Uffi., 1104 ; Vat., Martyrdom of St. Lawrence. ** Rigi Kulm, The, Stcitz. (ree'-ghe'-koolm', [/ hard), 5.905 ft.; from its height and isolation, commands a view extraordi- nary both as to extent, covering an area of \:pward 7.000 sq. mis., and as to richness, having on the one hand a waste of Alpine pin- nacles, and on the other the fertile vales of Lucerne and Ziirich, dotted with lakes and villages, and luxuriant with vegetation. The mountain is a mass of conglomerate, descending toward the 8., whose marked stratification on the sides gave it the name Rigi, i.e., strata. On the northern and western sides it descends abruptly, and, in .some places precipitously. It is covered with verdure to the very summit, the Kulm itself being a fine smooth grass-plat. Until 1815 the mountain appears to have attracted but little attention. In 181 G a small lodging-house was erected on the Knlm : in 1818, the present hotel was commenced, anl since the opening of the Rigi railway the number of visitors has exceeded 50,000 annually. In the height of the sea-son, rooms for tho night should Vje engaged in advance. 833 niJK ITie sunset and sunrise are the specialties of a uight on the Rigi. Such is the uncertainty of weather, however, on the sum- mit, that the visitor may well fortify himself against too sanguine anticipations. Immediately before and after sunrise the atmos- phere is peculiarly clear ; a half hour later the rising mist short- ens the vision. Should the mist rise opposite the sun, the specta- tor may have the pleasure of seeing his own shadow, surrounded with a halo, projected in magnificent proportions on the vapory screen. **TnE View. Directly to the w., at the extremity of the lake, is Lucerne; on the 1. is Pilatus and the Alpnacher See ; to the r. is the bay of Kiissnacht and the Zu^-er See, whose shores are lined with villages. To the n, e. . in the foreground, the Rossberg. the track of whose memorable slide of Goldau is plainly traceable— the village of Goldau being directly at the foot of the Rigi ; the Egeri See, behind and to the r. of the Kossberg, on whose shore was fought the battle of Morgarten, 1315, and also against the French, 1798 ; between the Rossberg and the Rigi the small lake of Lowerz ; to the s., a portion of the lake of Lucerne. Of the hundreds of peaks which present themselves to the spectator on the summit of Mt. Rigi, but few can be recognized or distinguished, except to a familiar eye, es- pecially if there chances to be any degree of cloud or mist. The Mountain Peaks. Beginning with Pilatus, to the 1. of Lucerne and just beyond the western end of the lake ; to the 1. is the small lake of Sarnen, between which and the Rigi rises in the foreground the Burgenstock, 3,740 ft.; behind the Biir- genstock, to the 1. of iSarnen, is the Stanzerhorn, 5,847 ft.; over the 1. portion of the Stanzerhorn rise, in the horizon, the three peaks of the Jungfrau, 12,828; the Eiger, 12,240; and the Monch, 12,609. Following the line of peaks to the 1. of the Monch a short distance, the last of these high points in the hori- zon is the Finsteraarhorn, 13,160. Then follow 1., in the fore- ground, the Buochserhorn, 5,570 ; and the Speiss, directly behind the third and last glimpse of lake Lucerne. In the rear of these in the horizon is a multitude of less important peaks. Over the southern peaks of the Rigi rise highest in the horizon, the Bris- tens^ock, 9,464 ; the Great Windgelle, 9,818 ; the Schreckhorn, 10,147; and To-di, 11,158. See Route 24, Note 5. Rijks Museum, ^ee Vat'-^ 11., Aynsterdarj^ Rijka. P. 417 Robbia, de!!a, Ware. See Pottery. ROB 833 Rob Roy {Robert the lied), Robert Macgregor, b. ICGO, was a cattle trader, and on account of the Macgregor Clan's being- outlawed by the Scottish Parliament, he assumed the name of Campbell. Being deprived of his estates by the Duke of INIon- trose, Kob Roy made a war of reprisals upon the Duke's prop- erty, and although an English garrison was stationed at Invers- naid, Rob Roy's home, he continued, against all their efforts, to levy blackmail against the Duke. Rob Roy's Cave is but a short distance above luvcrsnaid, on the e. shore of Loch Lomond. ^K'OC"^, St., Ch. of (rock). Pan's, Rue St. Ilonore, lCo3, in front of which Napoleon I. planted his cannon, 1795, to preserve the peace of the city. In the rear of the high altar are three successive chapels, containing numerous works of art. The music in the chuich is usually very fine. Marie Antoinette was led to execution from this church. Roland, Legend of Rolandseck. Roland, nephew of Charlemngiio, in hii' wanderings chanced one evening to come to the Ca.' tie of Drachcnfclp, where he wa.s welcomed and treated with dis- tinction. The ne.xt morning the Knight of the Ca.stle presented to him Hilde- gunde, his only daughter. Roland wa.s enamored of her, and she soon gave him her heart, and a new castle wa.s already planned. A mcF.sage from Charlemagne directing Roland to repair at once to Spain to battle against the Saracens, over- threw all the plans of the lovers. Woimdcd in battle, the report poon came to Hildegunde that Roland was slain. Heartbroken, she resolved to forget her sonow in the devotions of the cloister. Some months after Roland stood at the door- way of the Cfustle. The father was dumb with a.stoniehment at seeing one whom he had long thonqhc dead ; and as Roland hastily asked after Hilde- gunde, Heribert covered his face and only aftor some moments was he able to say that she had become the Bride of Heaven. The news that his Hildegunde was forever lost to him fdll upon his heart like a thunderbolt. Speechless he left the Tastle. On the bank of ihc Rhine where he might overlook the convent and perchance Bomotimts see Hildegunde as she should go to and from the little chapel, he builc his castle, Ito'andscck. One morning Hildegunde did not appear, and on the fol- lowing day the sad procession told him her weary heart was at rest. From that hour Roland never spoke again, and not long after he was foimd cold and lifeless, with his half-closed eyes still turned to the spot where he last saw his beloved riildcgnnde. Romano, Ciulio (joo -le-o-ro-mah'-no), Giulio Pirn de' GiAi-JNUZZi, 14U8-lo4G, b. at Rome; favorite and most noted of Raphael's pupils, to whom was cr nfided many of the decora- tions of the Vatican ; notably Raphael's Loggic, which to a large extent is the work of bis hand. Raphael having made Romano and Fr. Penni bis heirs, upon his decease they devoted some years to the completion of bis works 33^ ROMA in the Vatican. Among those finished "by Romano are the Sala di Constantino, in the niches of which are his finest frescos ; the Defeat of Maxentius ; the Bap. of Constantine ; Constantino giving Rome to the Pope ; and the Transfiguration. He also decorated a palace on the Janiculum with a fine series of Venus and Cupid. Flight of Helen — Romano. and Apollo and Hyacinth. At Mantua, in the Palazzo del Te he designed a most elaborate series of decorations, embracing an endless number of mythological scenes and figures, upon which he was engaged at the time of his death. His panel pieces were few and of less merit. He was admira- ble in design and fertile in invention, and was equally a master in architecture as in painting. He was appointed architect of St. Peter's, Rome, hub died befors entering uprn bis duties. Principal WoKKs : T3clv., two : Bori,'h., IT. 18, 23, «5 : Drcsd., 82: Farn , fres- cos: Hermit.. 43, 5G. 57, 50; Liverp., 80; Lo:ivre. 291, 293; Mantna (Palazzo del T>') cnntains much of his work; Naples, Sala Grande, 5; Nat. Gall., 624, 643?. 644 ? ; Pitti, hi. 167 ; Rome (San Luca), Copy of the Galatea of Raphael ; UlTi.,1141 ; Vatican, Loggie, one, Sala of Const., two. **lloman Forum. In remote times, when the Romans oo- cupied the Palatine Hill, and the Sabines the Capitoline, the marshy ground between served as neutral territory, whereon both parties could meet. Gradually it became a market-place and an exchange, till, at length, all the important business of Rome and of the Empire came to be concentro-ted in and about the Forum. A portico was built around the Forum, the first story being de- voted to shops and the second to offices for the collection of taxes. After some centuries, these were destroyed by fire, when various basilicas and temples were erected in their places. The Forum io:m^s -ves cae ^\ Excavations of 1878-9. \; forftTnt. tBcL Quo 336 ROMA existed as such till the 11th cent., a.d., when it was totally de- stroj'ed by Robt. Guiscard, Becoming- then a waste, the rubbish of the city was thrown there unt.l the entire space was filled to the depth of 24 ft. and the location and names of the ancient buildings lost. In the revival of learuiog, in the IGfch cent., interest began to bs awakened in the ruins of Ancient Rome, and in 1547, excavations of the Forum were commenced, under Paul III., which, with much irregularity have continued to the present day. Standing upon the causeway, at the left of the arch of Sep. Severus, and facing the Capitol, the eight granite Ionic columns at the 1 , standing upon a base 16 ft. high, are of the *Temple of Satuhn, B.C. 491, restored B.C. 44; erected upon the site of the Sabine altar to Saturn. Between tbe ruins of the Temples of Vespasian and of Saturn, is seen the ancient pave- ment of the Via Sacra, which descended from the Capitoline Hill through the Forum. The three white marble Corinthian columns in the rear are a portion of the * Temple op Vespasian, of which only these columns and the entablature remain. It was erected by Titus about A.D. 80, and restored by Sep. Severus. Until the present century, the columns had long been buried nearly to the capitals. The frieze contains various sculptures of sacrificial instruments ; the knife, the axe, the flamen's cap, etc. At the extreme 1. in the rear are ten small pillars, recently placed, representing the Colonnade of the 12 gods; beyond these was the Schola Xanthus, a building used by scribes and notaries. This portion of the Forum is terminated by the walls of the an- cient Tabularium, or Hall of Records, erected B.C. 78, upon which the present Palace of the Senator stands. One arch of the origi- nal wall is seen at the extreme left. Between the arch of Sep. Severus and the Tabularium, and against the latter ; at the r. stood The Temple of Concord, erected e.c. 388, in commemo- ration of the conclusion of the struggle between the patricians and plebeians. This was also the Senatorial Hall. Here Cicero convoked the Senate, R.c. 63, on the occasion of the Catiline Conspiracy ; and delivered his memorable Second Oration against Catiline. Nearer the arch is the Umbilicus Bomoi, from which distances within the city were measured; and near the corner of the Tem- ple of Saturn, a conical struotnro, the Miliarium Aureum, from BOMA 33? which distances Ihroughout the empire were measured. Between these two is a raised circular wall, the ancient Rostra. It was in the space before us that the surviving Horatius was condemned, and saved by ihe voice of the people ; that Koraulua and Tatius met to regulate affairs between the Romans and Sa- bines ; that Brutus gave sentence and saw his two sons executed ; that Cicero pronounctd his orations against Catiline ; and Maiius aili.xed the heads of Octavius, Antony, and Cicero to the Rostra. The Akcii of Sep-tim-i-us Se-ve'-hus was erected a.d. 205 by the Senate to the Emperor and his sons Caracalla and Geta. Caracalla, having put his brother to death, erased the words in the inscription upon the arch relating to him, '• Et P. Septimio L. Fil Getse Nobilis Ca3sari," and inscribed in place ''P. P. Optimisque fortissiuiisque principibus." The enisure will be readily recog- nized in the 4th line. The arch w:is surmounted by a car drawn by six horses abreast, containing the figures of the Emperor and his sons. Beneath the Arch is a paved loadway some centuries later than the Via ^Sacra. " The proportions of the urch of Sep. Severus are very fine, the aspect is impos- ing; it po-sesses solidity without heaviness. The inscription has a double histo- ry; it recalls the campaigns of Severus and the domestic tragedy which afterward stained the family.'' Across the street from the Arch of Sep. Severus is the Mamer- TiNE PjtisoN. See Mumertiiie PrUoii. Facing the southern excavation, directly upon the r. is the Column of Phocas — "the nameless column with a buried base," of Byron, Prior to the excavations of the Forum, antiquaries could agree upon nothing concerning this column. The uncover- ing of its base showed that it was erected to the Emperor Phocas, by Smanigdus, G08 A.D. The gieatly inferior art of the step and base leave no doubt that the column itself belonged to some ear- lier structure. *The Basilica Julia, farther to the right, was founded by Ju- lius and completed by Augustus Caesar, on tlie site of the Basilica Scmpronia. The low brick pedestals are restorations cf the pil- asters, supposed in the style, of the dimensions, and upon the foundations, of the ancient structure. Some portions of the original steis may be seen along the front and eastern end of the Basilica. In the midst of the open space in front of the Basilica stood the colossal equestrian iStrttue of Domitian. The three fin* 22 538 ROME Corinthian Columns beyond are ruins of the Temple op Ca^toti AND Pollux. These are regarded as among the finest specimens of pure Corinthian architecture remaining from the early Roman period. The temple was dedicated, B.C. 484, in commemoration of the ■victory of Lake Re-gil'-lus, 498, the tidings of which Castor and Pollux carried to Rome. Costly sacrifices were here offered on the anniversary of the battle. In front of this temple stood The Temple of Julius Caesar Deified, upon the place where his body was burned. At the s.e. corner of the Temple of Castor and Pollux was the Lacus JuturncE, near which Galba was thrown from his litter and murdered. Here also stood the Tem- ple OF Vesta, where the sacred fire was preserved, and near which Numa had his residence. Across, upon the eastern margin of the present excavation was the Arch of Fabius, beneath which the Via Sacra passed on its way to the Arch of Titus. Here also was the Temple of Anto- ninus AND Faustina, built by Antoninus, a.d. 141, of which the columns and a portion of the cella remain. Their preservation is due to the circumstance of its being modelled into a church, and as such still occupied. The date of the ch. (S. Lorenzo in Mi- randa) is unknown, but mention is made of it as early as 14D0. Beyond this ch., excavations were made in 1878-9, disclosing, however, little except the pavement of a roadway, which is proba^ bly that of the Via Sacra, ascending toward the Arch of Titus. Upon the left, as one looks toward the Arch of Titus, is a low, cir- cular structure of brick, near the Basilica Constantine, called the Temple of Romulus^ which was erected by Emp. Maxentius to his son Romulus, about 806 a.d. Later, the temple was incorporated into the Church of SS. Cosma e Damiano as<,a vestibule. The pave- ment of the Via Sacra will be observed here extending toward the Arch of Titus. Between the Temple of Romulus and the Coliseum are the ruins of Hadrian's double temple of Venus and Borne, of which nothing remains but the foundations and the double apsis. Rome, Lat. 41° 54' ; Lon. 12' 29' east. Pop. 300,000. The city lies on both sides of the Tiber, which here flows in a general direction to the s., the principal portion being upon the eastern bank, and comprising G of the 7 ancient hills. At the extreme n. is the Piazza del Popolo, adjoining which on the n.e. is the Pin'-ci-an (chee) Hill. On the e. are the Quir'-i-nal Hill and Quir- ROME 339 Inal Palace ; the Vim-i-nal Ilill and Rly. Station ; the Es-qni-Iine Hill, and ch. of S. M. Maggicre; to the s.e. are the Coelian (see- le-an) Hill, and ch. of St. John Lnteran ; on the s. the Pal-a-tine Hill, with the ruins of the Palace of the CiEsars ; to the s.w., across the Tiber, Traslevere ; on the w. Janiculum Hill ; to the n.vv. Vatican, Hill and St. Peter's, nearly opp. to the Piazza del Popolo. The Capitoline Hill is on the southern margin of the present city. The Corso (core-so), the chief thoroughfare, extends from the Piazza del Popolo through the heart of the city to the Capitoline Hill, about 1-i- ml., and thence along the base of the hill through the Forum, to the Coliseum. Of the space occupied by the ancient city, and enclosed by the Aurelian Walls — the walls now standing — the entire southern half is an open field, the present city occu- pying but about half the territory within the walls. History and Chronology. Reign of the Early Kings : B.C. 753, Romulus established his city on the Palatine Hill, the Sabines occupying the Capitoline and Qnirinal. and the Etruscans, the Coelian and the Esquiline ; small communities which were ultimately united. B.C. ' 10?. Tomb of Coecilia Metella. 60. First Triumvirate, Caesar, Pompey and Crassus. 46. Basilica Julia founded. 44. Death of Ca^f^ar. 4"1 Second Trium- virate: Octa\iup, Antony, and Lepi- dus. 31. Battln of Actium. The Empire : 28. Augustus, Emperor. 27. The Pan- theon, and Tomb of Augustus erected. 13. Theatre of Marcellus completed. 10. Palace of the Ciesars built. A.D. M. Tiberius. Emp. 37. Caligula. 41. Claudius. .54. Nero. 68. Galba. 69. Othoand Vitellius. 70. Vespasian. 72. Coliseum commenced. 79. Titus. 81. Arch, of Tin.s, Demi- tian. 96. Ncrva. 98. Trajan. 114. Trajan's Column. 117. Hadrian, 130?. Hadrian's Tomb (Castle of St. Augelo). 145. S. Pudenziana, first ch. in Rome, buiit. 161. Marcus Au reliiis; Statue of Jf. Aureliu.s. 193. Sertimius Sevenis. 203. Arch of Sept . Sevcnic 212. Baths of Carat nila 221. S. M. in Trastevere. 2.;il. St. Cecilia. 270. Aurelian enclosed ihecit} with the Willis now standinir. 300. or prior, St. John Latcran. :M}-2 ?. Bath^ of Diotletinn, 040?. Mamertine prison built by Ancus ■ Martins. i 6r0. The Cloaca Maxima, to drain the | Forum, wns begun by Tarquiuius j Prifcus and finished by Tarquinius Superbus. | 578. ServiusTullius erected the Servian i Wall. 7 mis. in length. 509. Expulsion of Tarquinius Superbus, I the last of the kings; establishment j of the Republic. The Republic : I 509. L. J. Brutus, Consul. | 45rr. Temple of Saturn built. \ 484. Temple of Castor and Pollux built. 396. Conquest of the Veil, extensive ad- | ditions of ten itory on the south. I 390. Destruction of the city by the i Gauls. The city hastily rebi.ilt with j ciooked, narrow streets and indiffer- ent houses. 312. Appius Claudius constructed the Via .\pvia and the first Aqueduct. 146. Dcstmction of Carthage. Rome, now mistress of the world, rapidly increased in wealth and population. Walls deMroyed to make room for houses ; ma.ssive structures erected. 78. Tabularium, on which the Pal. of tho Senator now stands, erected. 540 ROME SOfi. Constfiutinc, first Chris:::an Enip.; St. Peter's Gh. built. Sll?. Archof Constaiitlne. JZ)id of Pa'jaii Home. Medi.eval Rome : o30. St. Lor.iiz;i. Sol. S. C. in Gerii- salemme. 352. S. M. Magsiore. SC4. Division of the Emy.re. yS8. S. Paolo Fuori le Mura. 300. Theodosius destroyed ancient art. £il-2?. St. Clement. 410. Rome sacked by Alaiic. 4 12. S. Pietro in Vincoli. 455. Rome sacked by Genserlc. 475. Romulus Augustulus, the last of the Emperors. Fall uf the Empire. 537. Invasion of Vitiges, Destruction of the Aqueducts. 517. Invasion of Totila; the walls ovei-- thrown. 7th and Sth cents, famine and pesti- lence nearly depopulated the city. 845. Pope Leo IV. rebuilt the walls. Rome sacked by Saracens. 10th cent. In the intestine commotions \ various castles were erected in the \ city with material taken from ancient I temples, monument*, and other .struc- j tures. These civil dissensions so in- creased that, in 1309, the Pope re- | moved the seat of his government to | Avignon, France. | 14th cent. Distracted by the wars of the Guelphs and Ghibellines till re- duced to a population of "20,000. 1 1377. PoiJO Gregory XI. restored th« pontificate to Rome. 1417. Termination of the Papal Schi.«m. Vast wealtl; brought to the city through the restored papacy. General prosperity ; revival of science and art. MoDER^^ Rome : 1420. Colonna Palace erected. 1450. St. Peter's commenced (the pre- sent structure"). 1473. Sistine Chapel. 1503. Julius II., patron of Art. (M. Angelo, Raphael). 1506. Parnesina built. 1513. Pope Leo X., patron of art. 1527. City devastated by the French under Charles de Bourbon. 1544. Farnese Palace. 1564. Spada Pal- ace. 1574. Quirinal Palace. 1590. Borghesc Palace. 1H03. Rospigliosi and Sciarra Palaces. 1625. Barberini Palace. 1721), Corsini Palace. 1798. Republic proclaimed, unsuccessful. 1800. Sculpture gallery of the Vatican commenced. 1809-14. Governed by France. 1831. Etruscan Museum. 1849. Overthrow of the papal goveru- ment, and a Republic proclaimed. In 1850, the Pope ]-einstated by the French. 1870. French troops withdrawn, the papal government overthrown, and Rome united with the Kingdom of Italy. Princjpal Places and Objects of Interest. I. Antiquities. II. Chukches. [ III. Galleries. I IV. Statues and Pictures. I. Antiquities, 'w^hich see respectively. Aqueducts. Angelo, St., Castle of. Augustus, Pal. of ; see Palatine Hill. Augustus, Tomb of. *Ccecelia Metella, Tomb of. Cains Cestius, Pyramid of. **Caligula, Pal. of; see Palatine mil. **CapitolineHill. **Caracalla, Baths of. Catacombs. Cloaca Maxima. **Coliseum. *Constautine, Arch of. *Constantine, Basilica of. Diocletian, Baths of. Hadrian, Tomb of ; see Angelo, St., Cantle of. *Mamertine Prison. TI. Churches, which see respectively. Andrea della Fmtte. I Angeli, S. M. degli. "•"Marcellus, Theatre of. Monte Testaccio. Obelisks. ** Palatine Hill. **Pantheon. Pompey, Theatre of. **Roman Forum. Scipios, Tomb of the. *Sept. Severus, Arch of; see Roman Forum. **Tiberius, Pal. of ; see Palatine mil. * Titus, Arch of. Titus, Baths of. *Trajan's Forum. **Vespasian, Pal. of ; see Palatine Hill. *VeRpasian, Temple of; see Homan Forum. xVndrea della Valle. *Ar,\ Coeli, S. M. East, f^r ROME J41 Cecilia, S., in Trast'jverc. *Clemente, S. *Croce, S., in Gerusalemma Gesn. II. **Johii Lateran, St. Lorenzo, S., Fuori Ic Mura. -Jla-jcriorc, S. M. race, S. M. delta. **Paolo, S., Fuori lo ilura (St. Paul b J. *Panthcon ^S. il. PcOtundo). **Petcr*s. St. *Pietro, S., in Vincoll. Si^ala Santa. *-Siptine Chapel. Trinita dc' Monti. III. Galleuies. See under the titles in Italics. Aciid. St. Lnkc, Pict *Albani Viiln. P. & Sculp *lktiberini J'ul., Pict **Boraficfie Pal., Pict Dorahtue Villa. Scnlp , **C\ipiloUne Mus., Sculp Christiiin Muf=.. Autiq. & P Colonna Pal., Pic Conservators, Ful. of, Pic. k, St Corsvii Pa/ace. Pict ^Dirria Palace, Pict , *Fho(;lcF, et., Lat. Mitu. (Soo Lat. Mn.9.) ♦•"St. Jerome, Com. of, pic. Vatican. **Transfigui-ation, pic. Valicun. **Venus, St., Capital. *Venui«, St., Vatlca7i. Venus, of (Janova, st., Borghtse Villa. 843 ROMU Romulus. The founder of Rome, 753 B.C.; is said to have had his house on the Palatine hill, and to have constituted the Capitoline hill a refuge for criminals and slaves. After a suc- cessful reign he was taken to heaven in a chariot of fire. " It was not till a comparatively late period that the legend of Romulus and Bemus was framed." — Baedeker. Rcmulus, Temple of, Rome. I. On Via Appia, near the tomb of C. Metelia ; circular with a dome and remains of a Co- rinthian portico. Supposed to have been built by Maxentius, A.D. 311. II. At the southern end of the Roman Forum, near the Basil- ica Constantine. A small circular structure with a dome ; now constituting the vestibule of the church of SS. Cosma and Dami- ano. Erected by Maxentius to the memory of his son Romulus, A.D. 311. Rosa, Salvator, 1015-1673, b, at Naples ; pupil of Ribera. His adventurous life and his variety of talent have given great degree of popularity to his name. He worked in Naples, Rome, and Florence, where his pictures were held in esteem, and he himself was in hardly less repute as a poet and musician than as a painter. He had a surprising facility of execution, and of all the naturalistic artists of the 17th cent., he is the only one who gave a picturesqueness to his compositions. He was master equally of devotional scenes and landscape^ In style, his works are so exceedingly diverse that no one pecu- liarity can be designated as characteristic. His landscapes may, however, be said to be marked by an austerity essentially his own. His scenes are the haunts of robbers and wild beasts ; rug- ged, lonely wastes ; dark, forbidding precipices ; leafless, light- ning-struck trees ; desolate shores, and shipwrecks. His pictures now command extreme prices. Pkincipal Works : Belv., two : Berlin, 421 : Brera, SSS ; Colon., The Bap- tist and others; Dresd., 2413, 2414; Edin., 150, 271, 74, SO, 410, 411 ; Hermit., 2;0-l-2-^- 4-5-6 ; Liver. Inst., 11'.); Louvre, 344. 345; Naples, Sala di Coit., 1; Nat. Gall., 84, 811 ; Bitti, 111, 133, 135, 183, 218, 300, 470, 453; Siena, 32; Um., 1C05, 293. RospigSiosi Palace (roas'-peel-yo'-see), Via del Quirinale, Home. The Casino is open to the public W. and Sat., 10-4. The principal attraction is Guide's celebrated **Aurora, upon the ceil- ing. A mirror is arranged upon a table to enable visitors to view the pictures ; see Aurora. In the Hall are pictures by van Dyck, Guide, and Domenichino. ROTT 343 llo&m to the right: Veuus aud Cupid, DoinenicJiino ; *Holy Fam- ily, Signorelli ; Samson, L. Carracci? ; * Vanity, Lotto; The Fall, DomenicJdno. Room to the left : *Audromeda, Guido ; Pie- ta., Passignani ; Beaming the Cross, da Yolterra ; Triumph of David, Domenichino. Rotterdam, the second city in size, and the first in commer- cial importance in Holland, possesses very little beyond the pe- culiar aspect of a Dutch shipping- centre to interest or detain a traveller. It has a population of about loO,000, and extensive commercial relations with all parts of the globe. The appearance of the city with its quaint gables, its innumerable canals, draw- bridges, ships and boats everywhere in the heart of the city, is peculiar and entertaining. The Ghoote Kerk possesses one of the largest organs ever constructed, the largest pipe being 17 inches in diameter and CG ft. in length. The Gkoote Markt contains a bronze statue of Erasmus, who was born in this citj'. The cit^'has also a Museum of about 300 paintings, few of which, however, are of note ; open daily, ex. M., 10-4, Sun. 11-4; small fee. lloutes : To Loxdoit, by steamer 10 hrs., $G. To Amsterdam, 2X hrs., $1.50; §1.15. To The Hague, £0 niin. $0.45; ,^,0.C5. To A.ntweep, 3 his., $2.25; $1.80. Rouen (roo'-awfi'), Fr., the ancient capital of Normandy, is situated on the Seine and contains a population of about 105,000. The Cathedrcd is noted for the tomb of Richard I., Coeur-de- Lion, with the casket containing his heart. The tower reaches the elevation of 4(3.j> ft. The church of St. Oiten, 1G18, " is one of the most exquisite Gothic churches in existence." Jn the Pri- ory of St. Gervais, Wm. the Conqueror died, 1087. Joan of Aro was confined in the Tower six months, and burned alive in the Place de la Pucelle. where her statue now stands. Rouen is also the birthplace of Corneillc, ICGO ; Fontenelie, lGo7 ; and Jcuvc- net, the artist. Royal Family of England, The. Her Majesty, Alexan- DRINA Victoria, born 24th May, 1G19 ; succeeded to the throne, 2Cth June, 1S37, on the death of her uncle. King William JV. ; crowned, 2Sth June. 183S, and married 10th February, 1840, to the late Field-Marshal His Royal Highness Francis Albert Au- gustus Charles Emanuel, Prince Consort, Dt'kf. of Saxony, Prince of CorA)UKG and Gotiia, born 2Gth Angn.'^t, 1S19 ; died 14th December, 1861. Her Majesty is the only child of hia »44 ROYA late Royal Highness Edward Duke of Kent, 4th sou of King George III. Children : — 1. Her Royal Highness Victoria Adelaide Mary Louisa, Prin- cess Royal, born 21st November, 1840; married 25th January, 1858, to his Koyal Highness the Crown Prince of Prussia, K. G., only son of the King of Prussia, Emperor William. 2. Field-Marshal His Royal Highness Albert Edward, Prince op Wales, Duke of Saxony, Cornwall, and Rotke- SAY, Earl of Dublin, Colonel of the lOtb Hussars, Colonel-in- Chief of the Rifle Brigade, Honorary Captain of the Royal Naval Reserve, born 9th November, 1841 ; married 10th March, 18G3, to the Princess Alexandra (born 1st December, 1844), eldest daughter of the King of Denmark. Children : His Royal Highness Prince Albert Victor Christian Edward, born 8th Janu- ary, l8o4 ; His Royal Highness Prince George Frederick Ernest Albert, born 3d June, 1865 ; Her Royal Highness Louisa Vic- toria Alexandra Dagmar, born 20th February, 18G7 ; Her Roy- al Highness Victoria Alexandra Ojga Mary, born 6th July, 1868 ; Her Eoyal Highness Maud Charlotte Mary Victoria, born 26th November, 1869 ; and His Royal Highness Prince Alex- ander John Charles Albert, born 6th Api*il, 1871 ; died 7th April, 1871. 3. Her Royal Highness Alice Maud Mary, born 25th April, 1843 ; married 1st July, 1862, to His Royal Highness the Grand Duke of Hesse, KG. ; died December 14th, 1878. 4. His Royal Highness Alfred Ernest Albert, Duke of Edin BURGH, Earl of Kent, and Earl of Ulster, born 6th August, 1844 ; Captain Royal Navy, 23d February, 1866; married 22d January, 1874; to the Grand Duchess Marie Alexandrovna, only daughter of the iate Emperor of all the Russias. 5. Her Royal Highness Helena Augusta Victoria, born 25th May, 1846 ; married 5th July, 1866, to General His Royal High- ness Prince Frederick Christian Charles Augustus of Schleswig- Holstein Sonderbourg Augustenbourg. 6. Her Royal Highness Louisa Caroline Alberta, born 18th March, 1848; married 21st March, 1871, to John Douglas Suth. erland. Marquis of Lome, eldest son of the Duke of Argyll. 7. His Royal Highness Arthur William Patrick Albert, DuKH OF CoNNAUGHT AND Strathearn, Earl of SussBx, born 1st May, 1850; a Lieut. -Colonel in the Army ; married March 18th, 1879. to Princess Louise of Prussia. RUBE 845 8. His Royal Highness Leopold George Duncan Albert, Dcke OF Albany, born 7th April, 1853, 9. Her Royal Highness Beatrice Mary Victoria Feodore, born 14th April, 1857. Rubens, Sir Peter Paul, 1577-1640, b. at Siegen, West- phalia ; d. at Antwerp. His mother removed to Antwerp when he was ten years of age, at which place he studied until he was 33, In 1600, he went to Italy and studied principally the works of Titian. Being employed by the Dui^e of Mantua, he was sent on an embassy to Spain. Keturning to Antwerp he was made court-painter to Archduke Al- bert, 1608. In 1020, he was commissioned by IMarie de Mcd- icis to decorate the Luxem- bourg, and executed a series of 23 paintings now in the Lou- vre. Visiting England he paint- ed Peace and War, now in the Xat, Gall,, and the Apotheosis of Wm. the Silent, for which he was knighted by Ch, I, The number of his known works is between 1,800 and 2.000. The Descent from the Cross, in the Cath, , Antwerp, is considered his masterpiece, though by many the Crucifixion in the Antwerp Mus. is regarded as of equal power. He seems to have been the master of every style and every subject, and to have been enamored of his wife's face and red mantle, which per- petually reappear. Sec Descent. "The works of Rubons have that peculiar property always attendant on geniiaa to attract attentiuii and enforce admiration in spite of all their faults, , . . "Ills animal-;, i)articnlarly his lions and horses, arc so admirable that it may be said they were never properly represented but by him. His portraits rank with the best works of the paintci's who have made that branch of art the solo business of their lives. . . . " However, it must be acknowledged that he wanted many excellences which would have i)erfectly united with his style. Among these wc may reckon beauty in his female characters ; sometimes, indeed, they make api>roache8 to it ; they ara heaithy and comely women, but seldom, if ever, possess any degree of elegance. The same may be s.ii(l of his young \x\on and nliildrcu. 111= old men have that Castor and VoWxxx—Rtibens. 846 RUSS sort of dignity which a bush}' beard will confer ; but he never possessed a poet ical conception of character. . . . " To conclude, I will venture to repeat in favor of Rubens what I have before said in regard to the Dutch school, that those who cannot see the extraordinary merit of this great painter either have a narrow conception of the variety of art, or are led away by the affectation of approving nothing but what comes from the Italian school.'" — Sir JosJma Reynolds. '■ Passionate movement, keen delight in action, and deep, strong sentiment are the elements of his style. " When, at the age of G3, he died there ended a career that hardly finds a parallel in the history of art for its eminent success in achievement, in brilliancy, and in fame." — Li'ibke. '• llubens perhaps furnishes us with the first instances of complete unconven- tional, unaffected landscape. His treatment is healthy, manly, and rational ; . . . always, as far as it goes, pure, forcible, and refx-eshing, consummate in composition and marvellous in color." — Ruskin. Principal Works : Amst. Hoop., No. 93 ; Ant., fifteen, *207, noted ; Belv., thirteen; Berlin, eight; Bruss., nine; Brera, No. 444; Cap., 89; Casscl, six; Colon., one ; Corsini, VII. 15 ; Darms., three ; Dresd., twenty ; Dul.. 351, c5o ; Frank., three ; Hague, 213-4-5-6 ; Hermit., thirty-three ; Louvre, fourteen, be- sides the Marie de Mcdicis series of twenty-three ; Lille, 460-1-2 ; Lyons, 82. 83 ; Madrid, sixty-fonr ; Munich, about ninety ; Nat. Gall., twelve ; Pest'.i., 647, 717 ; Pitti, 14, 85, 86 ; Uffi., 140, 147, 180^ 197, 812, 1140 ; Liecht., 89 to 94. Designs for tapestry ; V., several studies ; VI., seven pictures. Rubens' House is on the Place de Mier, beyond Rue Rubens, s. side, surmounted by a bust of Rubens. His tomb is in the Ch. of St. Jacques. *Russian Church, Paris, Rue Darn, Th. and Sun., 3-5. 1860. Cost $240,000. Paintings ; On the walls, Adoration of Shepherds, Sermon on the Mount, Last Supper, Entry into Jeru- salem ; Central cupola, Christ blessing; in the pendentives, the Four Evangelists ; on the dahorate screen which divides the nave and choir are Christ and the Virgin. Sa-blne Mountains, or Hills, a range of the Apennines, upon the e. side of Rome, of which some ridges attain an alt. of 5,000 ft. Salute, S. W9. della (sah-loo'-tay), ch., Venice, s. side, at s. end of the Grand Canal. Erected. 1631, by decree of the Senate in gratitude for the cessation of the plague from which 60,000 citi- zens died ; very rich in its decorations. On the r., 1st, 2d, and 3d chapels, painted by Giordano. Ceiling of the choir : 4 large com- partments by Salviati, 8 smaller ones by Titian, the representation of Matthew being Titian's portrait. In the passage to the sacristy, *St. Mark, Titian \ 8d chapel on L, *Descent of the Holy Ghost, Titian. SANG 847 " One of the most impressive buildings in Venice, from its graceful proportions and conspicuous position." — Jarves. SangailOy Giuliano di, 1443-1.117; Antonio di, 1450?- 1534, bro. of Giu.; Antonio di, 1482-1546, son of Ant.; archi- tects and wood-carvers ; the last was, for a time, the architect of St. Peter's, Rome. SansovinOy Jacopo, Tatti, 14T7-15T0, architect and sculp, tor. His Bacchus, in the Uffizi, is of great merit. He resided 40 years in Venice, and was engaged upon many public buildings. Santi, Giovanni, 1440?-1491, b. Urbino, Itnhj. A painter whose works, though numerous, are little known. His chief claim to celebrity rests on his being the father of Raphael, whose reputation prob- ably exceeds that of am' other artist who ever lived. raiNCIPALWORKS: B:rlin, lo9; Brera, 1S4 ; Colon., one ; Nat. Gall., 751. Sar -to, An- drea del, Ag- nolo, 1488- 1525, Italy. The name of Van- NUCCiii which was given to del Sar to toward the end of the ITth century, was never borne by him, and is nowhere found in the family documents. He was the son of Agno'o, a tailor of Florence, and the name del Sarto came from the occupation o? his father. He was early apprenticed to a goldsmith, but afterward became the pupil of P. di Cosinio. At 23, he painted the legend of S. Filippo Benizzi in the SS. An- nuDziata. In 1517, he was invited to France by Francis I He bt. Agnes — del tiarto. 348 SASS married Lucrezia del Fede, for whom he manifested an unabated tenderness, although she was utterly unworthy. She often fig- ures as the model of his Madonnas, In his youth, Andrea gave proof of extraordinary talent. Studying the works of Angelo, he achieved a grandeur and dignity in his figures which recalls those of Masaccio and Ghirlaudaio. -He was the greatest colorist of the Florentine school, with whom no one but Fra Bartolommeo is to be compared. Hillard observes he would have been a better artist had he had a better wife. " The Madonna del Sacco in a cloister of the Annunziata gives the highest point of Andrea's coloring and rendering in fresco, except his Last Supper . . the only one which can even distantly be compared with Leonardo, in the TiC- fectory of the former Convent of S. Salvi, at YlGTencfi.'"—Biirc7diarcit. "The chief excellence of Andrea, as compared with his contemporarie?, is his incomparable blending of colors, his delicate flesh-tints, and his golden chiaros- curo, the transparent clearness even of his deepest shadows, and his entirely ori- ginal and perfect style of modelling." — Liibke. Principal Works : Barb., III. 90 ; Corsi., 9? ; Dres., 43-4, 113 ; Edmb., o27 ? ; Genoa, Pal. Briguole-Sale (rossi) IV., Holy Fam ; Hermit., 24, 25 ; Plor. Acad., 59 ; Liecht., III. 5S ; Louvre, 379, ££0-1 ; Madrid, 383-4-5-7-8 ; Munich. 576, 548, 1174-5, 1181-6: Naples, Sala Grande, 53?; Nat. Gall., 690, 17?; Pitti, 81- 7-8, 118, 123, 172, 184, 191, 225, 265, 307 ; Uffi., 1112, 1176, 1254, 2080. Sassoferrato, Salvi, Gio. Battista, 1605-1685, b. at Sassoferrato. His subjects are principally Madonnas and Holy Families. He gave his Madonnas a sweetness and tenderness of expression not common in the works of the 17 th cent. His coloring is usually pale or wan, and his execution minute. His infant Christs are usually sleeping on the lap of the Virgin. He made numerous copies 7)f the works of Raphael and Titian, which, however, are easily recognizable. Principal Works : Alb. Villa, Madonna ; Belv., one ; Berlin, 45S ; Borgh., IV. 43, VI. 13 ; Brera, 412 ? ; Cassel, 344 ; Frank., 45 , Hermit., 257, 259 ? ; Liecht., III. 49; Liverp., 106; Louvre, S55, 350; Naples, Rom. Sch., 27; Nat. Gall., 2C0, 740 ? ; Uffi.. 191 ; Vat., Madonna with angels; Vienna, Chud., 5. Sa'-tyrs. See Fauns. Sca-la San-ta, The (scah'-lah'), Borne, near St. John Lateran, containing a staircase of 28 steps of white-veined Tyriaa marble, said to be those ascended by the Saviour when entering the Judgment Hall, and to have been brought from Jerusalem by Empress Helena. No one is permitted to ascend but upon the knees. There are side-flights for returning. It was midway up RCHA C49 these stairs that Luther recallinp^ the words, " the just shall live by faith," suddenly rose to his feet and dercended. Above the etaiis is the Sancta Sanctorum which only priests are permitted to enter ; contains a few relics. Schadow, Johann Gottfried (shad'-o), 1764-1850, b. Berlin ; went to Rome. 17o5. studying iu the schools of the best masters, lieturning to Berliu he was appointed Profes.-or of Sculpture in the University. Entombed iu the Ch. of S. Andrea della Fratte, Home. Among his celebrated works are Fred, the Gt. , at Stettin; Bliichcr, at Rostock; Luther, at Wittenberg ; and the Quadriga, on the Brandenburg Gate. Berlin. His works " are \igorous protests against the mannerisujs of the hitherto prevailing tendency, and reopen to sculpture a field which had now been almost lost to her for two hundred years." — Liihke. Scheffer, Ary (.shef -er), 1795-1858, b. at Dordrecht, HoL; removed to Paris, 1811. One of his first important pictures was the Defence of Missolongbi ; and among his later and more cele- brated is the series of nine pictures, from Faust. His master- piece is Paolo and Francesca, from Dante. His works are tinged v/ith a want of hopefulness. He took great interest in the stir- ring events of government ; was the friend of Lafayette. Scheveningen. Sae Hague. Gchwanthaler, Ludwig (schwan -tall-er), 1802-1848, b. at Munich ; executed there 12 gilt bronze statues of Bavarian monarchs, and many other works ; notably the statue of Bavaria, 09 ft. in hciyht, standing 1 ml. s. of Munich, See Muhicli. Sco -pas, a Greek sculptor, of the Isle of Pares. He flour- ished in the early part of the 4th cent. B.C., but at what precise date is unknown. His Yenuses were very celebrated nmong the Greeks, but the work most esteemed by them was his group of Achilles conducted to Lcucc, attended' by PoseidoJi. 'J'hetis, dol- phins, and tritons. To moderns he is best known by the Niobedes, of which an antique copy is iu the UfEzi, Florence. " He was Buccc88ful above all otliers in reproducing touching pathos, and 6tormy passion with a power that had ns yet not been dreamed of. He was the first to model the goddess of love herself, in the full beauty of her naked body, the loveliness of which compelled a burst of admiration." — Li'ibke. Sciarra Palace (sche-ah'-rah), Sciaku.v-Coi.onna, liome. The finest structure on the C'orso. It formerly contained a good collection of pictures, but many have been sold, and visitors aro now seldom admitted. The most noted of the works are Ilaphael'i 350 SCIP Violin Player, Titian's Donna Bella, and Caravaggio's Gamblers^ of which numerous replicas and copies exist. ScipioS; Tomb of the (sip'-e-oze), on the 1. of the Appiaa Way, near the Porta S. Sebastiano ; discovered in 1780. Ex- cavations brought to light the well-preserved chambers, con- taining various inscriptions and the *sarcophagus of L. Cor- nelius Scipio Barbatus, now in the Vatican Museum. Among the inscriptions were those of Lucius Cornelius Scipio Barbatus, L. Cornelius Scipio and son, a son of S. Africanus, and a son of S Asiaticus. Scotland extends from n. to s., a distance of about 280 mile?». From e. to w., it varies from 150 to 32 mis. in width, and con- tains a population of nearly 4,000,000. The lowlands lie be- tween the southern boundary and the vicinity of Loch Katrine, whence the highlands extend to the Northern Ocean. The rug- ged country of the north is little more than a succession of hills and mountains, interspersed with lakes and inlets, creating aa endless variety of the boldest and most romantic scenery. The Celtic line of kings having terminated in 1286, Robert Bruce, after a struggle of some years, came to the throne, 1303, under the title of Robert I. He was succeeded by his son, David 11, 1329, and by his grandson, Robert II., 1370. Robert III., son of Rob. II., after a reign of 16 years, left the throne, 140o, to his son, James I., who was assassinated, 1436. James II., son of James I., was born at Stirling Castle, 1430, crowned at sis years of age, killed, 1460, by the bursting of a cannon, and was buried in Ilolyrood Abbey. James III., his son, was crowned, 1460, married Margaret of Denmark, 1469. His son, James IV., came to the throne, 1488, married Margaret, daughter of Henry VII., of England, 1503. James V., son of James IV., was crowned at Stirling, 1513, and married Madeline, daughter of Francis I., of France, 1537, and afterward Mary of Guise. Meeting with a disastrous defeat by the English at Solway Moss, he died of a broken heart, 1542, leaving the crown to his daughter Mary, then only ten days old. Mary Queen of Scots was crowned immediately upon the death of her father. Educated in France, she married Francis II., of France, and afterward, Lord Darnley, of Scotland, 1565, and was deposed, 1568. See Mary Queen of Scots. James VI., her son, was born, 1566, in Edinburgh Castle, and a year afterward was declared king and crowned in Stirling Castle. SCUii 851 He married Ann of Denmark at Holyrood and succeeded to the orown of England in 1603. His son, Charles I. of Eng. and Scot, was beheaded, 1()40. Charles II., son of Ch. I., reigned from 16G0 to 1685, and was succeeded by James II., his brother, who abdicated in 16S8. His son, known as The Pretender, attempted to regain the throne of his fathers, but met a disastrous defeat at Sheriff muir, 1715. He is buried in St. Peter's, Rome, as James III. Thirty years later, Charles Edward, The Young Pretender, re- newed the attempt of his father, and gained important victories over the English at Preston Pans and Falkirk near Edinburgh, but was totally defeated at CuUoden, 1745, the last battle fought on English soil. He was also buried in St. Peter's, Rome, his tomb being inscribed King Charles HE., of England. Sculptors, Greek. Little has thus far been found, either in the sculptures themselves, or in ancient writings, to connect the works discovered with any known Greek masters. In a few instances the work bears the name of the artist ; in other cases, the characteristics of the sculpture, the locality where it was dis- covered, and its history lead to the inference that it was the work of a certain sculptor. But, at the present tiuie, such inferences must still be regarded as largely conjectural. In the accompany- i;:g licit, those works which have generally been assigned to a mas- ter, are placed against his name merely as works attributed tQ him. The dates given, are also, in some instances, conjectural. BO. I B.C. SOO-lOO, A GA'-si-AS (Hcgasias or He- i He'li-o-do'-rus, Wrestler*;? Florence, gia?;"). Borphese Gladiator, Louvre, 50U, Ag-e la'-das, master of Phidias, Polvclctus, and Myron. 160. A-ge-san'-deb and Sons, Laocoiin, Va'icaa. Le-och'-a-res, Rape of Ganymede. Vi'py in. Vaticcni. 330. Ly-sip'-pus, Portrait busts of Alex. the Gt. 4711, My- RON, Copy of the Discobolus, 330-300, Ap'-ol-lo'-ni-U3, Belvedere: VdCiran and Mas^aini Pal, and Satyr Torso, Valicn/i, | in Lateraii Museum. 200, Apollonts, with Tauriscns. Toro ' Nap-ki' pes, Copy after Discobolus, Fanicse, Naplets. \ Vatican. 300, Be'-da3. son of Lysippus, Praying Boy, Devlin. Bo-E' Tiics, Roy with Goose, Louvre. 450, Cal' AMIS. Apollo Belvedere ? Vat- icon. Cat.-lim'-a cons. Corinthian column. 372. CEPu'-r-soD'-o Tcs. father of Prax- iteli's ? ; Wrestk'rs ? Florence. 350, Cli:-o,m'-e-ne8, Venus do .Afcdici, FUfCcnce. Cres'-i-las, Wounded Amazon, Oipiio- line Mu«eum. [p/e«. ' 200, TAU-Bifl'-OCS. 8eo Apollonlua HX), Glt'con. Hercules Famero, Na- . 4S4-lo2, PniD'-i-AS, Elgin Marbles? British Mtiseum, 412. Pol-y-cle'-tcs, Head of Juno, Naples. 392, Prax it'-e-les, Vcnnses, copies only extant. Copy also of Saurokto nos anl Eios. 480. Py-THAO'-o-RAS, Apollo Belvedere? Vatiian, 398, Soo'-PAS, Niobe? Florence; Tomb of Mausolns. 552 SCUL Sculpture, like Architecture, had its origin in religion. For a long- period the only statues made or permitted in Greece were those of the gods ; and these were merely symbols, usually blocks of v.'ood or unhewn stone, having no pretension to being images. Gradually they approached finer form, and whilst among all peoples divinities had been represented by lower ani- mate beings, or monsters of human shape, the Greeks clothed their gods with their highest conceptions of beauty. It has thus been observed that though the Greeks did not invent sculpture, thpiy did invent beauty. Statues of men first appear between li.c. GOO and 500, about which time sculpture may be said to have reached the capability of an art in Greece. Grecian Sculpt urii: is divided into four styles or periods : I. The Athletic Style, extending from the earliest Grecian times to B.C. 500. The statues of this period are of the gods and athletes, and are mostly nude ; among these one of the most noted example is the Hercules. II. The Intellectual, or Grand Style, from B.C. 500 to 400 ; pro- ducing Jupiter, Minerva, Juno, the Muses, the Minor Goddesses, and the Philosophers ; generally draped, and characterized by dignity and grandeui\ The great masters of this period were Ageladas (the master of Phidias, Myron, and Poiycletus) ; Phidias, who wrought the Olympian Jove and the Minerva of the Acropo- lis ; Myron, a Discobolus and a celebrated figure of a cow ; and Poiycletus, a Juno and an Amazon. III. The Graceful Style, from b.c. 400 to 300 ; of which beauty is the leading element ; figures chiefly nude. The masters o£ this period were Scopas, who produced Venus Victrix and the Group of Niobe ; Praxiteles, the Venus of Knidos, Diana, Apollo Sauroktonos, Faun of the Capitol, Eros of the Vatican, Bacchug, and Apoxyomenos. IV. The Dramatic Style, from about B.C. 300 to the overthrow of Greece, B.C. 146 ; characterized by intenser passion and greater violence of action. Of this School the principal masters were Lysippus, of whose 600 works probably not an original remains ; Agesander and his sons, Polydorus and Athenodorus. sculptors of the Laocojn ; Apollonius and Tauriscus, of the Farnese Bull. The Beautiful in Grecian Art began with Praxiteles and culmi« nated with Lysippus, in sculpture ; and with Apelles, in painting. la Lysippus, the angular was supplanted by the undulating line. Upon th« subjugation of Greece its art was extinguished, and its SCUL 358 untold treasures were carried to Rome by her victorious generals. M. Fulvius took from ^tolia 330 marbles, 280 bronzes ; Nero took 500 from Delphos for liis Golden House ; and 3,000 were taken from Rhodes. How many were ultimately taken may be inferred from the fact that M. Scaurus had 0,000 in his theatre alone. Lanzi estimates that fragments of not less than 170,000, have been discovered in Italy. Yet, amid all this art treasure for 5 centuries, Rome never be- came artistic, nor the Roman mind its home. Grecian masters flocked to Rome, and innumerable works were produced, but in- variably nothing except copies of Greek ideals, save the single in- stance of the AutinoLis. The Emperors soon evinced a fondness for seeing themselves in marble, and when the succession became somewhat rapid, this demand was promptly met by decapitating Greek statues, and substituting portrait heads of the emperors. The Greek inscription was erased and a new one supplied. The artists also anticipated these orders by chiselling headless statues in advance, and then suppl^dng the heads at demand. Sustained by such sentiments only, sculpture could at best be but an imita- tive art, whose speedy decline nothing could prevent. By the close of the fourth century, Christianity had come to be the leading religious sentiment of Rome, but as the statues of the gods still bound the people to the religion of their fathers, about y.90 A.D,, Theodosius issued his famous order for the entire de- struction of " heathen art." Some of it escaped bj' being hastily buried, immured in walls, or thrown into the Tiber. Much of it was, however, absolutely destroyed. With the downfall of Rome and the successive invasions of the Northern hordes, who knew the language of neither the Latins nor Greeks, all knowledge of the buried treasures of Rome perished from the mind of man. For a thousand years Rome was the prey of every sjjoiler, till its wretched and impoverished inhabitants numbered scarcely 20,000. Gradually the massive structures were plundered of every article liaving any value or use ; stones were taken when- ever they could be appropriated, and the richest of wrought mar- bles were consumed for making lime. At last, this long lethargy was broken by a new spirit of inquiry centring at Florence. The Latin and Greek languages once more made known the civiliza- tion and culture of the Grecian and Roman times. Art awakened to new life, and, in the endeavor to recall the spirit and principles of the Greek masters, every specimen of Greek workmanship be- 554 SCUL caine priceless. Better times having come to Rome, as she du^ the foundations of her new palaces she brought to light the long- forgotten treasures of Greek sculpture. For three centuries these antiques have been gathered, and now constitute the present in- estimable collections of the Vatican, the Capitol, of Naples, Paris, London, and Berlin. Modern Sculpture has attempted little in comparison with Modern Painting ; yet in Angelo and Thorwaldsen it has jirodaced works holding rank with those of the best period of Greece. Sculptures, Noted. See Statuary. SebastianOy S., ch., Venice., situated in the s.w. part of the city, contains the tomb of Paul Veronese, and a mon. by Sansovino to Bp. Podocataro. In the Choir are a Madonna, a St. Sebastian, the Martyrdom of SS. Mark and Marcellinus ; and on the Organ., a Purification, the Pool of Bethesda, all by P. Vero- nese. Sep-tim'-i-us Se-ve'-rus, Arch of. See lioman Formn. Seven Virgins, The Legend of Schonberg. There once lived in this castle a knight who had seven beautiful daughters. They grew up with no training, and lived a life of coquetry and folly. Beautiful and wealthy, they had many suitors, whom they laughed to scorn. A quarrel hav- ing arisen between two Icnights concerning the maidens, the sisters were requested to end this folly and make a choice of husbands. The next day was appointed, and upon the knights assembling in the saloon, ft servant announced that the sisters desired them to repair to an arbor on the river bank. Here they saw the sisters already in a boat at a distance from the shore ; one stood in the stern and told the knights they never intended to marry, but were going away to the Netherlands where they might continue to enjoy their sport. Scarcely had they uttered these words when a storm arose, upsetting the boat and drowning the haughty, stony-hearted maidens. Immediately there appeared at this place seven rocks, called the " Seven Virgins." Sevres (save'-r), Fr.; by tramway from the Louvre, and by rly. from station St. La-zare or Montparnasse. The celebrated ♦porcelain manufactory may be visited daily, ex. Sun., 11-4. Siegfried (seeg'-freed'). Legend op the Drachenfels. The heathen who dwelt in the Siebengebirge had made an incursion upon the Christian tribes, and brought away much booty, and among the prisoners a " very beautiful maiden." All wished to possess her, but especially Siegfried, or as he is sometime^ called, Ottfried, or Rinbod. Whereupon the priestess decided that so beautiful a maiden would engender perpetual animosity, and that therefore she " should be thrown to the dragon who dwelt in a cave on the Drachenfels. Siegfried was in despair when the maiden was led forth, but she advanced with a resolute step as if fearing nothing. As the dragon came rushing toward her, he suddenly fell to the ground, when Siegfried plunged his sword into the monstsf and slew him. SIEX ro5 All shouted for joy thiit Siegfried had rescued the maid and slain the dragon. Siegfried afterward learning that it was the sight of the Cross which had caused the dragon to fall to the earth, was converted and baptized, and marrying tho maiden, built the Castle of DrachenfeJs, wherein the Drachenburgers lived for ten centuries. Siena (see-a'-nah), the Roman Sena Julia; pop. about 25,- 000. In the middle ages it was one of the most important cities of Italy, numbering 200,000 inhabitants, and in the arts was the rival of Florence. The School of Siena is noted for its delicate and deep sentiment of devotion. The Cathedral occupies a commanding position near the centre of the city, upon the site of an ancient temple of Minerva ; the fagade is of red, white, and black marbles ; the pavement is of gray and white, with shaded lines ; the bronze tabernacle is by Lorenzo da Pietro ; the pulpit and reading-desk by Nicold Pisano and bis pupils. Duccio has pictures in several of the chapels. In the library are 10 frescos by Pinturicchio. Beneath the Choir, in the rear of the Cathedral, is an ancient Baptistery with sculptures by Donatello, Ghiberti, and Querela. The InsUtuio delle Belle Artl, daily, 9-3 ; free; contains a fine collection of paintings of the Early Sienese School. Signorelli, Luca Egidio di Ventura (seen'-yohr-el-ly), 1441 ?-ir)21, b. at Cortona, Italy. In the representation of mus- cular and statuesque figures, he is one of the most remarkable of tbe early masters, and foreshadowed Michael Augelo. His know- ledge of anatomy was surprising for his time. His principal works are in the cathedral at Orvieto, and in the Sistine Chapel, Rome. " He was one of the mightiest spirits of the century. Bold and powerful, striv- ing to attain tho loftiest aims, and supreme, above all his contemporaries, in the impassioned portrayal of stin-ing scenes ; he w^as also one of the first to paint the naked figure to any great extent." — Lubke. Simplon Road. See Route 35. **The Sistine Chapel (sis-teen), erected by Sixtus IV., 1473. Open daily, 9-3, ex. Sat., Sun., and holidays; permit, (permesso) necessary. Entrance in the r. colonnade, past the Swiss Guard, one flight up; door on the r. : ring the bell. Standing at the altar end of the chapel, directly to the right on entering, the seven pictures on the 1. wall are representations of the Life of ChrLst. 1. The Baptism, Pernrjino. I 5. Giving the Keys to IVter, Pervgino, 2. The Temptation, BntticelU. , 6, The Last Supper, h'DHHelii. 3. Gal line the Apostles, Ghirlaiidnio. 7. The Resurrection, Ghtrlandaio. 4. Sermon on the Mount, fioaselli. nm SIST The seven on the r. wall are from the life of Moses. 1. Moses and Zipporah, SUjno7~elli. 2. Killing the Egyptian, BoUicelU. 3. After the Passage of the Red Sea, Rosselli. 4. Giving of the Law, RosseLU. 5. Korah, Dathan. and Abiram. Boiti celli. 6. Death of Moses, SignorelU. 7. Michael with the body of Moses, Salviali. ALTAR END Last Juagment ** The Ceiling, by Angelo, was commenced 1508. The central flat portion contains nine pictures from the Old Testament. In the curved triangular spaces on the sides are 7 Prophets and 5 Sibyls. In the arches and lunettes (a), between the triangles, are representations of the gene- alogy of Christ. (To obtain the correct rela- tive position^ the diagram must be held above the head.) ' ' The prophets and sibyls in the triangular compartments of the curved portion of the ceiling are the largest figures in the whole work ; these, too, are among the most wonderful forms that modern art has called into life. They are all represented seated, employed with books or rolled manuscripts ; genii stand near or behind them. These mighty beings sit before us pensive, meditative, inquiring, or looking upward vrith inspired coun- tenances.'''— iTjffifZer. " They s"t here in twelve throne- like niches, more like presiding deities, each wrapt in self-contem- plation, than as tributary witnesses to the truth and omnipotence of Him they are intended to announce."— Xatiy Eastlake. " The bold foreshortenings, the determinate force with which every figure steps forward, is amazing, and carries one quite away ! It is a spiritual Sermon on the Mount in color and form. Like Raphael, we stand in astonishment before the power of Michael Angelo. Every prophet is a Moses like that which he formed iu marble. What giant forms are tliose which seize upon our eye and our thoughts as we enter ! '• But when intoxicated with this view, let us turn ovir eyes to the background of the chapel, whose whole wall is a high altar of art and thought ; the great chaotic picture, from the floor to the roof, shows itself there like a jewel, of which all the rest is only the setting." — Anderson's Improvisatore. ** The Last Judgment. — Thirty years after the completion SIST 357 of the ceiling, Angelo commenced this great work, to which he devoted eight j'ears, doing the entii e work without assistance. At the top, under the arches, are angels with the instruments of the Saviour's Passion. In the centre is Christ, as Judge, with the Virgin at his right, surrounded by apostles and patriarchs. Beyond these, on the spectator's right, are martyrs with instru- ments of torture ; and on the left, saints. Below^ in the centre, are angels sounding the last trump. In the lower range, left, are the saints rising and coming forth from their graves and as- cending to he.iven ; on the right, the damned are being seized and dragged down to perdition. In the centre, Charon is driving the condemned from his boat. In the lower right hand corner is the portrait of Messer Biagio, who had criticised the nudity of the figures. In return for this criticism, Angelo gave him ass's ears and placed him in hell with a serpent coiled about his body. Whilst Angelo was yet living, Paul IV. contemplated the destruc- tion of the picture on account of the nudity of the figures. He was, however, dissuaded from the design by the suggestion of clothing. For this purpose Daniel da Volterra was employed, for which labor he was honored with the sobriquet of Bragliett&ni, the breeches-maker. The work has become so dimmed by the dust and incense smoke of three and a half centuries that it can now be seen with comparatively little satisfaction. A copy of the Last Judgment is in the Ecole des Beaux Arts, Paris. "The upper part of the composition is in many parts heav.v, notwithstanding the masterly boldness of the drawing ; confused, in spite of the separation of the principal and accessory groups ; capricious, notwithstanding a grand arrnnge- raent of the whole. But, granting for a moment that these defects exist, still this upper portion, as a whole, has a very impressive effect, and, at the great distance from which it is seen, some of tht; defects alluded to are less offensive to the eye. The lower half deserves the highest praise. In these groups, from the langnid resuscitation and upraising of the pardoned, to the despair of the condemned, every variety of expression — anxiety, anpruish, rage, and despair — is powerfully delineated. In the convulsive struggles of the condemned with the evil demons, the most passionate energy displays itself, and the extraordinary skill of the artist here finds its most appropriate exercise." — Kugler. " The Last Judgment is now more valuable as a school of design than as a fine painting, and it will be sought more for the study of the artist than the delight of the amateur. Beautiful it is not; but it is sublime — sub'.ime in conception and astonishing in execution. Still, I believe, there are few who do not feel that it is a labor rather than a pleasure to look at it. . . . " St. Catherine, in a green gown, and somebody else in a blue one. are su 358 SNAY premely hideous. Paul IV., in an iinfortunate fit of pruderj', was seized with the resolution of whitewashing over the whole of the Last Judgment, in order to cover the scandal of a few naked female figures. With difficulty was he pre- vented from utterly destroying the grandest painting in the world, but he could not be dissuaded from ordering these poor women to be clothed in this unbecom- ing drapery."' — Eaton. "Michael Angelo avenged himself upon Messer Biagio da Cesena, master of the ceremonies, who first suggested the indelicacy of the naked figures to the Pope, by introducing him in hell, as Midas, with ass's ears. When Cesena begged Paul IV. to cause this figure to be obliterated, the Pope sarcastically replied, ' I might have released you from purgatory, but over hell I have no power.' ■•'— Hare. " The lower part of the composition, in which the sufferings of the cordemned are delineated, is that in which we find the least to object to ; for there the tj-e- mendous power which is stamped upon the whole work finds its appropriate sphere and legitimate expression. Forms and faces more trembling and con- vulsed with despair' were never embodied or conceived." — Hillard. " There can be no doubt that while these frescos continued in their perfection there was nothing else to be compared with the magnificent and solemn beauty of this chapel. Enough of ruined splendor still remains to convince the spectator of all that has departed ; but methinks I have seen hardly anything else so forlorn and depresiiig as it is now , all dusty, dusky, and dim, even the very lights having passed into darkness and shadows into utter blackness." — Hawthorne. Snayers, Peter, 1593-1670?, b. at Antwerp ; was court painter to Archduke Albert ; painted landscapes and martial scenes. Snyders, Franz, 1579-1G57, b. at Antwerp.^ pupil of Hell Brueghel, friend of van Djck. Next to Rubens the best animal painter of the Dutch school, also of market scenes. He fre- quently painted aniinals in Rubens' pictures, in exchange for Rubens' figures in his own. Sistine Madonna, ^ee Madonna. No. 7. P. 210. Principal Works: Ant., 33.5, 336; Belv., one ; Berlin, 878, 774A, 774B, 774 assisted by Rubens ; Brera, 381 ; Bruss., 314; Cassel. 198; Dresd., 8S7, 889, 891, 892; Edinb., 126, 128, 390, 324; Frank., 127; Hague, 221-2; Hermit., 1312-3-4- 5-7, 1320, 1324: Louvre, 116, 120; Lyons, 85; Madrid, 1677, 1684; Munich, 20.", 297,305, 317; Uffi., 220. Sodoma, II, GtIovanni Antonio Bazzi, or Razzi, 1473- 1549, b. at Vercelli, Italy ; lived at Siena. In the Villa Fame- sina, Rome, are two admirable frescos ; the Marriage of Alex- ander with Roxana; and the Family of Alexander in the Tent of Darius. In the first, the head of Roxa-na is regarded as among his best works. His frescos are principally at Pisa and Siena. His panel pieces are rare. He is one of the best masters of the Sienese school. SORB 359 " He fills hU space to -u-.h a degree with motives of every kind, that one always drives out another, or destroys its effect. He succeeds best with his single figures, of which some are unsurpassed by any in the world." — Burckhardt. " This artist is worthy of note, not so much for any grandeur of conception, or clearness of composition, as for his uncommonly fine aesthetic sense, and his fac- ulty of giving expression to a profound enihusiastic feeling. In addition to this, his fancy evolved the noblest forms, and he possessed the secret of the softest and airiest blending of colors.'" His Marriage of Alex, with Roxana '"is full of beauty, showing wonderful lightness of touch, warm, airy coloring, and unsurpassable softness in its gradation of tints. One is forced to admire the charming beauty of the head of Roxana, even in the presence of Raphael himself." Prin'Cipal Works: Belv., one ; Farnesina, Hall II. frescos; Pisa, IV. Ma- donna and Sts.; Siena, 205, 341, 34-2, 85-G-7 ; Turin, 50, 376 ; Uffi., 1279. Sorbonne, The (-bun), or University of France, Paris; s. bank of the Seine, rear of the Hotel de Cluny, was founded 12o0, \>y Robert de Sorbon, confessor to St. Louie. It soon be- came one of the most powerful ecclesiastical bodies in Europe, and in the Middle Ages denied the authority of the pope and defied his power. It is now the great seat of learning in France. In the church of the Sorbonne is the tomb of Richelieu. Sorrento, on the s. shore of the bay of Naples, and offering the finest views and the most delightful climate of southern Italy, may be reached by steamboat from Naples, (3 fr.) or by rly. to Castellamare, and carriage thence 7^ mis. to Sorrento. The Albergo del Tasso is said to be the poet's birthplace, 1544. Spada Palace, ^qq Part IL, Spada. P. 473. Spagna, Lo (spahn'-ya), GriovANNi Di Pietro, 1480?-ir)30? b. in Spain. Little is known of his early life; in 151(5 he was re.siding at Hpoleto. His early stj'le was Peruginesque ; later, he became an imitator of Raphael. His works are distinguished by fine coloring, depth of sentiment, and grandeur. Spain. See Route G4, p. 569-570. Splugen Pass, Sititz. See Route 29; also Alpa. **Stanze of Raphael, The, {rooms}. Daily, 9-8, ex. d d ^ d ^ d 4 5 6 7 c\(i c\a c\a b Sat., Sun., and holidays. Entrance the same as to the Sistine Cbapel (same permit, jiermesso) ; one llight farther up. Roo.MS 1, 2. Modern pictures. Room 3. The hnrnaculate Conception^ by Podesti. 360 STAN 4. *FiRST Stanza op Raphael ; Incendio del Borgo. Of th& pictures in this room, Raphael painted the principal part of the Borgo ; the others were executed by Raphael's pupils, from hia designs. Entrance loall {a) : Coronation of Charlemagne, the Emp. hav ing the features of Francis I, of France. Beneath ; Charlemagne. Bight wall (b) : *Incendio del Borgo ; Pope Leo IV. arresting a conflagration in the Borgo, near the Vatican, by a miracle ; old St. Peter's in the background. The foreground exhibits the confusion and terror incident to such a scene. Some of the figures in the foreground are by Romano. •' It is unqviestionably the most popular picture of the series." — Baedeker. " The figure of the naked youth escaping from the fire by a wall and sustaining his whole weight by his hands, for powerful drawing and anatomical knowledge is worthy of Michael Angelo. — Hillard. Beneath : Godfrey de Bouillon. Wall of Exit (c) : Defeat of the Saracens by Leo IV. , by G. da Udine, from Raphael's designs. Beneath : Ferdinand the Catho- lic and Emp. Lothaire, by Caravaggio. Window Wall (d) : Loo III, justifying himself before Charlemagne, by del Vaga. 5. * Second Stanza op Raphael ; the Stanza delta SegiKh- tura. This is the first apartment painted by Raphael, 1508-1511. W^aJl of Entrance (a) : The Disputa, so called from the mistaken impression that it refers to a dispute upon transubstantiation. In the centre of the upper half are, God and angels ; beneath, Christ, the Virgin, and John Bap.; r., Paul, Abraham, James, and Moses ; 1 , Peter, Adam, John, David, and Stephen. In the lower part, fathers and theologians ; in the background, r. , Dante, laurel-crowned, and Savonarola with a cowl ; 1., Fra Angelico. " By many considered to be Raphael's grandest work."' — Wood. " Without a rival in the history of painting." — Poetry of Christian Art. " This picture is the crown of all religio-symbolic painting." — Lilbke. I Right Wall [b), over the window : Prudence, Fortitude, Modera- tion ; r. side, Gregory IX.; 1., Justinian. Wall of Exit (c) : *The School of Athens ; the portico of a Gre- cian temple, with 52 fignres of the most eminent philosophers ot Greece. In the centre are, r. , Aristotle with his Ethics; 1., Plato with his Timseus, pointing upward. In front, lying on the steps, is Diogenes. On the r., in the foreground, Archimedes (with the head of Bramante), tracing geometric figures on the pavement; STAN 361 near him, the young Duke of Mantua in blue ; Zoroaster with a g-lobe, and Ptolemy crowued, addressing Raphael and Perugino. On the left of the picture, at the top of the steps, Socrates, bald^ in conversation with Alcibiades, the warrior ; in the foregi'ound at the centre, silting figure of Heraclitus, supporting his head with his hand ; beliind bim, Anaxagorus with an open book, look- 3(32 STAN ing at Pythagoras seated and writing in a book, resting on his knee ; behind him, at the extreme left crouches, Empedicles ; behind Anaxagoras stands the Duke d'Urbino in white. "These groups on the steps above and around the two philosophers never did and never could exist ; and it is for this very reason that they are so fine, Tho scene lies in a superior world, one which mortal eyes iiever beheld, a creation wholly of the artist's imagination. These figures belong to the same family as the divinities on the ceiling. You must remain before them full half a day. Once realize that they are walking and the scene strikes you as transcending all things here below. "The youth in a long white robe with angelic features ascends the steps like a meditative apparition. The other with curled locks bending over the geometrical diagram and his three companions alongside are divine. It is like a dream in the clouds. As with all the figures of an ecstatic vision, or in reveries, these may re- main in the same attitudes indefinitely. Time does not pass away with them. The old man in the red mantle and the figure regarding him, and the youth writ- ing might thus continue forever. All is well with them. Their being is complete ; they appear at one of those moments which Faust indicates when he exclaims, ' Stand, ye are perfect.'' Their repose is eternal happiness." — Tame. . Ahove^ are Philosophy, and the Study of the Globe ; Beneath., are Philosophy, Magicians, Siege of Syracuse, and the Death of Archimedes. Left Wall {dj : Par-nas-sus ; Apollo with Violin, and Muses ; 1., Homer, Virgil, and Dante in a red robe. Below : r., Sappho ad- dressing Corinna and Petrarch ; 1. , Pindar and Horace. Above., are Poesy crowned, and Marsyas. Beneath : Alex, the Gt. placing Homer's Poems in the tomb of Achilles ; Augustus preventing the burning of the JEine'idi. 6. *TniRD Stanza op Raphael, He-li-o-dor' -us ; the second apartment painted by Raphael, 1511-1514, illustrating the miracu- lous conquest of the Church over her enemies. Entrance Wall (a) : Flight of Attila; the pope, on a white mule, calls on Peter and Paul in the clouds for aid against Attila, whose army is terror-stricken. The Coliseum is seen in the background. Abo.:e : Jehovah appears to Noah. Bight Wall {b) : *The Miracle of Bolsena, a doubting priest converted by the bleeding of the wafer ; r. , Julius II. " This picture is remarkable not only for its well-connected composition, but for its highly characteristic figures : the courtly humility of the priests, the rude, hardy figures of the Swiss, the various ways m which the people manifest their Bvmpathy, and above all the naivete of the chorister-boys, and of the youths who look over the enclosure of the choir ; all this is connected satisfactorily and natu- rally with the two principal personages. The coloring of this fresco, and of others of the series, has placed Raphael on a level with the masters of the Venetian STAT 303 school. High authorities are agreed in considering this and the other large works in this Stanze as the finest examples of fresco the art can boast." — Ku(jler. Above : The Sacrifice of Isaac. Wall of Exit (c : Expulsion of Heliodorus from the Temple; Hcliodorus, attempting to seize the treasures of the temple, is pursued by avenging angels ; 1., Julius II. Above: Moses at the burning bush. Windoio Wall (d) : 1., Deliverance of Peter; over the -window, Peter sleeping ; r. , he departs ; 1. , watchman awaking. Above : Jacob's Vision. 7. Sala di Constajn'TINO : from designs bj Piaphacl ; painted after his death, by Giulio Romano, F. Penni, and da Colle. The statement often made, that two of the figures on the long wall were painted by Raphael does not appear to be authenticated. EntranceWall {a) : Baptism of Constantine, by F. Penni. Be- neath : scenes from the life of Constantine, by Romano. Long Wall {b) : Defeat of Maxentius by Constantine, by Ro- mano. Wall of Exit {c) : Address of Constantine to his Troops. by Romano. Wi7idoiD Wall (d) : The Donation of Rome to Syl- vester by Constantine. Ceiling : *Overthrow of Paganism. §. Door leading to Raphael's Loggie and the Pinacoteca. Statuary, Noted. Discob'oius, see ; antique, after 31yron, Vatican. Eros, see ; antique, after Praxiteles, Vatican. Faun (-'The Marble"), see; antique, after Praxiteles, (.'ap,. Rome. Faun, Barberini, see ; antique, Glyp., Munich. Flora, FarnesT, ree ; antiqtie, Mus , Naples. Gladiator, Dying, see : antique. Cap., Rome. Gladiator, Famrsc, sec ; antique, Mus., Naples. Gladiator, Fiphtinp, see ; antique, Aga- sias. Louvre. Hebe, Canova, Roy. Gall., Berlin. - Hercules, Farneso, see ; antique, Glf/- con, Mus., Naples. Horses of St. Mark's, antique, Ven- ice. See St. Mark's. Horse Tamers, antique, Quiriiial, Rome. See Castor. Juno Ludovisi. see; antique, Polycle- tu'i'f, Lud. Villa, Runic. Jupiter, see ; autiquo, Vatican. Knife- Grinder, sec; antique, Tribune, Florence. LaccoJin, Ree; antique, Ag^aaruler an J I .jOtjs, Vatican. iEs'chincs, fee ; antique, Mus., Naples. Antin'ous, see ; antique. Cap.. Rome. Antin'ous, see ; Vatican Mtrciiry. Apollo Belvedere, see ; antique, Vati- can . Apollo Saurok'tono.s, antique, Lottvre. Apollo, Stroganoff, antique, St. Peters- burg. Apostles Thoricaldsen^ Ch., Copen- hasron. Ariad'nc, sec ; Dannecler, Frankfort. Ariad'no, Sleeping, see; antique, Vati- can. Augustus, Young, see ; antique, Vati- can. Aure'lius. if., bronze eques., sec ; an- tique. Cap. Hill. Rome. Balbus, bronze eques.; antique, Mus., Naples. Bavaria, S