MICROFILMED 1993 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK as part of the "Foundations of Western Civilization Preservation Project" Funded by the NATIONAL ENDOWMENT FOR THE HUMANITIES Reproductions may not be made without permission from Columbia University Library COPYRIGHT STATEMENT The copyright law of the United States - Title 17, United States Code - concerns the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specified conditions is that the photocopy or other reproduction is not to be "used for any purpose other than private study, scholarship, or research," If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of "fair use," that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copy order if, in its judgement, fulfillment of the order would involve violation of the copyright law. A UTHOR: JOHN MURRAY (FIRM) TITLE: HANDBOOK FOR ROME AND THE CAMPAGNA ... PLACE: LONDON DATE: 1908 COLUMBIA UNIVEI^ITY LIBRARIES PRESERVATION DEPARTMENT DIDLIOGRAPHIC MICROFORM TARHFT Master Negative ff h Original Material as Filmed - Existing Bibliographic Record 945R66 M963 eMurray, Johns publisher, London. Handbook for Rome and the Campagna, ed. by- Norwood loung. 17th ed. London, Stanford. 1908. * xi, 125 p. 11., 571, el J p. illus., maps, plans. 18 cm. Map in cover pocket. With directory for 1910. Restrictions on Use: J FILM SIZE: ^ TECHNICAL MICROFORM DATA REDUCTION RATIO:__jJx IMAGE PLACEMENT: lA (lA) IB IIB /, DAfE FILMED: ^_M3 INITIALS Sm^ HLMEDBY: RESEARCH PUBLICATIONS. INC WOQDORIDGE. CT c V Association for Information and image iManagement 1100 Wayne Avenue. Suite 1100 Silver Spring. Maryland 20910 301/587-8202 Centimeter 12 3 4 5 miiiniimiiiiiiiHiiiiiiiiiiiiliniliiiiiiiniiiiii Mmmhm^^ 6 7 8 9 iliinlniiliiiiliiiiliiiiliiiiliii Inches rrxTT 10 11 iiiliiiiliiiili TTT 1 1.0 Ui |2.8 U lift SI bfi 1.4 |2.5 2.2 2.0 1.8 1.6 I.I 1.25 12 13 14 15 mm liiiiliiiiliiiiliiiiliiiiliiiiliiiil TTT I MRNUFfiCTURED TO MIM STRNDRRDS BY RPPLIED IMRGE, INC. I*: \iy Cotambta (MnttJetstftp THE LIBRARIES Ik f ■«♦ te; HANDBOOK FOR AND THE CAMPAGNA. EDITED BY NORWOOD YOUNG, AtUJwr of " The Story of Rovu: SEVENTBENTfi EDITION. WITH 96 MAPS AND PLANS. LONDON: EDWARD STANFOBD, 12. 13, & 14, LONG ACRE. W.C. 1908. WITH DIRECTORY FOR 1910. -SiMtaaumm, *i jm .\ PREFACE. u- %-^ i(»irt. LONDON : PRINTKD BY WILLIAM CLOWES AND SONS, LIMITED, DUKP: STKEKT, STA3IF0KD STREET, S.E., AND OUEAT WINDMILL STKEKT, W. M\ This Edition, the seventeenth, is Uke its predecessor, in three parts : — Directory, Introduction, and Routes. The Directory contains practical information concerning hotels (with a map) and pensions, tram-lines (with a map), cab fares, clubs, shops, etc., with a vocabulary for diners at restaurants, an article on the climate of Rome, a suggested itinerary for hurried travellers, and a table of the hours at which galleries and museums are open. For this edition the Directory has been almost entirely re- written. Amongst other changes the list of hotels has been made upon new^ lines. Hitherto the custom has been to divide hotels into categories of first, second, and third class, a classification both invidious and unreliable. In the plan now adopted the hotels are arranged in an unbroken series. The cost of living in a hotel being the first point to be ascertained about it, the sequence is arranged, as nearly as possible, according to the charge made for normal accommo- dation. Perfect accuracy, however, cannot be obtained on such a point. Any series of three hotels in the list may be regarded as practically equal in expense. The large amount of information contained in the Directory is frequently revised and re-issued, thus keeping this impor- tant part of the Handbook always up to date. a 2 *1i^ 1 VI PREFACE. The Introduction contains, amongst other information, a short history of Kome by the Editor, articles on Architecture by K. Phen6 Spiers, F.S.A., on Sculpture by the late A. S. Murray, and on Painting by Mrs. Ady (Julia Cartwright) ; chronological tables, lists of emperors, famous men, popes, saints, religious orders, artists ; a glossary of technical terms, and an illustrated table of coats-of-arms of famous popes and nobles. Each of the Boutes has a plan, with the direction marked upon it in red ink. There is an Index map of the City, with all the routes marked in red ink, at p. [123] ; and an Index map of the Campagna, similarly treated, at p. 431. The whole of Koute 6, which deals with the Forum and its neighbourhood, has been revised and, as to the greater part, re-written, under the supervision of Comm. Giacomo Boni, the Director of the Excavations, and the greatest living authority upon the subject. Comm. Boni has also provided the new map of the Forum, which has been specially prepared for this Handbook. The Publisher and the Editor are under special obligations to Comm. Boni for the authori- tative description of the Forum, which he has so kindly furnished. Several new maps_ have been made for this Edition. The Editor desires to thank Contessa Gautier for much valuable assistance. Norwood Young. I 1 i I t ^ CONTENTS. PAGK List op Maps, Plans, etc ix Abbreviations xi DIRECTORY. Thb Journey to Rome [IJ Hotels [2] Pensions [5] Alphabetical Guide: — Cabs : Church Services : Clubs : Embassies : Festivals : Lessons : Lodgings : Medical Men : Money : Post and Telegraph Offices : Public Buildings : Restaurants : Shops of all kinds : Tramway and Omnibus : Weights and Measures : and other Useful Information . . . • [6] Language. — Vocabulary for Restaurant ..... [29J Climate [31] Hospitals and Charitable Institutions .... [32] Itinerary. — Chief Objects of Interest : Hours of Admission and Fees [33] INTRODUCTION. Topography .......... [37] The Tiber [38] The Ruins :— Chronology of the Principal Ancient Buildings . . . [40] Causes of Destruction .... . . [41] The Walls [42] Aqueducts . . . [46] viu CONTENTS. Medi^^val and Modern Rome: — Basilicas Churches . . . • Church Festivals Campanili . . • • Catacombs Galleries, Museums, and Excavations Palaces . - . • • Geology . . • • • History of Rome . . • • A Papal Election Architecture . . . • Sculpture Italian Painting in Home Chronological Tables :— Important events List of Emperors List of Famous Men in Ancient Timej Bishops and Popes of Rome Kings of United Italy List of Saints, Religious Orders, etc. List of Architects, Sculptors, and Painters Glossary of Technical Terms . COATS-OF-ARMS OF FAMOUS POPES AND NOBLES List of Routes in the Handbook PACK [49] [50] [52] [60] [61] [63] [63] [64] [66] [81] [82] [87] [93] [98] [100] [101] [101] [104] [104] [110] [113] [118] [123] SECTION I. The City and the Immediate Suburbs. Routes 1 to 42 • SECTION II. The Campaona. List of Routes Directory to the Campaona : Hotels, etc. . . . 433 437 Routes 43 to 00 540 Index ,.•••••• '( LIST OF MAPS, PLANS, ETC. Hotel Map Tramway Plan . . . ^ The Walls of Rome . Map of Routes described in the Handbook Porticus of the Argonauts . Kircherian Museum ■ • • • Palazzo Doria • • • • . Palace of the Conservators Museum of the Capitol (Ground Floor) ' " " M (Upper Floor) . The Forum Romanum Arch of Septimius Severus Arch of Titus . Temple of Venus and Roma Basilica of Maxentius Fora of Augustus and Nerva Restored Plan of Trajan's Forum Remains of Trajan's Forum The Colosseum— Elevation and Section i> Quarter-plan of Seats and >* Plan of the Excavations The Ruins on the Palatine The House of Germanicus S. Clemente (Upper Church) „ (Lower Church) San Giovanni in Laterano »' >> (Cloisters) . Lateran Palace and Museum (Ground Floor) " „ (First Floor) . Part of the Palace of Nero under the Baths of Titus S. Pudenziana , Basement facing facing fa/^ing facing facing faci'ng I f PAGE [3] [27] [37] [123] 11 23 28 41 48 49 59 65 79 81 86 96 99 101 105 106 107 111 121 133 135 141 145 151 154 158 163 LIST OF MAPS, PLANS, ETC. LIST OP MAPS, PLANS, ETC. XI PAOX ■ ) S. Maria Maggiore 165 | r „ „ (Original Plan) . 166 ■ So-called Auditorium of Maecenas . 173 1 The Pantheon . 183 I „ (Half Elevation and Half Section] . 184 1 Palazzo Colonna — Picture Gailery " . 203 1 The Quirinal Palace . 209 m Porticua of Octavia ...... . 246 1 S. Maria in Cosmedin .252 1 St. Peter's facing 281 | , „ — The Sacristy . 291 „ —The Crypt . 293 The Vatican— South Wing .... . 299 „ — The Pinacoteca . . 316 „ — North Wing . 319 Palazzo Corsini — Picture Gallery . 354 i S. Lorenzo fuori le Mura .... . 363 1 S. Agnese — Section and Plan . 370 * Cemetery of Ostrianus — Cubicula . 373 • Casino Borghese (Ground Floor) . 381 J k (First Floor) . . 383 ^ Baths of Caracalla ..... . 409 J • Catacombs of St. Callixtus facing 418 m —The Papal Crypt . 419 1 S. Petronilla . 427 f #• Rome and the Campagna — Index Map faci7ig 431 1 V* ( i The Environs of Rome ..... facing 437 Villa of Hadrian . 441 r Tivoli and Environs facing 443 ^ Tivoli — Temple of Vesta . 446 S Tivoli and Palombara facing 451 < Subiaco and Olevano facing 458 The Appian Way facing 483 Tombs on the Via Latina . 488 Nemi — Temple of Diana Nemorensis . . 494 Frascati, Albano, and Velletri .... facing 495 Porto d' Anzio to Nettuno . 512 Ostia — Buildings discovered between the Theatre an d Temple of Vulcan . 523 p Ostia— Mithraic Temple . 525 J Oatia— Theatre : Forum and Temple of Ceres . 526 1 Etruscan Veii ff • facing 538 1 Sbctional Plans op the City of Rome to Illustrate Routes. Sect. Route facing page Sect. Soute facing page 1 .. 1 . 1 13 22 229 2 2 12 14 23 288 8 3, 4, 19 20 15 24,25 244 4 6, 6, 7 37 16 26 266 6 8, 10 104 17 27 260 6 11, 12, 13 131 18 28 270 7 14 157 19 .. 29,30,31,32 . 272 8 15 169 20 33,34 861 9 16 178 21 36 362 10 17, 18 190 22 40 396 11 20 211 23 41 406 12 21 216 Genbbal Map of Rome • • • In pocket at end. ABBREVIATIONS. Abp. Archbishop. L. Lanciani. Adni. Admission. M. (in notices of Paintings). Morelli. Arch. ArchaeoloRical. M. (in accounts of buildings). Middleton A. S. M. A. S. Murray, LL.D., F.S.A. m. mile. A.U.C. Ab Urbe Ck)ndita. min. minute. B. Bum. P. Perkins. Bapt. Baptist. pop. population. C. and C. Crowe and CatxUcaselle. r. or rt. right. Cic. Cicerone. S. San or Santa. Cap. Cappella. S. M. Santa Maria. Card. Cardinal. St. Saint. Evan, or Ev. Evangelist. S. P. Q. R. Senatus Populusque Romanus hr. hour. V. M. Virgin Martyr. K. Kugler. • a mark of commendation. 1. left. Names of places in brackets (Hadrian's Villa), following the description of any work of art, indicate the place at which it was found. Dates within brackets after a person's name signify the year of his death. Black brackets [ 2 indicate that the place, building, or object described within them lies off the main route. \ DIRECTORY. I II THE JOURNEY TO ROME. The Channel may be crossed in 70 min. vid Dover-Calais, in 100 min. vid Folkestone-Boulogne, in 3 hrs. vid Dover-Ostend, in 4 hrs. vid Newhaven-Dieppe, and in 6^ hrs. vid Southampton-Havre. There are three routes across the Alps : 1. The Mont Cenis, from Paris to Turin. The comfortable Rome express goes by this route. 2. The St.Gotthard from B&le to Milan. 3. The Simplon, opened in 1906 for the Milan Exhibition. The Mont Cenis Tunnel is the shortest, the St. Gotthard the most picturesque, the Simplon the longest. The times of departure from London and arrival in Rome are the same by each of the three routes. Italian (Mid-Europe) railway time is one hour in advance of English time, and ten minutes in advance of Rome time. Italian railway time avoids A.M. and p.m. by counting from midnight up to 24. Thus 8.20 P.M. is 20.20. As a rule the Customs examination of hand packages takes place at the first Continental port, and again at the Italian frontier, whore registered luggage is also examined. In the season application for places in a sleeping car should be made several days beforehand. The office of the International Sleeping oar Company is 20 Cockspur Street, London, S.W. ; in Rome, 81 Via Condotti. For complete tariff and time tables, consult Bradshaw's Continental Railway Guide (2 shillings) ; the Livret Chaix Continental (2 francs) • and for Italy, the Indicatore Ufficiale delle Strode Feirate (1 lira). Arrival by all Rly. lines at the Stazione Cbntrale (Termini). Porter (facchino), 26 c. each heavy trunk; hand luggage, 15 c. or 20 c. Omn. to all the principal hotels, usually 1 fr. 25 c. Cab, 1 fr. Two horses, 2 fr. ; at night, 2^ fr. Each large packa'^e SO c. ; hand luggage free. See Cab fares, p. [9]. Luggage.— In England, luggage, unless in very excessive quantity, 18 carried free. In France 56 lbs. are free, and any excess over that weight is charged ^ c. per 220 lbs. per kilpmetre. In Italy all luggage has to be paid for, except such small hand articles as can be taken into the carriage without interfering with the convenience of the other passengers. In consequence of the frequent luggage robberies in Italy, the railway authorities refuse to carry luggage which is not securely locked, unless it is fastened with cord, and sealed by one of their officials, at a fee of 50 c. per package. This operation may cause the passenger to lose his train.^ On the Continent, all luggage which is not taken into the carriage [Borne,] ^ ^ [2] DIRECTORY. has to be registered, and a ticket obtained. To do this with comfort passengers are advised to be at the station at least half-an-hour before the time advertised for starting. Luggage may be left in the cloak- room (consig7ie, Fr. ; deposito, Ital.) for a small charge. Customs. — Tobacco, tea, lace, and silk are the most usual dutiable articles carried by tourists. In France, 20 cigars, or } lb. of tobacco, in Italy, 6 cigars, or IJ oz. of tobacco, are allowed free, provided they are declared— not otherwise. The customs officials are entitled to search passengers, for which purpose male and female searchers attend. The fines for not declaring dutiable goods are heavy. Passports.— Hhe traveller is advised to carry a passport, with a tolerably recent visi, both in France and Italy, as evidence of identity and respectability. Without one there may be difficulty in obtaining registered, or even ordinary, letters, post-office orders, or parcels. Passports may be obtained through E. Stanford, 12, 18, and 14 Long Acre, London, W.C. ; W. J. Adams, 59 Fleet Street ; or Lee and Carter, 440 Strand. They cost 3s. 6d. Travellers should avoid sketching, or photographing, near fortifications. Steamer Routes. — Rome can be reached vid Naples by the Orient line, and vid Genoa or Naples by the North German Lloyd. These are excellent, well-managed lines, which either for first or second class accommodation can be thoroughly recommended. In considering the advantages of the sea route, it may be noticed that as luggage is carried free, and as the traveller need have no expenses on board for nine days, it is not so expensive as the sleeping-car in a train. HOTELS. All the hotels in the following list have lifts and electric light ; they all have separate tables for table d'hOte, though some retain, in addition, the more sociable long table for those who prefer it; all send an omnibus to meet the trains. In nearly all of them both public and private rooms are warmed by •' central heating" (hot air or hot water pipes or steam), for which sometimes an extra charge is made in addition to the pension price. It is an advantage to have an open fireplace in the room for ventilation, if for no other purpose. The most expensive hotels are placed at the head of the list, and the sequence is regulated, as far as possible, by the estimated average pension price for an average room — but this must obviously be only a rough calculation, whose perfect accuracy cannot be guaranteed. It is the general custom to raise the charges in the season, which is usually considered to cover the months of February, March, and April. The figures given below are for the off season. Pension terms can usually be obtained for a stay of 2 or 3 days, but the practice varies. In situation Roman hotels are of three kinds : (a) Those near some part of the Corso, at the base of the Pincian and Quirinal Hills, in the busy part of the town, and near the shops : (b) Those half-way up the same hills, described below as* 'raised": (c) Those on the upper slopes of the hills, or **high." Except in the summer there is not much difference between the three situations as to healthiness; but the higher situations contain the newest hotels, which have, in general, a more open front and more sun than the older hotels, in the lower quarters. The principal sights ore so scattered, and the service of electric / i ( 1 Allemagne % Alibert S. Angleterre 4. Anglo-Americano 5. Beausite 6. Belle Vue 7. Bristol . & Campidoglio 9. Cpnlinent.ll 10. Eden. 11. Europe 14. Excelsior 18. Germania 14. Grand Ifi. Hassler 16. Italic M. Laurati ]& Londres 19. Marini 90. M^tropole 31. Michel XL MUano 28. Minerva M. des Nations SS. Nazionale 9& Palace ST. Pincio 98. Pnniavera 39. Ouirinal 80. Kegina SL Royal a& Russie 88. Savoia 84. Suisse 8ft. Splendid 86. Victoria Scale of 1 EngUsb Mile l.,«ao„ , Bd:.»«^ 8u«lbrd.l2, 13 * 14. Long Acre, W C Stan/brdi Setyf Ettaif. LoiUm^ DIRECTORY. [3] tramways so good, that there is little to choose between the varioiw hotels as regards convenience of situation for sight-seeing. Not one of them IS any distance from a tram line. In most of the hotels the Anglo-American element is predominant. The exceptions to this rule are noted below. Every hotel here mentioned can be recommended, for the price charged. The asterisk is given by way of suggestion, not comparison. It could fairly be extended to the whole list. (See Gratuities p [17] ) •Excelsior .... Corner of Via Vene- to and Vin Boa* oonipajpii FdnsioD. •Palace . . Via Venelo. •Grand . . PJAxza dvlW Ti fr. Mo peiuion No peiuioD Situation. R«aiarlcs. High. Near Palace of Qiioon Mothor, and Borgh««o Parle. High. Near Palace of Queen Mothor, mid Borgheae Paric From 20. No , High. Conveuleat for MMk)n a/ter rtilvay. Plana Barbwf^ Con* U«ber(# di •K^Mlaa VkVi rul tor IS. . . M «o lA. la tk0 ^IM emlrv ef lUh «|«afw Wrtal U Uo dikl alTMl or . Yimerfj tlit Ha>cl Opened in lOML Ilu'b and f(>Ut(Uiknuvxi.A to private I'ooiiii. Kuullxh billiardt, Opnn« i : urd t*V4e. B«lh uti MMtf Ao. IMMd lO Vo from n fit. ynU-Aivtl. Ptmd 14 . . . In ibt 1 VlaCSar««r. t < • mVULmivdUl, t « t Via V«a4(A. R*'fal . , . , . II Via V«aU 5ei. tec lU^ XMrPiliMor lb«qaMal|«||»«. ttlo9# . «pe« OM C9UU1A«4. OpiMdUM. )Stol« I ■Ifh. XeM^fkMtoFla aadlHtiAA 0»IM< la ISOC t2 [*] DIEECTOBY. Pension. Minerva . . • Piazza Minerva. Utissic .... 9 Via Babuino. *Maje.=tic .... Via Veneto. •r>eausite ... 45 Via Ludovisi. •AngleteJTe . . . 14 Via Bdcca di Leoue. Situation. Mariui . . . . 17 Via Tritone. H?8sler Piazza Trinitk dei Monti. From 12 to 18 . From 12 . From 12 to 16 . From 12 to 16 . From 10 ; iJan., from 12. From 10^ to 16 for not leas than a week. From 11 to 18. 60. Most W. of all the hotels. In the heart of the town. Near Pantheon. Remarks. Cosmopolitan. Convenient for the Large garden b*>low Pincio. . High. Near Palace of the Queen Mother. High. Between Piazza di Spagna and Corso. if ear shops. In a busy street. Near Piazza Colonna. the Pincia Modern. Swiss style. Boston Via Lomhardia. Italie ..... 12 ViaQuattroFon- tane. Windsor .... Via Veiieto. . Milano 11 Piazza Monte Citorio. *Savola .... 16 Via Ludovisi. Pincio CO Via Gregoriana. Michel . . . Via Torino 98. 10 to IS . . . From 10 to 12 . From 10 to 12 . From 10 . . . From 9.50 to 14.50. From 9 to 15 . From 9 to 12 German society. Raised. Fine view. At top of steps of Piazza di Spagna. High. Near Borghese | Formerly the H. 8ud. Paik. Raised. Some rooms overlook Barbiirini Garden. High. Near Palace of the Queen Mother. Close to the Chamber | Italian Deputies, of Deputies. Lanrati 154 Via Nazionale. Allemagne .... 68 Via CondottL Arglo- Americano . 1-28 Via Fiattina. Canipidcglio . . . 286 Corfo Umberto Prime. High. » . » • From 9 to 13. No increase. From 8 to 12 . From 8 . . From 8 . . Raised . High. Near station. Nearest to the Forum. Between Piazza di Sjiagna and Corso. Between Piazza dl Spagna and Corso. In a bupy street. Close to Piazza Venezia (the central p6int for trams). Fom'.erly the H. Mo- Uio. Cosmopolitan. Cosmopolitan. DIBECTOBY. Metropole .... 76 Via S. Nlccol6da Tolentiuo. •Victoria .... Via Sardegna. Nazionale .... Piazza Monte Cito- rio 130. Belle Vne .... 37 Via Boncompagni. des Nations . . 68 Via Bocca Leone. dl Park Via Sallustiana. Alihert . . . . Vicolo AUbert. Pension. fr. From 8 to 12 From 8.50 to 10 for a stay of seven days. From 8 to 10 . From 8 to 10 From 8 to 10 From 7 to 9 . From 7 to 9 . Situation. High Near the gardens. Bor;;he8e Close to the Chamber of Deputies. High. Between Piazza di Spagna and Corso. Near shops. High. Below the Pincian Hill. Near Piazza di Spag- na. [5] Remarks. Formerly Pension Cliapman. Italian Deputies. Cheap hotels in the Italian style, where the meals are paid for separately, are the following : — Cavour, 5 Via S. Chiara, near the Piazza Minerva. Centrale, 9 Piazza Rosa. Colonna, 5 Via Tritone. Posta^ 8 Via del Gambero ; breakfast only served. PENSIONS. Pensions are, as a rule, cheaper than any except the cheapest hotels. They are more sociable than hotels. It is not uncommon for the proprietor — often an English lady — to preside at the head of the table ; but separate tables are also not unusual. Afternoon tea, and wine, are not always included in the pension price. The heating is generally by stoves or wood-fires. There is never an omnibus to send to the station, but a porter or cab will meet the traveller if desired. • Pension. Situation. Remarks. Prnsions. Fran^aise .... 72 Via Sistina. •Hayden .... 42 Piazza PoU. fr. From 8.50 . . 8. 60 to 10 50; increase in the spring. Raised Near Piazza Colonna, and shops. Cosmopolitan. Cen- tral heating. [6] DIRECTORY. ♦Schwabe .... 15 Viale Giulio Cesare. Pension. •Bethel . . . . 41 Via Babuino. •Dawes Rose . . . Via Sistina 57. Smith 47 C'orso Uniberto Pi'inio. litnlovisi .... Via Emilia 18. •flurdle-Lomi . . 36 Via I'ritoue. des Etrangers . . Via Ludovisi 56. Jaaelli-Owen . . . 12 Piazza Barberini. * (argil 1 .... 47 Esedra di Ter- mini. Wool cock 72 Via Montebello. ITnion and Marley . 121 Piazza Monte Citorio. Finciana .... Via Veneto 64. de» Anglais . . . 5 Piazza Barherini. Situation. fr. S to 12 ; increase in the season. 8 to 10 ; 8 to 12 . 7 to 12 ; increase in the season. 7 to 10 . . . 7 to 10 . . . 7 to 10 . . . 7 to 10 . . . 7 to 10 . . . 6 to 8 ; 10 to 12 «t ]£aster. 6 to 10 . . . 6 to 8 ; 7 to 9 . 7 to 8 ; 6 to 7 in summer. 6 to 7 ; no in- crease. The nearest to St. Peter's. Remarks. Removed from 27 Via Venti Settembre. In busy street, near Tearooms. Piazza di Spagna, and shops. Raised. In the chief street of Rome. High. Near Piazza Colonna, and shops. High. Raised. High. Near station. High. Near station. Near Piazza Colonna, and shops. High. Near Borghese Park. Raised. Cosmopolitan. Cen- tral heating. Central heating. ALPHABETICAL GUIDE. Academies (see Clubs). Agents (see Forwarding Agents, House Agents). Antiquities. — Corvisieri, 86 Via Due Macelli ; Innocenti, 77 Via Babuino ; Jandolo, 92 Via Babuino ; Segr4, 92 Piazza di Spagna. Archaeology (see Clubs). Art (see Clubs). Artists (see Painters, Sculptors, Clubs). Artists' Materials.— JwZiana, 147 Via Babuino; Zecca, Via Sis- tina 123. DIRECTORY. [7] Art-dealers.— ^r/ wis' Co-operative Society, 138 Via Babuino Auction Rooms at the Pal. Borghese, kept by Cav. Q. Sangiorgi, Hitruscan, Roman, and mediaeval curiosities, pictures, furniture, &c. V 7®^^J?;^.^'^l*' ^^ ^^* ^- Claudio; ColaUtcci, 94 Via Babuino; Valan 100 Via Babuino, and 79a. Via Condotti ; Don^ti, 145 Via Prin^ cipe Umberto; Lats, 49 Via della Croce; Perego, 143 Via Nazionale. Co., Piazza SS. Apostoh 53 ; French, Lemon and Co., 49 Piazza de Spagna; /2oe^ier Franz Via Condotti 20; Thomas Cook and Son, 2 (German), 7 Via deUe Vite; Banca d' Italia, Via Nazionale; Ba7ica Comtncrciale Italtana, 112 Via Plebiscito. XT- ^t^^^-~}^ ^° ^.?- • X®® *^ attendant, 20 c. ; Istituto Kinesitsrapico, Via Plinio (near the Vatican); 151 Corso Umberto Pnmo; 96 Via ^! m"'%^^V'*xTT^'*' f?X^* ^^' Crociferi (hydropathic establish, ment); 37 Via Volturno (hydro-electrio therapeutic). Duriii ^^^^^l^xJ^o*^^^*."^ ^'^ ^^^^^' 27 Via Lombardia; Velodromo Roma, 107 Via Salana. Bi\\ia.rds.—A7iglo-Ainerican Bar, 328 Corso Umberto Primo • Arba- re«i corner of Via Agostino Depretis and Via Balbo ; Caffi delle varxeta, 74 Due Macelli. "" Bookbinders.— Rome is celebrated for its bindings in white vellum • S^o^mm Via deir Archetto 19; Olivi^ri, 38 Piazza di Spaaua- Donnini, 21 Via della Croce; Andersen, Via Frattina 40; Gliivgler, 35 Via della Mercede. '' * Books on Rome. History.— ♦T. Mommsen. The History of Rome, to b.c. 44. 4 vols *E. Gibbon. Decline and Fall of the Roman Empire. Edited bv J. A. Bury. 1900. 7 vols. "^ *T. Hodgkin. Italy and her Invaders. 8 vols. •F. Grogorovius. History of the City of Rome in the Middle Ages 11 vols. ° * ♦H. H. Milman. Latin Christianity. 9 vols. ni. Creighton. History of the Papacy during the Reformation. vols. [8] DtRECTORY. History o! the Popes from the close of the Middle Ages. »» if 11 L. Pastor. G vols. In one volume :— „ ' .„c C. Merivale. History of Rome, to ad. 47b. _ .-^ H F Pelham Outlines of Roman History, to a.d. 4/0. _ . . Norwood Y^ung The Story of Rome (Mediaeval Town Series). Fifth Edition, 1907. ARCHABOiiOQY.-r-Modem works : — -qq, R L^ciani. Ancient Rome in the light of recent discoveries. 1891. ♦Pagan and Christian Rome. lii\fA. •The Ruins and Excavations of Ancient Rome. l»y/. The Destruction of Ancient Rome. 1899. New Tales of old Rome. 1901. *.T. H.'Middleton. Remains of Ancient Rome. 1892. *a. Boissier. Archaeological Rambles. 1896. O. Richter. Topographie der Stadt Ro°l-. 1^^^-. ^ ^ ,, Bunsen Of older works the best-known are by Nibby, Sir W. GeU, Bunsen, Jordan, Letarouilly. Marquardt, Jordan, Burn, Dyer, Nichols, Parker. For the Forum :— ^.i lom C. Huelsen. Das Forum Romanum. Plans. 1904. Mrs. Burton-Brown. Recent Excavations in the Roman Forum. "' St. Clair Baddeley. Recent Discoveries in the Forum. 1904 Various works, in greater detail, on different portions of the Forum, '^' ^HUH^ci^^ut^s^t'and Knapp. Die Basiliken Ohristlichen Roras. , (Janina. Tempi Criatiani. 1846. « i. v .. G Tontana. Raccolta deUe Migliori Chiese di Roma Suburbane. 5 vols. 1879. ^ ,. ^ .o_ ♦M. ArmelUni. Le Chiese di ^oma. 1891. »0. Marucchi. Basiliques et Eglises de Rome. 1902. Art —Sir A. H. Layard. Kugler's Handbook of Painting. 1887. Morelli. Italian Schools of Painting. Lord Lindsay. History of Christian Art. 1886. Crowe and Cavalcaselle. History of Painting in Italy. Edited by Langbon Douglas. 1903. „ , . looo C. C. Perkins. Handbook of Itahan Sculpture 1883. ♦A Furtwaengler. Masterpieces of Greek Sculpture. 1895. * ' Die Antiken Gemraen. 1900. W. Helbig. Guide to the PubUc Collections of Classical Antiquities ^"^ clSTcoMBS.-G. De Rossi. La Roma Sotterranea Cristiana. •Revs J S. Northcote and R. Brownlow. Roma Sotterranea. O. Marucchi. Le Catacombe Romane. 1903. ♦G Wilpert. Le Pitture delle Catacombe Romane. li^w. MikcELLANE0U8.-»W. W. Story. Roba di Roma F Marion Crawford. Ave Rome Immortalis. 189». W W. Pullen. The Marbles of Rome. 1894. L Duf! Gordon and St. Clair Baddeley. Rome and its story- 1904. •MA R. Tuker and H. Malleson. Handbook bo Christian and Ecclesiastical Rome. 1900. 3 vols, Douglas Sladen. The Secrets of the Vatican. 1877, 1879. 1907. DIRECTORY. * [9] Fiction.— Nathaniel Hawthorne. Transformation. 1884. W. Pater. Marius the Epicurean. 1885. H. Sienkiewicz. Quo Vadis. 1896. E. Zola. Rome. 1896. G. Gissing. Veranilda. 1904. Booksellers,— SpitJUwer, 85 Piazza di Spagna. Piale, 1 Piazza di Spagna ; Wtlson, 22 Piazza di Spagna ; Bretschneider, 60 Via del Tritone ; Bocca, 216 Corso Umberto Primo ; Loescher, 307 Corso, entrance Via dell' Collegio Romano 14; Modes and Mendel, 146 Corso Umberto Primo ; Treves, 383 Coiso Umberto Primo ; Paravia, 56 Piazza SS. Apostoli and 15 Via Nazionale. The works published by the Propaganda, on Qcclesiastical literature, and in the Oriental languages, can be procured at the shop attached to the College Prmting Office in the Piazza Mignanelli, or at Spithover's. Boots (see Shoemakers). Bronzes,— RGhrich, 62 Via Due Macelli; Boschetti, 74 Via Con- dotti ; A. NeUi, 61 Via Babuino ; Rainaldi, 51a and 134 Via Babuino. Cab Fares. OPEN. The ooone for one or two persons . . By the honr (each hour) For every additional quarter of an hour Exceptiont to the above aeneral rules : — A course to or from the Vatican Mu- seums of Sculpture, tlie railway station of S. Pietro, Viale della Re- giuR, Barriera Angelica, Janiculum Hill, Pincian Hill, Porta 8. Sebas- tiano, Porta S. Pancrazlo, S. Lorenzo fuori, tlie Aventine Hill further thanS. Alessio By the hour to the Pincian Hill, Villa Borghese, Villa Corsini, Viale Pari- oli, and up to 8 kilometres (about 2 miles) beyond any of the city gates. For every extra quarter of an hour By day or night.t fr. c. 1 2 20 66 CLOSED. By day. fr. c 1 20 2 50 65 1 50 75 By night.t fr. c. 1 40 3 75 1 70 75 TWO HOUSES. By day. fr. c. 2 3 70 By night, t 1 9^ 75 2 60 3 50 85 fr. c. 2 50 3 50 86 2 80 95 In a one-horse cab, by the course, 20 c. extra charge for a third person, packages, no charge ; large 50 c. Drivers are obliged to carry this tariff, and produce it on demand. f Night begins one hour after sunset, and lasts till 7 a.m. Small Cafes. — Nazionale {Aragno), 179 Corso Umberto Primo, cold dishes only (see Restaurants, Confectioners). Cameos, principally on shell. — Negri, 60 Piazza di Spagna ; Verge^ 52 Piazza di Spagna ; De Felici, 98 Piazza di Spagna ; Tombini, 2 Via Condotti. [10] DIRECTORY. DIRECTORY. [11] Carpets and Curtains.— ifacw, 46 Via Condotti. Carriages.— Con/t, 1 Piazza della Pilotta ; Rist, Piazza Barberini 17. For the day, not including btionamano, 20 to 25 fr. By the month, 300 fr. and upwards. Written agreement neceesary, prescribing distance carriage may be taken outside the walls. Casts from the Antique.— Afarsiii, 18 Via Frattina; Malpien, 54 Corso Umberto Primo ; Padovelli, Via di Purificazione 44. Chemists.— i^tans and Co., 64 Via Condotti ; Roberts and Co., 37 Piazza in Lucina; W. A. Wall, 1 Via S. Niccolo da Tolentino; Baker, 41 Piazza di Spagna, and opposite the Grand Hotel ; Alleori, 43 Via del Tritone (homoeopathic). Chess (see Clubs). CHURCH SERVICES.— Church of England.— ^W Saints\\\& Babuino 154. Chaplain, Rev. F. N. Oxenham, D.D., Piazza del Popolo 18. Services from Advent to Easter: Holy Eucharist, Tues., Thurs., Holy Days, 8. Matins daily, except Sat., at 10.30. Extra services in Advent and Lent. On Sun., Holy Eucharist at 8, and also at 10 on the 1st and 3rd Sun. of the month. Matins at 11. Evensong at 4. After Easter the hours are changed, notice being given from time to time. The Church is supported entirely by contributions of visitors and residents. Sittings 25 fr. each for those who desire reserved chairs; otherwise free. Attached to the Churcli there is a Lending Library, open to all members of the congregation ; donations in books or money are received to keep it up. A fine Organ was presented by the Rev. W. J. Stanton in 1894. It has three manuals, and 40 stops, and was built by Peter Conacher, of Huddersfield, from a specification of Sir Herbert Oakeley, at a cost of 1050Z. All the pipes are of spotted metal. r, ^ ^ ii j Trinity, Piazza S. Silvestro, opened in 1874. Services at 11 a.m. and 8.30 P.M. Holy Communion on the 1st and 3rd Sun. in the month. Rev. O. Baldmn. American.— Si. PawZ's.— Via Nazionale, comer of Via Napoli, a handsome edifice in the Lombard-Gothic style, designed by G. E. Street, R.A. Sun., Christmas-day, and Good Friday, at 8.30, 10.45, and 4. On holy days, 9, and daily in Lent, at 10. Good peal of bells and Organ. Thfe Mosaics of the apse and arches over choir, from designs by Sir Edward Buiue-Jones, were executed by the Venezia- Murano Glass Co. at Venice. No endowment. Rector, Rev. Walter Lowrie. Roman Catholic, S. Silvestro in Capite, Piazza S. Silvestro. Presbyterian, 7 Via Venti Settembre. Sun. 11 a.m. and 3 p.m. Rev. Dr. Chay. Circulating library for the use of the congregation. American Methodist, corner of Via Venti Settembre and Via Firenze. Rev. Grant Perkins. Baptist, 35 Piazza in Lucina. Rev. N. A. Shaw. Baptist, 154 Via Urbana. Rev. J. C. WalU Waldensian, Via Nazionale 107. Wesleyan Methodist, Via della Scrofa 63. I Clubs, Academies, and Societies. Abchaeology.— American ScJiool of Classical Studies in Rome, Via Vicenza 5. Founded 1895. British School of Rome, Palazzo Odescalchi, Piazza SS. Apostoli 80. Founded 1901. Assisted by an annual grant from the British Govern- ment. Director, Dr. T. Ashby. British and American Archaeological Society, 72 Via S. Niccol6 da Tolentino. Founded 1865. The Hon. Presidents are the British and American Ambassadors. Lectures are delivered weekly in the season. A journal of the Proceedings is published annually. Subscribers are either members elected by the Council, or associates for the season admitted by the Secretary, subject to the approval of the Council. The annual subscription is 25 lire. Secretary, Mr. W. Heath Wilson. Frcmh Schawl {^cole Frangaise de Rome). Founded 1875. Palazzo Farnese. Gci-man Imperial Archaeological Institute. Founded in 1829. Meetings are held weekly during the season, generally on Fri. at 3 P.M., to which strangers are freely admitted, in the apartments of the Institute adjoining the German Embassy in the Via del Monte Caprino 25, when papers are read on archaeological silbjects. A monthly bulletin in Italian is published in Rome (at Loescher's), while the Annali and Monum£nti appear from time to time in German at Berlin. The library is the best existing for the study of archaeo- logy, and can be visited by means of an introduction from the traveller's consul. Accademia Pontificia Romana di Archcologia, Palazzo della Can- celleria. Founded in the 18th cent. Assodaaione Archeologica Rom>ana, Via del Giardino 112. Founded 1902. Societd per le conferenze di ArcJieologia Cristiana, Palazzo della Cancelleria. Founded 1875. Commissione Archeologica Munidpale, a committee appointed by the municipality to superintend, and illustrate, the excavations. A bulletin is published by LocscJter, Corso Umberto Primo 307. Annual subscription, 20 lire. AB.T.— British Academy of Fine Arts, 53b Via Margutta. Founded in 1823 for the maintenance of a free and permanent school, chiefly for study from living models. The funds were raised by voluntary donations, His Majesty King George IV. heading the list with 200Z. The management is by a committee chosen yearly by ballot. Evening classes. A good library. Associazione Artistica Internazionalc, 54 Via Margutta. Founded 1870. Life and costume classes. Italian management. Social meetings. Subs. 60 fr. a year ; 30 fr. the season. TJic American Academy in Rome, Villa Aurora, 42 Via Lombardia. Founded 1896. The Villa or Casino Aurora was formerly an out- building in the garden of the Villa Ludovisi. It contains several notable works of art by Donienichino, T. ZuccJiero, and others ; and two famous frescoes by Ouercino of (1) Aurora in her car driving away Night and scattering flowers, and, on the ceiling of the upper saloon, (2) Fame, accompanied by Force and Virtue. The garden contains statues, antique marbles, and a Satyr attributed to Michel Angelo. [12] DIBECTORY. Pine view over Rome and the Campagna from the terrace on the roof. (Recently removed to Via Nomentana 66.) , , ^ • French Academy, ViUa Medici on the Pincio. Founded by Loma XIV. in 1666, at the Palazzo Salviati, removed here in 1803. French students who gain the Orand Prix de Rome, in painting, scinpture, architecture, engraving, or music, are maintained here by the French Government for four years. Annual exhibition of their works, m the spring, before being sent to Paris. Annexed to the French Academy is a school for the nude, open free to artists of all nationalities. -. j ,o^r Deutscher KUnstlcrverein, 113 Via del Semmano. Founded 1845. Strangers admitted if they speak German. Subs. 60 fr. a year ; 10 fr. a month. _ . . „ ^^ R. Istituto di Belle Arti, 218 Via di Ripetta. Professors m all the chief branches of art. Accadcmia Raffaelh Sanzio, Corso Umberto Primo 504. Life and costume classes, for both sexes. R, Accademia di S. Luca, Via Bonella 44. A very early foundation, re-formed in 1577, by Sixtus V. President, His Majesty. Kttig Victor Emanuel III. First Academician, the Ocrman Empeior, William 11. Fine library; engravings; gallery of pictures, open to the public. (Admission, see p. [34].) . . Sodetd degli Acquarellisti (water colours), 65 Via Flaminia. Societd degli Amatori e Cultore di Belle Arti, Palazzo dell' Esposi- zione in Via Nazionale. Permanent exhibition (see p. 227) ; and also an annual exhibition. Museo Artistico Industriale, 96 Via S. Giuseppe Capo le Case. Classes and schools annexed. „. ,,. i. .,.. i Feminine Industbies.— Co-ojserartre Society, Via Minghetti (near the Trevi Fountain). Laces, embroideries, &c., chiefly by the peasant population. Under Royal patronage. . . ^roA UuBic— Accademia di S. Cecilia, Via del Greci 18. Founded 1584. President, His Majesty King Victor Evianwl III. Annexed to the Academy is the Liceo Musicale, founded in 1876. The most distinguished Roman musicians are amongst the professors. Accademia Filarmonica Romana, Piazza San Marcello 255. Founded 1821. Classical concerts. Apply to the Secretary'. Quintetto della Corte di S. M. la Regina Madre, Via della Croce 2. Classical concerts. Director, Comm. Pro/. G. Sf^atnfcaft. , , ,or»n Scuola Musicale Nazionale, Via Santa Chiara 49. Founded 1899. Professors of the voice and all instruments. Sport, &c.—Club Alpine Italiano, Via Valdina 6, near Piazza Firenze. Headquarters, Turin. The Roman branch explores the mountains of central Italy. Strangers admitted on recommendation. Chess. Circolo degli Scacchi, Corso Umberto Primo 387. Ladies may be introduced by a member. Accademia Romana degh Scacchi, Via Cavour 310. Founded in the 17th cent. Cycling. Societd Velocipedistica Romana, Via dei Bagni 88, outside the Porta del Popolo. Large area for cycling, lawn tennis, skating, &c. TouHng Club Italiano (head office, Milan), Via Monte Napoleone 14. Affiliated to the Touring Clubs of other nations, and gives reciprocal advantages. xi. tt- * • Rome Golf Chib. Club-house at Acqua Santa, on the Via Appia mRECTORY. [13] Nuova, 2^ miles outside the Porta San Giovanni (Lateran). The tram runs from the Porta S. Giovanni to within a mile of the links (see p. 139). The train from the Rome Central Station stops at Acqua Santa Station, within 100 yards of the Club-house. Nine holes; distance 2,700 yards. English professional. Subs. : Gentlemen, 100 lire for the year ; Ladies, 60 lire. Temporary members, for three mouths : gentlemen, 50 lire ; ladies, 30 lire. Daily ticket, 3 lire (for not more than three occasions altogether). Horse-racing. Jockey Club Italiano, Corso Umberto Primo 337. Patron, His Majesty King Victor Emanu£l III. Societd degli Steejjle-Chascs d' Italia, Corso Umberto Primo 337. Patron, His Majesty King Victor Emanuel III. Societd delle Corse in Roma, Piazza Poll 42. Organises race- meetings at Capannelle, outside Porta S. Giovanni. Hunting. Circolo dei Cacciatori, Corso Umberto Primo 255, Piazza S. Marcello. Admission by ballot. Societd Romana della Caccia alia Volpe, P. Margana 32. Kennels and stables at Villa Tor Fiorenza (outside Porta Salaria) the property of Prince Torlonia. Founded 1840. About 100 members, subs. 250 fr. English huntsman and whip, stable of English hunters, and a pack of hounds. Season, Nov. 15th to March 31. Strangers are allowed to become annual members, but as such cannot take any part in the deliberations of the society. English visitors may follow the hounds occasionally, or drive to the meets without being expected to con- tribute to the Hunt fund, .unless they are regular attendants. The meets generally take place on Mon. and Thurs. at 11 a.m., and are announced in the daily papers and the English libraries. The best hunting-grounds are those crossed by the Via Appia and Nomentana. The hunting season concludes with races, which take place at the Capannelle, and are patronised by the King and Royal family. Master : Marchese di Rocca^giovifie, 1 Foro Trajano. Lawn-tennis. Circolo Lawn-Tennis Roma, Via Corsi 11, outside the Porta del PopolaJ Patron, H.R.H. the Count of Turin. Pallone. Sferisterio Romano, Viale Po, outside Porta Salaria. Rowing. Club Canottieri Tevcre, boat-house Via della Passeggiata di Ripetta 42. Societd Canottieri Aniene, boat-house next door to the above. Skittles. Kegel Verein, Villa Strohl-Fem, left of the entrance to the Villa Umberto Primo (formerly the Villa Borghese). Miscellaneous. — Accademy;^ degli Arcadi, P. San Carlo al Corso 437. Founded 1690. (See p. 6.) Accademia Rcale dei Lined (from lince, a linx, emblem of watchful- ness), Palazzo delle Scienze (formerly Corsini) Via della Lungara 10. Founded 1603, the first scientific society in Italy, by Prince Cesi. During the lifetime of its founder its members included the chiei Italian names in science and literature, amongst them Galileo. On his death in 165^ the Academy virtually ceased to exist. It was re-formed in 1875. Devoted to science in the two branches, natural and moral. Meetings twice a month from November to June. Large library, many autographs, and periodicals of all countries. The transactions are published. Accademia di Conference Storico Oiwidico, P. di S. Apolli- nare 49. [14] DIRECTORY. Associazione Artistica fra i Cultori di Architettura, Via delle Muratte 70. . Associazione Nationale Italiana per il movimento dei Forestieri. Headquarters, Rome, Via delle Carrozze 3. Objects, to advertise and to increase the attractions of Italy, and to assist travellers in the enjoyment of their sojourn. Branches in the chief tourist centres. Travellers should make their complaints to the local secretary. Society for Prevention of Cruelty to Animals, Piazza di Spagna 64. Has done, and is doing, much successful work. Union Gliih, 23 Piazza di Spagna. An Anglo-American social club, strictly non-political and non-sectarian. Coke and Coal — Campanile e Ricciardi^ 101 Corso Umberto Primo. Collars and Neck-ties (see Gloves). Concerts.— In the Sala Costanzi, Sala Dante, Sala Umberto Primo, and Sala Palestrina. Classical quartettes during the season. Inquire at the English libraries. Confectioners. — Ronzi and Singer, corner of Piazza Colonna and Corso ; Ramazotti, 404 Corso, and 195 Via Nazionale ; Latour^ 67 Piazza SS. Apostoli ; Ara^no, 180 Corso Umberto Primo. Consuls. — Great Britain : Ccccarelli Morgan, 20 Via Condotti. America (United States) : 16 Piazza San Bernardo. Coral and TortoiseshelL — Balzano, 247 Corso Umberto Primo, also religious ornaments ; Uzzo, 67 Piazza di Spagna and 91 Via Condotti. Dairies (Vaccherie), for milk, butter, and eggs. — Palm^giani, 65 Piazza di Spagna ; Andreoni, 105 Via Sistina ; Serafini, 84 Via Muratte. Dentists. — Dr. Chamberlain, 114 Via del Babuino ; Dr. Fcnchelle and Dr. Bond, 93 Piazza di Spagna ; Dr. Webb, 87 Via Nazionale. Doctors (see Medical Men). Drawing (see Lessons). Dressmakers,— Pontecorvo, 172a Corso ; Cento, 25 Piazza Mignanelli ; Ville de Lyon, Corso Umberto Primo 160. Embassies to the Court of Italy. British Ambassador: Sir Edwin Egerton, Via Venti Settembre, near Porta Pia. United States : Hon. Lloyd Qriscom, 16 Piazza San Bernardo, Austria : Pal. di Venezia. Bavaria : Pal. Borghese. Belgium : 1 Foro Trajano. Denmark : 21 Corso Vittorio Emanuele. France : Pal. Farnese. Germany : Pal. Oaffarelli. Greece : 49 Via Venti Settembre. Holland : Pal. Bonaparte. BussiA : 518 Corso Umberto Primo. Spain : Pallazzo Barberini. Sweden and Norway : 16 Via Teatro Valle. Switzerland : 7 Via Vicenza, Turkey; 86 Via Palestro. DIBECTORY. [15] Embassies to the Pope. AusTRfl : 3 Piazza Venezia. Bavaria : 1 Foro Traiano. Belgium : 24 Corso Vittorio Emanuele. Monaco : 91 Piazza Borghese. Portugal : 4 Piazza S. Lorenzo in Lucina. Prussia : 149 Via Torino. Russia : Pal. Galitzin. Spain : Pal. di Spagna. EngrAvings.—Rcgia Calcografia, 6 Via della Stamperia, for the engravings executed at the expense of the Papal and Italian Govern- ments. SpitiUiver, 85 Piazza di Spagna. Bossi, 401 Corso Umberto Primo. Fans (see Umbrellas and Fans). Feathers.— C/iiara Falcetti, 77 Piazza Borghese; Alio, 425 Corso Umberto Primo. Fencing Instructors.— Conte Calori, 57 Via Pontefici; Comm. Parise, Via Geneva 24. • FESTIVALS.- There is no longer any organisation of the Carnival. A few masqueraders appear in the streets. At the Costanzi Theatre in the Via Firenze, veglioni (masked balls) take place. The so-called Carnival ends on the evening of Shrove Tuesday, with the moccoletti (small candles), when some persons carry lighted tapers in the streets and try to blow out those held by others. On the evening of Jan. 5 (Epiphany) there is much blowing of toy trumpets, &c., in the Piazza Navona. The Befana is also marked by a sale of such toys on the steps of the Ara Coeli. The Festa dello Statuto (first Sunday in June) commemorates the granting of the Constitution. The King reviews the troops in the Piazza dell' Indipendenza, the streets and public buildings are illumi- nated, and similar demonstrations of rejoicing are made throughout the whole kingdom. A good view of the fireworks [girandola) may be obtained in the evening from stands erected on the Pincio. Birthday of Rome, April 21.— The Forum and the Colosseum are illuminated at the expense of the Ministry of Public Instruction. The National Museums, and also such National Exhibitions as the Forum, Hadrian's Villa, Ac, are closed on the following Public Festivals : New Year's Day, Epiphany (Jan. 6), Queen's Birthday (Jan. 8), Easter Day, Ascension Day, Corpus Domini, Annunciation (March 25), the first Sunday in Jun6 (festa dello statuto), June 29 (SS. Peter and Paul), August 15 (Assumption of the Virgin), Sept. 8 (Birth of the Virgin), Sept. 20 (entry of Italian Troops into Rome, 1870), Nov. 1 (All Saints), Nov. 11 (King's Birthday), Dec. 8 (Immaculate Conception), Christmas Day. The chief Ecclesiastical i^^as/s (when Vatican and private collections are closed) are, besides all Sundays: Circumcision (Jan. 1), Purification (Feb. 2), S. Joseph (March 19), Annimciation (March 25), Easter, Pentecost, Ascension, Corpus Domini, Nativity of S. John Baptist (June 24), SS. Peter and Paul (June 29), Assumption (Aug. 15), All [16] DIRECTORY. Saints (Nov. 1), Christmas, S. John Evangelist (Dec. 27). For Church Festivals, see p. [52]. Firewood can be procured in large quantities at the wood-yards outside the Porta del Popolo, near the Tiber, or from Rotti, 83 Via Monte Brianzo ; Fascia, Via Salaria 4a ; Badaracco, 96 Via della Vite. Fish Markets.— Vmi di S. Teodoro and Piaasa delle CoppelLe (and see Markets). The best fish are the turbot (rombo), sea bass (spigola), the sea wolf {Lupo di Mare), grey mullet {cefolo), the red mullet (triylia), soles [sogliole), whiting {merluzzo). The ragvsta or crayfish represents our lobster. In summer the tunny, sturgeon, and onibriym are excellent eating. The best freshwater fish are the eels, pike, and carp from the lakes of Fogliano, in the Pontine Marshes, and Bracciano. Trout occasionally reach Rome ftrom the Anio above the falls of Tivoli, and in winter from the Lago Maggiore. A peculiar species of land-crab is considered a delicacy in the summer months. Rome is largely supplied with fish from Gattolica, on the Adriatic. Flowers.— Card^ito, 144 Via Babuino; Valle, 46 Via Capo le Case ; Oreg(yrini, 144 Via Sistina. (See also Markets.) Forwarding Agents.— Lemon and Co., 49 Piazza di Spagna ; Adolph Boesler Franz, 19 Via Condotti f C. Stein, Piazza di Spagna 36 ; Gandrand, 91 Via di S. Silvestro ; Thomas Cook and Son, Piazza di Spagna 1b, and Piazza Terme 54. Framincr (Pictures and photographs).— Pooioni, 26 Vicolo Alberto ; Etnili, Via Teatro Valle 66. Fruit Market— The principal are in the ViaU Manzoni and the Campo dei Fiori. Oranges are brought from Naples and Sicily ; apples and pears from the Sabine provinces chiefly, as also chestnuts and walnuts. In the spring and summer there is an abundant supply of strawberries, cherries, plums, and later of apricots, peaches, grapea, figs, melons, and cocattiero, a large water-melon. Funerals. — The interment of Protestants is plaoed under the superintendence of the committees of the English and German Churches. Fixed tariff, including hearse, coffin, mourning-carriages, payments to the Roman municipality for the ground and fees to the Officers. The funerals are divided into three classes: 1st, 650 fr., including a vault for supporting a large monument ; 2nd, 800 fr., with- out a vault ; 8rd, for persons unable to incur more expense, as certified by the British or U.S.A. Consuls, 66 fr. only for cemetery fees. These chat«es do not include a leaden coffin, which costs 65 c. per lb., or carriages. The clergyman generally receives a gratuity of 60 fr. Achille Trucchi (17 Via Quattro Fontane), keeper of the Protestant Cemetery, ia the undertaker appointed by the British Churdi Burial Committee. He is also chief inspector of the Roman Catholic Cemetery. Sig. Trucchi will attend to the erection of monuments and railings, and will keep them in order. Funerals of British and American Roman Catholics are under the direction of the Priest in whose parish the death takes place. The church charges, as well as thoee at the extramural cemetery of S. Lorenzo, are regulated by a fixed tariff. All intramural burials in churches are forbidden. Dlli^CTORY. [17"! Furniture. -Ca^m^i 249 Oorso Umberiio Primo; Janetti, 17 Via Condotti; H(W5, 46 Via Condotti (upholstery); Perron, .53 Cor so 43 Via def bXiSuo ^"^^^^*^'^^- ^*^®^ ""^'^ (lutarsia), Zuccarelli, TT ^**«"f-— ^nani, 48 Via Margutta. H. CoU^uin SSWi^U^^^^^ Ferrari 64 Via Piemonte. Forti (Pompeian subjects) 51a Via Margutta. G^H^i (figures), 5U Via Margutta. Gal^gos, 54 Via^ Wta. P^ Toris 46 vTa Flaminia. Maccari, Piazza Sallustio. Mohnart, 135 Via Sbuiitr L Po" o. 13 Via S. Niccolo ^^'^^'i^'pia^rr CiS Sistina water-colours. Ettore Roesler Franz, 96 Piazza b. Llaudio, fandscape tr^^^^ Paintings of / Vanished ^^^-^^^ from 2 I.M. till dusk. San^oro, 125 Via Sistina. ^^'%'^' ^'^'^f^^'ll' L. Seitz, 52 Via Babuino. Signora Stuart- Sindici, Via Flaminia 45. 'i'edder (American), Via Flaminia 98. Palaeographer.— C. Corvisieri, Director of the Government archives, 64 Via della Vignaccia. Photography.-MATERiALS : Rocca, 80 Via Condotti, 92b Via Babuino; -Sfewa, 162 CorsoUmbertoPrimo. ,, ^ , ^ . TinMAv Views &c : Alinari and Cook, 137a Corso Umberto Primo; F..?art^3l 7rvTa 6ondotti; Levi, 21 Via Sistina; and see Book^ ''"portraits- D'AU'ssandri, 63 Via Condotti; Le Licvre, 19 Vico?o del Mortaro^: 'ScjJ^nboche, 54 Via della Mercede; Montabo^ie, 188 Via Nazionale. Pianoforte (see Musical Instruments). Picture Cleaner.— Pi^f'o Cecconi, 27 Via Laurina, 2nd floor. Picture Dealers.-San(7i(W(7i, Pal. Borghese; A. Sinwnetti, 11 Via Yitr^Znn^D Corvisieri m Via Due Macell ; DM/n 7 Via rnndotti and 30 Via Due Macelli ; Co-operative Artistic Society 139 vL Babutno. At the Monte di PieUi (Rte. 22) there are always pictures to be disposed of as unredeemed pledges. Porcelain, Modern Majolica- -Ginori, 24 Via del Tritone. Signa ware, Via Babuino 50. , ^ „ Postage Stamps (used). -Kan^iareWi, 18 Via S. Andrea delle Fratte. • DIEECTORY, [23] Post and Telegraph Offices. Post— Central Office: Piazza San Silvestro, open from 8 a.m. to 9.30 P.M. On the right of the entrance are the windows where letters are handed out from the Poste Restante {ferma in Posta). It is safer to have letters directed to a banker, as the Italian officials have some difficulty in deciphering English names, and are liable to regard the Christian name as the surname. Branch Offices : Piazza delle Terme, 45a, 45b (opposite the railwav station) ; Via S. Niccolo da Tolentino 24 ; Corso Vittorio Emanuele 203^ Via Venti Settembre 123 (Ministero Guerra) ; Via Cavour 359 ; Via Due Macelli 70; Via Babuino 49; Via Nomentana 51 (Porta Pia) ; Via Ludovisi 29. Letters for Italy, 15 c. ; Rome, 5 c. ; England and all countries within the Postal Union, 25 c. for each ^ oz. Newspapers and printed matter (stampe), 5 c. for every ^ oz. Proofs {Bozze di Stampa), 5 c. each 50 gr. Post-cards for Italy and the Union, 10 c. Parcel Post. — Central Post Office, and principal branch offices. A parcel weighing 5 kilos (11§ lbs.) or less may be sent by Parcel Post from any place in Italy to Great Britain, without any declaration of value, for 2 fr. 70 c. From England to Italy, 2s. Id. Post Office Orders {Vaglia Postale).— In Italy, 10 c. for 10 fr. ; 20 c. for 25 fr. ; 40 c. for 50 fr. To any foreign country, 25 c. for 25 fr. Registered Letters. — Letters containing valuables, or money, must be sealed, and registered packets must bear Jive seals, and mu.st also be insured. Stamps (francoholli) may be bought at tobacconists' shops, as well as at the post offices. Telegfraph.— Central Office, Piazza San Silvestro (open the whole 24 hours), and the branch post offices (open from 8 a.m. to 8 p.m.)^ Within Italy, 15 words, 1 lira; every additional word, 5 c. Foreign messages are subject to an initial charge of 1 fr., in addition to the tarifi. Great Britain (each word) > France Germany Austria \ Hungary/ Belgium Russia . Switzerland United States (New York) Presentations to the King and Queen. — The royal family reside permanently at the Quirinal Palace from the middle of Nov. to the beginning of June, or later, according to the closing of Parliament. Strangers wishing to be presented at Court and attend the receptions must apply to their diplomatic representatives in Rome. Invitations to the Court balls in the winter usually follow presentations. Presentations to the Pope. — All foreigners desiring to be presente.I to the Pope must write an application to that effect addressed to Monsignor Maestro di Camera, or Grand Chamberlain, or be presented Centimes. . 26 . 14 . 14 6 to 14 . 19 . 42 6 to 14 fr. 55 c. [^^] DIRECTORY. by the representative of their country U the Holy See. The English methoS"' ^«.^^f°ffi^^*"y accredited minister, must adopt the fofmer Lnnlv^; T? -'^^T*^ Catholics will experience no difficulty if they apply to British Ecclesiastics at the Papal Court. Monsignor Stonor foUow^hH^"^' ^'7 '^^^'T'^,'<^ «^ch appUcations. ^American ^"s^edbvth^l„'^'"^^l°\^ foreigners, but they will be much assisted by the Superior of the American College. Applicants are informed by the Maestro di Camera that they wiU be received on a certain day and hour; they can either present tefk tIV" ""^^^T ^'.^^ ^^""^"^ ^^««^' ^^^i«« ^^ black dresses and Ari;frn Sf^r"^ ""'^T^. separately into the Pope's cabinet by the m-Sent Lw/V ^""^ !^'^" P*^*>' '' numerous, and ladies are piesent audience is granted in one of the long galleries or to deputations and pilgrims in the Consistorial Halh Durhig'privat^ audiences the Pope is only accompanied by a few prellterrnd Cajnerurt segrctf^ who introduce the visitors by nameT bS on puWic h1s?o^rran^^lJ'v^''''Ki^' "'*'5^^^ ^^ *^^ Cardinals'and prelaC of fll P^. . ^ his noble guards. At the conclusion of the audience w^lle^ervTntH^ ''^""^ '"^ ^" ^'"^"^' "'° ^^« ^^^^^^ ^ ^-^ . Preserved Meats.^Alherfini, 66 Via NaziomJe and 7 Via Nomen- corner STr^' '' \'^ ^t ^^'""^ ^^"^ ^96 Corso Umbe to Prime (corner of \ la Isazionale). Parenti, 46 Piazza di Spagna. rear^sTn'Tifup"*;^^?? "*''^' ""^ housekeeping having increased of late } ears in value Rome, once an economical residence, is now as expensive as any capital in Emrope. The market prices of food irSrare tLTr p^es'^Po^^^^^^^ Butchers are r^uired to exhih^ TtTrmTf lTl)Jil^li. ' 5 1. ' ^'^' ^°^ ^*^ee game are sold in the shops at the Pantheon and by sausage vendors or Pi^^icoonoZi. who we also dealers m butter, eggs. hams, bacon, oU. and salt ST Public BuUdin^. residL^e^ofXkt^^^^ '"''^"'^ °' *^^ ^^^^' '^""^^^^ *^^ -^- Ministry of th€ Interior, Pal. Braschi, Via S. Pantaleo. Jioragn Affairs, Pal. della Consulta, on the Quirinal Agriculture and Commerce, Via della Stamperia. Grace, Justice, and Worship, Piazza di Firenze Mari7ie (Admiralty), Via dei Portoghesi. War, Via Venti Settembre. Public Works, Convent of S. Silvestro in Capite lon^'^T"*^' .^*^\?®^,®r F^"a°^'«. »n immense building. 800 yards long 100 wide, in the Via Venti Settembre. ^ ^' Fhiaiice Office (for the Province of Bome), 83 Via deU' UmiltA Piibhc Instruction, Piazza della Minerva. Senate House, Piazza Madama. Chamber of Deputies, Piazza Monte Citorio Head Police-Office, 69 Piazza SS. Apostoli. * Law Courts, Pal. di Giustiaia. Municipal Offices, Pal. del Senators. Posts and Telegraphs, Via del Seminario. DIIlECTORYl' [25] Statistic Office, for births, deaths, marriages, &c., Pal. dei Conservatori and 54 Via Poll. Prefecture of Rome and its province, 69 Piazza SS. Apostoli. Council of State, Pal. Spada. General Post-Office, and Central Telegraph Offuoe, Piazza di S. Silvestro. National Bank, Via Nazionale. Exchange, Piazza di Pietra. Reading^ Rooms. — Pialc, 1 Piazza di Spagna. English and American papers and periodicals. Subs. : 3 lire a month. Restaurants, for Vocabulary, see p. [30]. FiitST Class. — The Grand Hotel, Hotel Quirinale, and several other hotels have restaurants a la carte. More in the Italian style, with better and cheaper wine, *Roma, 426 Corso Umberto Primo ; Colojina, Piazza Colonna, on the right of the arcade near the column of Marcus Aurelius. Second Class, but goodi.—* Banieri, 26 Via Mario dei Fiori; *Beiardi, 75 Via della Croce; San Carlo, 120 Corso Umberto Prinio; Foyiano. Piazza Colonna ; *Corradetti,%l Via della Croce; Cardinali, 246 Via Nazionale ; Le Venete, 69 Via di Campo Marzio. Convenient for the Vatican, Europea, Piazza Rusticucci (not very good) ; near the Pantheon, Nazionale e Tre Re, Via del Seminario 109-112 (crowded) ; Rosetta, Via Giustiniani 22 ; on the Aventine, *Costantino (fine view) ; on the Via Appia Nuova, Tavolato (modest). Fish. — BiLcci, 64 Piazza delle Coppelle. Meals are sent out to private houses from all the restaurants, at a fixed price, from 2^ lire, with wine, upwards. The dishes arrive hot, in tin boxes placed one above the other, under a charcoal brazier. Riding Sz\ioo\s.—Frasccscangeli, 133 Via Principe Umberto; Pieretti, Pal. Rospigliosi. Roman Pearls. — Rey, 122 Via Babuino. 'Roman Scarfs and Costumes. — Beretti, 75 Piazza Minerva; Fontana, 116 Via Babuino ; Roman Silk Manufacturing Co., 17 Piazza del Popolo; Roman Silk WeO/Ving Co., 82 Via Condotti. Rowing (see Clubs). Sculptors. — Andreoni, 19 Piazza del Popolo. Apolloni, 53c Via Margutta. Cantalamcssa Papotti, Via Gioacchino Belli 28. Cte. d' Epinay, 58b Via Sistina. Dies, 154 Via delle Quattro Fontane. Ezekiel, 18 Piazza delle Terme. Guglielmi, 155 -Via del Babuino. Galletti, 21 Via Gesii e Maria. Hasselriis (Scandinavian), 8 Via S. Niccol6 da Tolentino. Montcverde, 2 Via dei Mille, Piazza dell' Indi- pendenza (new realistic school). Simtnons (American), 72 Via S. Niccol6 da Tolentino. Tadolini, 150a Via del Babuino, portraits and monuments. Travellers are warned against the purchase of sculpture in Castellina, a white alabaster which is sometimes passed off as marble, but has none of its enduring qualities. It is soft and easily worked, and is therefore cheap; but it soon loses its colour, and is practically valueless for statuary. Shoe Makers. —Jesi, 129 Corso Umberto Primo ; Marchetti, 11 Via [26] DIRECTOBT. d. Croce; Maszocchi, 47 Via Due Macelli, 236 Via Nazionalo. For IsAies :—Baldelli, 102 Corso Umberto Primo; Bamhacioni, 11 Via Frattina. * Shooting.— Sportsman's licence, 13 fr. per annum; apply at the British Consulate. The principal sport about Rome is deer and boar- shooting in the forests along the sea-coast, woodcock and snipe-shooting in the marshy valleys about the Campagna and in the vicinity of Ostia and Porto in the winter and early spring, and quail-shooting about Porto d' Anzio, Fiumicino, Palo, and S. Severa, on the arrival of the birds in May. The shooting season in the Campagna commences in August and continues during the winter ; but the greater part of the large quantity of game exposed for sale in the Roman markets is taken in nets. Silk.— Cesare MeUi, 91 Via Frattina; Weaving Company, 82 Via Condotti ; Sirotti, 24 Via Sistina. Silversmiths (see Jewellers). Skating-rink.— Ca/f^ delle Varietd, 74 Via Due Macelli ; Orand' Orfeo, Via Agostino Dupretis. Skittles (see Clubs). Sleeping Cars (Wagons-Lits).— Office, 31 Via Condotti. Soap.— Torii, 6 Passeggiata di Ripetta; Societd Botnana, 239 Via Principe Umberto, and all grocers and hairdressers. Societies (see Clubs). Sport (see Clubs : Shooting). Stamps, English, and Postal Orders.— Frcwc/i, Lemon d Co., 49 P. di Spagna ; and other Bankers. Italian stamps at any post office or tobacconist. Stationers.— CoZ^on^;, Corso Umberto Primo, corner, Via Lata 5; Zampini, 50 Via Frattina ; Bicci, 12 Via del Tritone. Stoves,— Lehmann, Galleria Sciarra, Via Marco Minghetti. Tailors.— Schrdder, 5 Piazza di Spagna; Bcanda, 61 Piazza SS. Apostoli ; Foa, 342 Corso Umberto Primo ; Matt\na, 107 Corso Umberto Primo. For ready-made clothes, Old Englaiul, 115 Via Nazionale; Bocccmi, 316 to 319 Corso Umberto Primo. For ladies, Conli and Stevenson, 448 Corso Umberto Primo. Telegraph (see Post and Telegraph Offices). Theatres.— Costonari, Via Firenze, for operas, ballets, and Carnival masked balls. Annexed is the finest conceit hall in Rome. Argentina^ Via di Torre Argentina, opera and ballet. Valle, near the University (drama). Manzoni, Via Urbana. Metasta-sio, Via Pallacorda, Vaudeville, Quirino, Via delle Vergini (operetta and ballet), popular. Dramjnatico Nazionale, Via Nazionale. Tobacco.— Wills' Three Castles and Kavy Cut are now sold at the Government shops everywhere. Havanna cigars in the Corso, corner of Piazza Sciarra. Pipes, Tisiotti, 2 Via delle Convertite, and Corso Umberto Primo 178. ■■ voured with cheese, and made of the finest flour. Qranita, water ice. In umido, stewed. Insalata, salad. Lamjxme, raspberry. Legumi, vegetables. *Lenticchie, lentils. Lesso, boiled beef (not good). Limone, lemon. Majale, pork. Majizo, beef. *Marito2zo, bun. Mela, apple. Merluzzo, whiting. Mi dia, give me. Mi faccia il piacere, do me the favour. Mincstra, broth. MofitonCf mutton ; generally poor. Olio, oil. Ostrlca, oyster. Padrone, landlord. Pagare, to pay. Pane, bread. Pasta, small cake, slice of. *Pastine in brodo, broth with any kind of macaroni in it (capellini, vermicelli ; cappelletti, little hats). Patate, potatoes. Pepe, pepper. Pera, pear. Pesca, peach. Pesce, fish. Piii presto possibilc, as soon as you can. Polio, fowl. Pomodoro, tomato. Pranzo, dinner. Presciutto, ham (generally ur- cooked). Prczzo fisso, fixed price. *Quaglia, quail. Quanta tempo ci vorrcbhc, how long will it take ? DIRECTORY. Ravancllo (radice), radish. Risotto, rice, flavoured with cheese and saffron. Sale, salt. *Scoloppini, little cutlets. Senape, English mustard {Mos- tarda Iriglese). Soglia, sole. Sgonibro, mackerel. * Spaghetti alponwdoro, macaroni with tomato sauce. Spezzato di vitcllo, scraps of veal—a sort of hash (not good). Spinaci, spinach. * Stracchino, cream cheese. Stufatino, hash or stew. Tacchino, turkey. Tordi, thrushes (or any small birds). Torta, tart.' Triglia, red mullet. Trota, trout. [M] Uccellini, little birds. Uova, eggs. Uve, grapies. Verdura, green vegetables. Vino nero (rosso), red wine {bianco, white ; a^ciutto, dry ; sin- cero, pure; vecchio, old; 'nuovo, new; buono, good; squisito, delicious ; cattivo, bad). Ziicchero, sugar. *Zucchetti, small vegetable mar- rows. *Zuppa Sant^., soup full of cabbage and rice. Zuppa Ingkse, a favourite sweet, but a strange misnomer, as it is neither soup nor English. It bears some distant resemblance to tipsy cake or trifle. * Zuppa alia marinaia, soup with various kinds of fish. CLIMATE. Notoriously pestilential throughout the Middle Ages, and still very unhealthy durmg the greater part of the nineteenth century, Rome is now one of the healthiest large towns in the world. The Police regulations m all matters concerning the general health have been carefuUy (Lrawn up, and the various improvements thus effected have dmiiniBhed the death rate in a remarkable degree. This stood in 1875 at 42 a thousand, and it is now about 17. The water in Rome is excellent, and may be drunk abundantly with- out fear. It never causes typhoid or other specific disease. To some few persons its hardness and astringency, owing to the presence of lime, causes inconvenience: but this difficulty may be met by boihng the water, which then deposits much of its lime. A less economical method is to drink Salutaris Water, which is made in Rome, the lime being all removed by distillation. The weather is very variable. It sometimes happens that weeks or even months pass without a cloud in the sky; while in other seasons a considerable number of wet days may occur in succession. The climate of Rome is usually described as sedative, and it is certain that visitors sleep better there than in most other places. Persons with irritable -throats, and delicate bronchial mucous membranes, or patients in early stages of consumption, undoubtedly experience relief from this cause. The Tramontana, or north wind, when not too violent, is invigorating. Its moisture has been deposited tfi passing over snowy heights and ice-fields, and it blows cold, but dry. The bcirocco, or south-west wind, is, on the other hand, so moisture- laden as to cause very unpleasant feelings of languor and depression. During the latter half of Nov. and throughout Dec. the two not unfroquently blow on alternate days, and the weather is then very [32] DIRECTOBY. changeable. Jan. and Feb. are usually drier months, and in most years, after the middle of Feb. the winter is practically over, though a few cold days at intervals may occur. From this time until May the climate is far plcasanter than on the Riviera, where the east winds of Spring are so often treacherously keen. The death-rate is heaviest among the natives in the winter. Rome becomes really healthy to the Romans in April, May, and June, when visitors run away. During these months it is always cool in the fore- noon and after five o'clock, and the climate is most enjoyable. From July 1st until the fall of the October rains the heat is veiy trying ; but from the 15th Oct. to the 15th Nov. is one of the healthiest and pleasantest months in Rome. -,' y_ • The mean temperature ranges between 45" and 50° Fahr., which is 10° warmer than London. The diurnal range of temperature is, however, greater than in England. Fogs are rare, and are soon dispersed by the sun. Frosts are more common, but the thermometer docs not fall below 25° Fahr. unless in an exceptional season, and it seldom happens that more than two or three days of frost occur together. Snow falls in most winters, sometimes for a few minutes only, more often for an hour or two. Occasionally it lies for a part of the day, and in rare instances may perhaps remain unmelted for two days, or even ^ ill* A A The clothing taken to Rome should be the same as that which is worn in England, with an addition of some lighter garments. Strangers are unusually susceptible to the peculiar quality of the cold weather in Rome. They should be careful to select rooms upon which the sun shines, and which are furnished with stoves and carpets. In all places where the difference between sun and shade tempera- ture is great, there is risk of catching a sudden chill ; and in Rome especially, where there sure constant temptations to enter a cold church or gallery while heated after walking, the danger is considerable, if the term ' Chill Fever,' suggesting the source of the complaint, be borne in mind, and the precaution be taken of carrying a light shawl or overcoat, to be put on when entering a cold building, the danger may be practi- cally overcome. For the same reason, it is better to diive to a church or gallery, and walk home. A good iuncheon, and a short rest after it, very materially decreases the risk o : catching a chill at sunset; but as the radiation after a cloudless day is very intense, an additional wrap should always be at hand as the evening approaches. It is to the neglect of simple precautions such as these, and to the liberties which a strong man thinks he may take with himself in a foreign climate, that the contraction of Chill Fever is moat invariably duo. HOSPITALS AND CHARITABLE INSTITUTIONS. Few cities in Europe are so distinguished for their institutions of public charity as Rome, and in none are the hospitals more magni- ficently lodged or endowed with more princely liberality. In general the hospitals are clean and well ventilated, owing to the large wards, which in the climate of Rome can be adopted. In the larger establish- ments the wards generally converge towards a centre, where the altar stands under a dorae-^ form which contributes to good ventilation, while it permits bed-ridden patients to witness the celebration of the DIEECTORY. [33] Mass. The largest Roman hospital is the new Policlinico, see p. 368. Under the charge of foreigners is the German Protestant Hospital, founded by subscriptions, chiefly at the instigation of the late Chev. Bunsen, on Monte Caprino. It is under the protection of the Grerman Embassy, and occupies a floor in a large building overlooking the Forum. See Nurses, p; [22]. Roman British Relief Fund.— 1. To assist in forwarding to England destitute British subjects. 2. To grant them temporary relief in cases of sickness or distress. 3. To assist British-born females residing in the city or its immediate neighbourhood, who may be in absolute want from sickness or other causes. Relief is granted without reference to the creed of the recipient. Patron: The British Ambassador. President: The First Secre- tary of Embassy. Hon. Secretary: The British Consul, 20 Via Oondotti. ITINERARY. For detailed statement of the hours and terms of admission, see pp. [34], [J5]. Most of the Museums close at three. The Fbrmn, Palatine, Colosseum, Baths of Caracalla, Catacomb of Calixtus, close at dusk. All churches are shut between 12 and 3, except the seven pilgrimage churches— St. Peter's, St. Paul's, St. John Lateran, S. M. Maggiore, S. Lorenzo, S. Croce, and S. Sebastiano. With the help of a cab the best part of Rome may be " done " in five days. 1. Morning. — Forum Romanmn and Sacra Via, Mamertine Prison, Column of Trajan. Afternoon. — Palatine Hill, Colosseum, Arch of Constantine. 2. Morning.— St. Peter's, Vatican Sculptures (at least four hours). Afternoon. — St. John Lateran, Cloisters, Scala Santa, S. M. Maggiore. 3. Morning.— Sistine Chapel and Vatican Paintings (at least four hours). Afternoon. — Baths of Caracalla, Columbaria in Vigna Codim, Cata- comb of Calixtus, Tomb of Cecilia Metella. 4. Morning. — Capitoline Museum, Conservatori Museum, Tower of Capitol, Monument to Victor Emanuel. Afternoon.— Column of Marcus Aurelius, Pantheon, Museo Borghese, Pincian Hill, 6. Morning. — S. Lorenzo, Museo Nazionale delle Terme. Afternoon. — General drive: Corso, Piazza del Popolo, Castle of St. Angelo (exterior), Piazza of St. Peter's, to S. Pietro in Montorio oit the Janiculum (panorama), on to St. Paul's. On return, Protestant Cemeterv. If the visitor has ten days he will more than double the enjoyment of the above hurried and strenuous programme, by devoting a whole day to what is here supposed to be accomplished in a morning or an afternoon. He will then also be able to make sure of not missing such celebrities as the Fountain of Trevi, the Piazza di Spagna, the Piazza Bocca della VeritA, the Porta Maggiore. He may also be able to inxjlude IRome.} <* [34] DIRECTORY. Suu. Classic. Baths of Caracalla Titus Castle of S. Angelo Colosseum, Upper Galleries Forum Roman um . Forum of Trajan . Hadrian's Villa, Tlvoll . Palatine Hill . Tabularium and Tower of Capitol Tombs on Via Latioa . Catacombs. S. Agnese S. Calli.xtus . S. Doniitilla . Jewish . S. Sebastiano Galleries and Paintikgs Arte Moderua Barberini f Oct. to Feb, iMar. to S^p :) Borghese Colonna Conservatori . Coraini (Arte Antica) Doria Faniesina Pallavicini (RospigliosI) 8. Luca ... Vatican : Six tine Chapel, Stanze of Rapliaeli and Picture Gallery . . .} Loggie of Raphael, Chapel .ofi Nicholas V J Galleria dei Candelahri, and Ra- phael's Ta(»estries Museums. Auti(iuarium Artistico Industriale .... Capitol iue Conservatori Gessi Kircherian Lateran, Christian (Sacro) Pagan (Pi-ofatio) Nazionale delle Terme .... Papa Giulio (Etrusco) .... Vatican : • Appartamenti Borgia, and Egyptian i Museum i Etruscan Library Sculpture lO-dusk. Palaces and villas (and sm Galleries). Pamphili (Doria) ; Park Madama Mattelt Medici Quirinalt I mberto Prinio (Borghese) ; Park St Peter's Dome $ . . . 10-1 lO-dusk. lO-dusk. 9-dn8k. lO-dusk. Mon. 9-dii8k. 9-dusk. 10-4 9-dusk. 9- • 10-3.80 • • • • • • 10-3 10 8 • • lU-8 10-8 • » 1 •• 10-3 } 10-1 10-1 10-12.30 10-1 10-1 10-1 «J-12 ; 2-6 J^-2 10-i 10-3 10^ 10-8 loU 9-3 10-3 10-3 2-dtt8k. 9-12 ; 2-6 9-2 10-3 10-3 loU 10^ 10-4 9-J( 10-8 10^ 10-3 { 1-4 8-duak. 8-dusk. &-11 2-dusk. 8-dusk. a-11 DIRECTORY. [35] " i Wed. Thurs. Fri. Sat. 1 9-du8k. 9- I 2-dusk. /I 2-du8k. }\ 2-dU8k. ]j\ 2-dusk. ] Free (giatuity). 8-4 8-4 8-4 8-4 1 1 lira. 9-du8k. 9-dnsk. 9-dusk. 9-dusk. i 1 lira. 9-4 9-4 9-4 9-4 ' 1 lira. 9-dusk. 9-dU8k. 9-dusk. 9-dusk. Free (gratuity). 9-3 9-3 9-3 9-3 1 lira ; Sun. free. 10-4 10-4 10-4 10-4 1 1 lira. 10-4 10-4 10-4 10-4 > 12-6 i 12-6 12-6 12-6 1 lira ; Suu. free. • • 10-3 • • 10-3 lllra. 10-3 10-3 lC-3 10-3 60 c. ; Sun. free. y-s 9-3 J>-3 9-3 1 lira ; Sun. free. • • • • 10-2 • • Yroe (gratuityX 10-8.80 • • . 10-3.30 • • 1 lira. 9-3 • • ■ • 9-3 Free (gratuity). 10-3 10-3 10-3 10-3 llira. 10-3 10-8 10-3 10-1 Free. • • • • 10-3 • • Fi-ee. 10-3 • • ■ • • • ■ Free. 9-12 ; 2-5 9-12; 2-5 9-12 ; 2-5 9-12 ; 2-5 50 c. 9-2 9-2 9-2 9-2 Free. 10-3 10-3 10-4J 10-3 50 c. ; Sun. free. .10-3 10-3 10-3 10-3 50 c. ; Sun. free. 2-5 • • 2-5 . . Free (gratuity). 10-4 10-4 10-4 10-4 1 lira ; Sun. free. 10-3 • • 10-3 a • 1 lira. • • 10-3 • • 10-1 ! 1 lira ; Sat. free. 10-4 10-4 10-4 10-4 1 lira ; Sun. free. 9-S 9-3 9-3 ^3 1 I lira ; Suu. free. • • • • 10-8 • • llira. • « 10-3 ■ • • • Included in sculpture. 10-8 10-3 10-3 9-12 Free (gratuity). 10-3 10-3 10-^ 9-12 1 lira ; Sat. free. • • • • 2-dU8k. • • Free • « • • • • 9-dusk. Free (gratuity). • • 2-dusk. ■ • • • Free (gratuity). I 2-dusk. i i • • f 8-12 \ 2-dusk. / Free (gratuity). • • 1-4 ! * • « , , Free (gratuity). 8-du8k. 8-nfor f?v V * v INTRODUCTION. TOPOGRAPHY. Home is situated nearly in the centre of the Campagna, that undulating tract of territory which lies between the Sabine Apennines, the Latin and Ciminian ranges of volcanic hills, and the Tyrrhenian Sea. Its geographical position, at the Observatory of the Collegio Romano is lat. 41° 53' 52" N., long. 12° 28' 40" E. of Greenwich ; and its height above the sea on the mean level of the Tiber under the Ponte S. Angelo, 20 ft. It is 13 geog. m. distant in a straight line from the nearest point of the sea-coast. On the left bank of the Tiber are the Seven Hills, at a height varying from 120 to 180 ft. above the river. They are the Palatine, the Aventine, the Capitoline, the Esquiline, the Caelian (montes), and the Quirinal and Viminal (colles). The Palatine was inhabited before the supposed era of Romulus (n.c. 753) ; and the Capitoline was occupied by the Sabines. The marshy ground between these two hills, after- wards famous as the Forum, was originally the meeting place of the two rivals, the Romans and the Sabines. The Palatine from its square shape was called Roma Quadrata. It had two summits, called Germalus and Palatiutn. The Capitoline also had, and still has, two summits, the Arx and Capitolium. When settlement had extended over the seven hills they were enclosed, in the reign of Servius Tullius, by fortified walls, remains of which still exist. A larger area was enclosed in A.p. 272 by the Emperor Aurelian as a defence against barbarian invasion. With the exception of the Mausoleum of Hadrian, and the Circus of Nero, and of a portion of the Janiculum, the Rome of the Republic and early Empire was confined to the left bank of the Tiber. On the right bank grew the Christian settlement, which after the depredations of the Saracens in a.d. 846 was enclosed by fortifications by Pope Leo IV., in 853, thus forming the Leonine City or Borgo. Urban VIII. in 1642 extended the Leonine area and carried his wall southwards along the ridge of the Janiculum. Until 1870 the inhabited area of modern Rome lay within the walls of Aurelian on the left bank, and of Urban VIII. on the right ; but since Rome has once more become the capital, the population has increased from 226,000 to over 500,000 and has overflowed beyond the walls. New suburbs have arisen in the Prati near the Vatican, and also outside the Porta del Popolo, the Porta Salaria, the Porta Pia and the Porta San Lorenzo. During the building mania these districts were laid out with streets of hideous, badly planned, and worse built houses, many of which remained long imtenanted, and even un- finished. At the same period many old villas, inside the walls, wera [Bome.l ^ ^ [38] iNTRObUCtlON. — Tflfi TIBER. destroyed, and their beautiful grounds covered with speculative buildlngfl. But the growth of population did not justify these extravagant prepar- ations, and a severe financial crisis ensued which affected the nobility and all classes. (See * Don Orsino,' by F. Marion Crawford.) There has now been a great improvement. The older buildings are occupied, and new houses of a much superior class have been erected. Inside the walls the chief street is the Corso (officially styled the Corso Utnberto Primo) which stretches from the Porta del Popolo on the N. to the Piazza Ventzia in the Corso Vittorio Emanuele on the S., passing, about its centre, through the Piatza Colonna. In the portion of Rome to the E. of this central point are the principal hotels and lodgings patronised by strangers; to the W. are the poorer and narrower streets ; and to the S. the chief remains of classic Rome. The best general views of Rome may be obtained from the Pincian or the Janiculan hills, the dome of St. Peter's, the campanile of S. Maria Maggiore, and the tower of the Capitol. THE TIBER. The Tiber (Italian, Tevere) derives its name from a tradition that Tiberinus, King of the Albans, or, according to other versions, of the Etruscans, was drowned in its waters. The ancient Roman sculptors represented the Tiber as a majestic bearded old man, crowned with laurel, holding a cornucopia, and reclining, supported by the traditional wolf and twins. It received the epithet of Jlamis from its muddy yellow colour. Vidimus /fa pu»i Tiberiin retortis Litture Ltriuco violunter undls Ire dejei turn inunumenta regis Tumplnque Vestae. HORAOK, Od. I. ii. 13. Hunc inter fluvio Tiberinus anioeno Vorticibus rapidis et multa /faciM arena In mare prorunii)it. Vkroil, Aetu vii. 30. The Tiber rises on the higher slopes of Monte Coronaro (4000 ft.) nearly due E. of Florence, 12 m. N. of Pieve S. Stefano, on the opposite side of the ridge which gives birth to the Arno, at the height of 3850 ft. above the sea. It reaches Rome after a course of 210 m., 80 of which are navigable, and flows into the sea 22 m. lower down. It is fed by forty-two streams, of which the largest are the Anio and the Nera. The course of the Tiber through Rome comprises three remarkable curves, and is about 3 m. in length, during which its fall is S* ft. The new quay walls enclose the river during its course through the city in a bed of the uniform breadth of 109 yds., excepting at the approaches to the Islands, where it is nearly double as broad. The Tiber is crossed by eleven bridges, not including the Ponte Nolle (out- side the walls), six of which are entirely modern. The depth of the Tiber in Rome is from 20 to 26 ft., representing the average heights of its surface above the level of the Mediterranean, measured by the hydrometer at the Port of Ripetta. This is increased by floods after a long course of heavy rain to 40 ft., at which elevation the water formerly overflowed the river banks, but is now restrained by massive embankments of travertine. From the first traditional flood, when Romulus and Remus wore washed under the rocks of the Palatine, there have been 132 inundations, the last of which was in INTROGUCTION.— *ttfi *tBfift; m 1870. The flood of 1598 was the worst on record, the river rising to a height of G2 ft. A boat went ashore in the Piazza di Spagna, under the Pincian Hill. From the time of Augustus successive Emperors made efforts to stop these calamities by the construction of embankments and by ^ortenmg the bed of the river between the city and the sea From the foundation of Ostia by Ancus Martins to the constiniction of Trajan s port (743 years) the coast-Une at the mouth of the Tiber advanced 1045 yards. The yearly average increase of fluvial deposit at the natural mouth of the delta at Ostia is now ten yards: that at the artificial mouth at Fiumicino 3| yards. In comparing the present with the ancient aspect of the Tiber in Rome and between the city and the sea, the solitude and desolation of its banks now contrast strongly with the appearance it must have presented when the commerce of the world covered it with ships, and the splendours of Imperial courts adorned it with floating pageantries. Even during the middle ages, and the reigns of many Popes, the Tiber continued to be used by sovereigns as a safe and commodious way of reaching or leaving *^,^^^T°*1 City. Such was the case with Peter U. of Arragon in 1204 ; with Gregory XI. coming from Avignon in 1377 ; with the Em p. Frederick III. in 1452; Sixtus IV. in 1483; Alexander VI.. coming from Spam in 1492 to assume the Pontificate ; and Pius II who in 1464 navigated the upper branch of the Tiber on his way to Ancona to command his fleet, after declaring a crusade against the Turks Julius II. returning from Bologna in 1507 descended the Tiber from near Civita Castellana to Rome, and Julius III. and Leo. X. frequently embarked on its yeUow waters. It was the custom during many yeara for the Roman Pontiffs to proceed on the river in splendid gaUeys to the Basihca of S. Paolo ; and occasionally the Tiber has aided their flight from the rebellious Romans, or received their mutilated remains Even as late as 1848 the port of Ripetta witnessed the embarkation of the Papal Grenadiers in river steamers to Ponte Felice for the cauapaign against the Austrians ; and, ten years afterwards, the arrival by the same boats, of the Irish brigade enrolled for the defence of the Holy bee. From above Rome only a few liarges now drop down with cargoes of wood and wine from the Sabine provinces. The Tiber rowing clubs enliven the river with occasional regattas. For the first 400 ^ears after the foundation of Rome, her citizens were content to drmk no other waters than those of the Tiber Subsequently many now ruined aqueducts brought purer streams to the luxurious capital of the Roman world. When these resources were cut off by barbaric invasions and intestine wars, the Romans returned to the ^ample of their ancestors, and for many years drank the waters of the liber. They were held in such repute that when Pope Clement VII went to Marseilles in 1553 to marry his niece, Catherine de* Medici, to the Duke of Orleans, afterwards Henry II., he took with him by the advice of his physician. Dr. Corti, a sufficient supply of Tiber water to last him until his return ; and Gregory XIII., who lived till he was 80, never drank anything else, preferring it to the Acqua Vergine. ^ Fifty different kinds of fish, it is said, may bo caught in the Tiber About a quarter of these come up periodically from the sea among which the sturgeon deservedly holds the first rank in point of size sometimes attaining extraordinary dimensions. ' [40] WtHODUC^lOJl. — tHBl Rt;lN8, THE RUINS. CHRONOLOGY OF THE PRINCIPAL ANCIENT RUILDINOS.f Regal Period. B.C. 753 Early Walls of the Palatine. Temple of Jupiter Stator. 715 Regia. Temple of Vesta. Capitolium Vetus. Temple of Quirinus. 641 Foundation of Ostia. 616 Temple of Jupiter Capitolinus. Cloaca Maxima. Circus Maximus begun by Tarqninius Priscus. 678 Walls of Servlus. Temple of Dianft on the Aventine. Temples of For- tune and Mater Matuta. 634 Temple of Jupiter Capitolinus and 'Cloaca Maxima finished by Tar- qninius Superbus. Period of the republic. 607 Consecration of the Capitoline Temple. 497 Temple of Saturn. 493 Temple of Ceres, Liber, and Libera. 484 Temple of Castor. 429 Temple of Apollo in the Campus Martius. 391 Temple of Juno Regina on the Aven- tine. 867 Temple of Concord vowed. 344 Temple of Juno Moneta on the Arx. 338 Rostra. 812 Via Appia. Aqua Appia. 805 Temple of Concord consecrated. 298 Capitoline Wolf cast. 294 Temple of Quirinus. Via Appia paved as far as Bovillae. 291 Temple of Aesculapius on the Island. 272 Aqueduct of the Anio Vetus. 263 First Sun-dial erected in the Forum. 220 Circus Flaminins and Via Flaminia. 205 Temple of Honour and Virtue. 195 Triumphal Arches of Stertinius. 193 Emporium. 191 Temple of Magna Mater (Cybele). 184 Basilica Forcia. Cloacae enlarged and repaired. 179 Theatre of Aemilius Lepidus. Ma- cellum Magnum. Streets first paved. 167 Forticus Octavla. 148 Temples of Jupiter and Juno. 144 Aqua Marcia. J 42 Pons Palatinus. 125 Aqua Tepula. 120 Arch of Fabius. B C 109 Pons Milvius. 81 Capitoline Temple rebuilt. 78 Tainilarium. 69 Capitoline Temple re-consecrated. 62 Pons Fabricius. 58 Theatre of Scanrus. 65 Theatre of Pompey. 50 Basilica PauUi (Aemilia). The Caesar^. 46 Forum of Julius Caesar. Basilica Julia. Naumachia in the Campus Martius. 42 Temple of Julius Caesar decreed. Rostra Julia. Curia Julia. 36 Temple of Apollo on the Palatine. SB Aqua Julia. 30 Amphitheatre of Statilius. 29 Mausoleum of Augustus l)egun. 28 Eighty-two temples restored. 26 Septa Julia. Temple of Jupiter Tonans. 20 Temple of Mars Ultor. 19 Aqua Virgo. 14 Temple of Saturn rebuilt. 13 Theatre of Balbus. 11 Theatre of Marcellus. A.D. 6 10 12 16 23 27 89 52 55 62 64 65 Temple of Castor rebuilt. Arch of Dolaliella. Porticus of the Basilica Julia. Arch of Tiberius. Castra Praetoria. Temple of Augustus. Palace of Caligula. Aqua Claudia and Anio Novut. bour of Claudius at Ostia. Circus of Nero. Baths of Nero. Great Fire. Golden House of Nero. Flavian Era. Har- 70 and 82 Capitoline Temple rebuilt. 71 Forum Pacis. 81 Colosseum and Baths of Titus opened. 94 Temple of Isis aud Serapis. 96 Meta Sudans. ill Aqueduct of Trajan. 113 Forum and Column of Trajan. 116 Baths and Triumphal Arches of Trajan. kind permission of the author and + Reprinted with a few alterations, by khid permission of the &\ bllsher, from • Rome and the Campagna,' by R. Bum (G. Bell and Song). publisher^ INTRODUCTION. — CAUSES OF DESTRUCTION. [41] A.D. 130 Temple of Venus and Roma. Pone Aelius. Mausoleum of Hadrian begun. Pantheon. 137 Hadrian's Villa. 13d Temple of Hadrian. Antonine Era. 141 Column of Antoninus Pius. Temple of Antoninus and Faustina. 183 Column of Marcus Aurelius. Later Emperors. 202 Pantheon and Porticus Octaviae restored. 203 Arch of Septimius Severus. Arch of the Goldsmiths. 216 Baths of Caracalla. 227 Baths of Alexander Severus. 242 Villa Gordiana at the Tor de' Schiavi. 263 Arch of Gallienus. 271-276 Walls of Aurelian. 273 Temple of the Sun. 303 Baths of Diocletian. CONSTANTIHIAN ERA. 306 Basilica of Maxentius. 309 Circus of Romulus built by Maxen- tius. 312 Destniction of the Pretorian Camp. A.D. 313 Baths of Constantine. 326 Arch of Constantine. Barbarian Invasions. 402 Aurelian walls repaired by Hon- orius. 410 Rome taken by Alaric, by Genseric (455), and by Ricimer (472). 500 Monuments, walls, and aqueducts repaired by Theodoric. 537 Rome besieged by Vitiges, and ravaged by Totila (546). 593 Invasion by the Lombards. 608 Column of Diocletian. 663 Bronzes and other decorations carried away by Constans II. 756 Siege of Rome by Astulf, 833 Ostia restored by Gregory IV. 846 Invasion and plunder by the Sara cens. 848 Leo IV. builds the Leonine suburb. 916 The Saracens defeated at Gari- gliano. 1084 Rome plundered by Robert Guis- card. 1241 The Mausoleum of Augustus de- stroyed in the war between the Pope and the Emperor. 1349 Disastrous earthquake, which de- stroyed many ancient buildings in Rome. CAUSES OF DESTRUCTION. On the adoption of Christianity as the State religion by Constantine in 324 some of the pagan temples were used as Christian churches, some for secular purposes, and the remainder were neglected, or pillaged. The sieges and sacks of the barbarians in the fifth century caused much damage to the pagan public buildings of all kinds ; and from that time the citizens themselves began to make use of the valuable building materials lying about on every side, treating the pagan ruins as public quarries. The Gothic wars of the sixth century, and especially the great siege of Rome by Vitiges, caused much destruction. Belisarius employed the remains of ancient edifices in repairing the walls for his defence of the city. The aqueducts had been previously destroyed by Vitiges, who burnt everything outside the walls ; the baths were thus rendered useless, a.nd the Campagna was reduced to a state of desola- tion from which it has never recovered. After the Goths came the Lombards, the Saracens in 846, and, worst of all, the Normans under Robert Guiscard in 1084. They burnt the city from the Antonine column to the Flaminian gate, and from the Lateran to the Capitol ; they ruined the Capitol and the Colosseum, and laid waste the whole of the Esquiline. The remaining monuments were soon afterwards occupied as fortresses by the ruling Roman families. The Colosseum, the Septizonium of Severus, the Arch of Titus, and the Janus, were seized upon by the Frangipani ; the tomb of Hadrian and the Theatre of Pompey by the Orsini ; the Mausoleum of Augustus and the Baths of Constantine by tb^ Oolopnp, ; The Tomb of Caecilit^ Metell^ w^g converted into ^ fortress [42] INTRODUCTION. — THE WALLS. by the Savelli and the Caetani ; the ruins of the Capitol were held by the Corsi ; the Quirinal by the Conti ; and the Pantheon so frequently received the garrisons of the Pope that in the time of Gregory VII. it bore the name of S. M. in turribics. Even the Basilicas were not secure ; that of St. Paul was fortified by the Corsi, and that of St. Peter by the people. There were jnany severe inundations, and in 1349 a very destructive earthquake. The calamitous history of the city from the fourth century onwards had long since reduced the population to very small dimensions. After the great Schism and a return of comparative prosperity in the fifteenth century Rome began, slowly, to be rebuilt and repeopled. The Popes had little consideration for a pagan antiquity. Such classic buildings as were not converted into fortresses were either allowed to crumble away or used for the erection of churches, the marble being burned in porphyry kilns and used as lime. As early as the 8th cent, we find Gregory III. taking nine columns from some temple for the basilica of St. Peter. Adrian I. destroyed the Temple of Ceres to build S. M. in Cosmedin. Paul II. built the Palace of St. Mark {di Venezia) with materials taken from the Colosseum; and Sixtus IV. in 1474 destroyed what remained of the stone piers of the Pons Suhlidus to make cannon-balls, and swept away numerous ruins in the general reform of the city. Alexander VI. destroyed a pyramid near the Vatican to construct a covered way leading from the Palace to the Castle of S. Angelo. Paul III. plunuered the Temple of Antoninus and Faustina, the Arch of Titus, the Forum of Trajan, and the Theatre of Marcellus, and built the Pal. Farnese with blocks of travertine brought from the Colosseum, although he had issued a bull making it a capital offence to * grind down ' statues. Sixtus V. demolished the Septizonium of Severus to ornament St. Peter's. Urban VIII. removed in part the basement of the Tomb of Caecilia Metolla to construct the Fountain of Trevi, built the Pal. Barberini with materials taken from the Colosseum*, and stripped the Pantheon of the sheets of bronze which had escaped the plunder of Constans II. in the 7th cent., to construct the baldacchino over the great altar at St. Peter's— an act immortalised by Pasquino in a saying which has now become almost a proverb ; Quod non fecenint Barbari, fecit Barberini. Paul V. removed the entablature and pronaos of the Temple of Minerva in the Forum Transitorium to build his fountain on the Janicu- lum, and the last of the marble columns of the Basilica of Maxentius to support the statue of the Virgin before the Church of S. M. Maggiore. Alexander VII. destroyed an ancient arch of Marcus Aurelius to widen the Corso. Most of the statues of saints and prophets in the churches were worked out of ancient columns, and most of the marbles which so profusely decorate the altars have been taken from classical buildings. THE WALLS. . Th® first walls were erected by Servius TuUius ; their remains are still visible in many places. We shall enumerate the principal of them, starting from the 1. bank of the Tiber, a little to the N. of the Ponte Rotto, and proceed to the rt. until we come to the river-bank again. Close to the river, near the back of the Hou^e of Creacentius, wa^ the INTRODUCTION. — THE WALLS. [43] Porta Flumentana, or river gate ; and close by, under the S.W. extre- mity of the Capitoline hill, the Porta Carmentalis, so named from an altar of the nymph Carmentis, mother of Evander. Between these two was the Porta Triumphalis, which was probably kept shut, except on the occasion of a triumphal entry. The following are the best- preserved fragments of this celebrated rampart, raised more than five centuries before Christ, for the purpose of protecting the city against its rivals, the Sabines, the Etruscans, and the Latins : — 1 At the N.W. corner of the courtyard in front of the Pal. Caffarelli, on the edge of the so-called Tarpeian Rock. 2 Under the stables in front of the same palace. 3 On the 1. side of the ascent to the Capitol from the Piazza Ara Coeli, where an inscription records the discovery of the walls in Dec. 1872. • 4 Beyond 81b Via di Marforio, the further houses having been demol- ished. Across this street, the ancient Clivus Argentarius^ stood probably the Porta Ratumena, ' so called from the name of a charioteer in the races at Veii, who was unable to stop his run-away horses until they reached Rome, and threw him out at this gate.' — B. In Nov. 1875, another portion of the wall was discovered under the Pal. Antonelli, during excavations for the Via Nazionale, opposite the Church of S. Catarina. This fragment is most important, as it contains one of the Servian gates, probably the Porta Sanqualis, constructed of maspive blocks of tufa. It is in a nearly perfect state of preservation, having been enclosed by and partly buried under buildings apparently belonging to the end of the 1st cent., since which epoch this ancient gate was evidently disused. The Porta Fontinalis was named from the adjoining sacred fountains. A portion of the adjoining wall is preserved in a circular enclosure opposite the Pal. Antonelli. After this point there is a gap, because the wall ran along a rocky spur of the Capitoline hill, which was completely cut away by Trajan to make his Forum. — M. 5 In the Colonna Gardens, under the remains of the Baths of Con- stantino. 6 Opposite Bernini's stables in the Piazza del Quirinale, pulled down, in 1866, during the construction of the new ascent to the Quirinal palace. This was the site of the Porta Sanqualis, named after an adjacent Temple of Sancus. 7 In the gardens of the Quirinal, above the Piazza del Lavatore, and parallel to the Via de' Giardini; discovered in 1874, in laying the foundations of the royal stables. 8 About half-way up the Via delle Quattro Fontane. The site of the discovery is marked by a modern inscription between Nos. 15 and 16, and the walls are visible in a pit under the side- walk. Here probably was the Porta Salutaris, on the site of a shrine dedicated to Salus. 9 In the gardens of the Convent of S. Susanna, as described by Bartoli. 10 In the Vigna Barberina, or Spithover, where the walls have been recently destroyed. At this most N. point was the Porta Collina, the principal gate on the Quirinal, from which issued the Via Nomentana. Here, turning S.S.E., began the celebrated Agger, a huge embankment about 40 yds. wide and 25 ft, high, faced on its outer side by a massive wall, about 10^ ft. thick, and strengthened by buttresses. The lower courses of the substruction are of gigantic blocks of peperino, held together by strong clamps of iroji, The upper epurses consist qI [44] INTRODUCTION. — THE WALLS. smaller blocks of tufa. The Agger itself is composed of a mass of volcanic tufa and pozzolana, dug out on the spot m making the fosse, the width of which was 100 ft. at the foot of the wall. In time of pestilence, it was used for the wholesale burial of corpses, both of man and beast (see Rte. 15). 11 Bemains of the rampart were discovered in the grounds of the Certosa (S. M. degli Angeli), in laying the foundation of the new Treasury, and in 1879, near the angle of Via Voltumo and Via Gaeta. 12 In lowering the Via del Maccao, near its junction with the Via Porta S. Lorenzo. 13 To the E. of the Rly. Stat., under the Monte della Giustizia, where were uncovered in 1877 the remains of the Porta Vlminalis, which stood in the middle of the Agger. 14-18 In the Viale Principessa MargJierita, Via Pr. Umberto, Via Pr. Amedeo, and^ Via Napoleone Terzo. 19 In lowering the Via S. Eusebio, near the Arch of Gallienus, which marks the site of the Porta Esquillna, at the S. end of the Agger. The remains of the walls, connecting the Agger with the 1. bank of the river, appear. 20 In the Via Carlo Alberto, on a line with the Arch of Gallienus. 21 In the triangular piazza on the Via Merulana, where the Odeum of the gardens of Maecenas has been brought to light. 22 Under the Osteria del Oiardino, near SS. Pietro e Marcellino. In the valley between the Esquiline and the Caelian were the Porta Querquetulana and P. Caelimontana, the latter near the hospital of S. Giovanni. 23 Under the E. wall of SS. Quattro Coronati, a place called in former times ' Ad Caput Africae.* 24 Under the substructions of the Villa Mattei. 25 In the lower grounds of the Convent of S. Gregorio, where are the foundations of the Porta Capena, and under the modern Via .di Porta S. Sebastiano. Here the Agger, perhaps of earlier construction, closed the gorge between the Caelian and Aventine hills. 26 In front of S. Balbina, one of the best-preserved remains, about 30 ft. high. 27 In the Vigna Cardoni, near S. Saba. Between this and the preceding fragment was the site of the Porta La vernal is. 28 At the junction of the Via S. Saba and Viale di Porta S. Paolo, where a large house is supported by the nucleus of the wall, the stone coating having been removed under Nicholas V. Here probably stood the Porta Rauduscula. 29 To the rt. of the road, on the way thence to S. Paolo. Here the wall is composed of large quadrilateral blocks of tufa quarried near the spot, and laid alternately long and cross ways ; the portion laid open is 30 ft. high, and contains a fine arch of later date. We may assign this site to the Porta Naevia. The last gate is the P. Trlgremina, l^tween the N.W. corner of the Aventine and the river. A fragment of the wall, which must have run very near it, was discovered, in 1856, on the declivity of the Aventine overlooking the Tiber, in the gardens below S. Sabina. A fine arch in large tufa blocks with a span of about 12 ft. was also excavated near S. M. in Cosmedin in 1887. 80 The excavations in 1876 for the removal of the Monte della Giustizia, ^nd the levelling of the soil betw^eu the Rly, Stat, wd tbg iiJl^ftOBUtJTiON.— THE WalL^. [45] Pmance Office, revealed in several places the existence of a second wall within and parallel to the Servian wall, from which it was separated by a space varying in width from 1 to 13 yds. This Wall, formed of peperino blocks mu^h smaller than the tufa masses of the external one, is conjectured to have supported the inner side of the Servian aqger. Most of these interesting specimens are still visible, but they are rapidly disappearing to mftke room for new buildings. It has been decided, however, that the Porta Vlminalis and the fine specimen of the Servian wall upwards of 100 yds. long and 30 ft. high, flanking the Rly. Stat, to the E., shall be entirely preserved. The existing Walls, including those of the Trastevere and the Vati- can, are from 12 to 13 m. in circuit. The walls on the 1. bank are, with slight deviations, the same as those commenced by Aurelian, A.D. 272, and completed in the reign of Probus. They were repaired by Honorius, Theodoric, Belisarius, and Narses, and by several Popes ; sometimes obviously in a hurried manner and for temporary purposes. Hence so many varieties of masonry are visible that it is often difficult to decide to what period their construction belongs. The last great and general repairs were made in 1749 by Benedict XIV., who rebuilt the parts of the walls which had become dilapidated, and repaired all the gates. The walls throughout their entire circuit on the 1. bank present an irregular polygonal outline ; they are built generally of brick, with occasional patches of stonework ; at some points there are portions in optus reticulatum of the best Imperial times, such as the Muro Tartv (Rte. 1). They have no ditch visible, but are crested with nearly 300 towers. In many parts, both on the exterior and the interior, it is evident that they are built upon earlier constructions, and in general they are only 30 ft. from the ground on the inner face, although sometimes 50 ft. on the" outer. There are 20 gates belonging to the modern city, but seven of them are now walled up. They are described under the different Routes to which they belong. A pleasant walk may be taken round the Aurelian Walls from the Porta del Popolo to the (8 m.) Porta S. Paolo, the distances being approximately as follows. It is not worth while to complete the circuit. Porta del Popolo Muro Torto . Porta Pinciana ft Salaria M Pia Policlinico , Porta Chiusa S. Lorenzo Maggiore >» 5 min. . 15 „ . 10 „ . 10 „ 15 „ . 5 „ 10 „ 25 „ Amphitheatrum Castrense 10 min. Porta S. Giovanni „ Metronia . ), Latina „ S. Sebastiano Bastion of Sangallo Porta S. Paolo . 10 20 10 10 10 15 3 hrs. The series is unbroken except between the Porta Maggiore and the Amphitheatrum Castrense, where it is necessary to walk for nearly J m. outside the gate along the Via Casilina and then turn to the right. From this point to the Porta S. Gi jvanni the road is impracticable for carriages. [46] iNTRObtJCTIQK.— AQtJEDUCT^. Circuit of the Walls of Urban VIII. on the rt. bank, from the Pidziid del Risorgifnento to the Porta Portese. Piazza del Bisorgimento View of Viaduct on the Viterbo Rly. . 20 min. Vatican Observatory on thel. ... 10 Porta Cavalleggieri . 10 11 Monument of Garibaldi . Porta S. Pancfazio Viale del Re . Porta Portese 18 min. 4 25 3 »» >> »> 1 hr. 30 min. AQUEDUCTS. There were fourteen in all, with a total length 360 m., of which 804 ran underground. Several of them have been restored for modern use. The Aqua Virgo is the modern Acqua Vergine ; the Aqua Marcia is the Acqua Pia; the Aqua Trajana is the Acqua Paola; and the Aqua Alexandrina is the Acqua Felice. With the exception of the Aqua Appia and the Anio Vetus, some vestiges of all still remain above ground. 1 Aqua Appia, the oldest aqueduct of Rome, constructed by Appius Claudius Caecus, B.C. 312, after the completion of his Appian Way. It had its source near Rustica, on the Via CoUatina, about 5 m. from the city. In later times a branch was added to it by Augustus, named after him the Aqua Appia Augusta, and their united streams entered Rome near the Porta Maggiore, 27 ft. below that of the Anio Vetus, from which they were carried along the Caelian and Aventine as far as the Marmora ta. This aqueduct was entirely subterranean, except about 60 yds. near the Porta Capena. Some portions of the water- course may be seen in the quarries near the Church of S. Saba (Rte. 26). Total length, 6| m. 2 Anio Vetus, begun by Manius Curius Dentatus, B.C. 272, and finished by M. Fulvius Flaccus, B.C. 270. It had its source near Augusta, in the valley of the Anio, 10 m. beyond Tivoli, and pursued a course of 43 m. to the walls of Rome ; only about J m. was above ground. Besides the beautiful fragment engraved by Piranesi (' Antiq.,' i. 10, fig. 1), the specus of the Aqueduct remained visible until 1867, at the base of the walls of Rome, near the Porta Maggiore, and exactly under the specus of the Marcian. The opening has been since walled up. In Jan. 1861, two pits, with inscribed cippi of tufa of the same watercourse, were discovered near the Rly. Stat., and five more during the year 1874, between the Stat, and S. M, Maggiore. A secondary branch, called the Rivus Octavianus, left the main stream about 2 m. outside the Porta Esquilina, and following the line of the Aurelian wall, reached the Aventine not far from the Piscina Publica. This specus is still visible in five different places along the walls of Rome — near the Amphi- theatrum Castrense ; under the Laterau Palace ; under the 2nd tower E. of the Porta Metronia ; between this gate and the Latina ; near the Porta Latina, where are also remains of a large reservoir. Near the Stat, is a curious shaft {jputeu^), in the form of a round tower about 12 ft. high, by which workmen could descend to inspect the floor of the specus. This water was scarcely drinkable, and was chiefly employed for irrigation, or for cleansing the drains. 3 Aqua Marcia^ brought to Rome by Q. Marcius Rex, the praetor, WJTRObtrCTlON.— AQtJEbDCfg. [47] ^; ;>, ^* J^^,^^"'*^^ ^'^s U m. beyond Roviano, near the 37th m. on the Via Sublacensis, at the modern Laghetto di S. Lucia, where its temperature is 46°Fahr.-the coldest of the waters which enter Rome. It was subterranean except for the last 6 m. The arches now standing Pro««^ If r^nT^'S' ^T *?^ ^^^" -^^''^^ (^*«- 4'^) *^i« aqueduct i! crossed by the Claudian, which runs parallel to it for some distance The specus may be seen in the ruined fragment forming part of the Aurelian Lorenzo (Rte. 35) This aqueduct, after being distributed over the Caehan Hill ended near the Porta Capena. Pliny says that the Aqua Marcia was distinguished by its purity and salubrity. It is mentioned repeatedly m the verses of Propertius and TibuUus. ' This water is stUl brought to Rome under the name of Acqua Pia, a restoration eSed Rome^-lf '"^ ^^'^^' ''''^^ * ^^"^ ^^^^^ ^^^^'^ *^^ "^^^^^ ^"^^ 4 Aqua Tepula, constructed by Cneius Servilius Caepio. and L Cassius Longinus, b.c. 127. It had its source near the 10th m. on the via l^tma, and was carried into Rome over the Marcian arches The specus may be seen at the Porta S. Lorenzo and P. Maggiore, between those of the Marcian and the Julian. The water was caUed Tcwz^to (tepid) from its being slightly warm. 6 Aqua Julia, commenced by Agrippa, b.c. 33, and named in Honour of Julius Caesar. Its source was about a mile above Grottaferrata whence it ^yas conveyed to the piscina of the Aqua Tepula, the two channels being thence carried on the same row of arches until they merged m the ine of the Aqua Marcia. The specus may also be seen m the city wall, outside and on the 1. of the Porta Maggiore from whence it passed to the Porta S. Lorenzo (b.c. 5). o& » 6 Aqua Virgo constructed by Agrippa, b.c. 19, and still in use (see ±Cte. Z). It IS said to be the only one of the ancient waters which never mixes along its course with any other-an additional reason for its name. 7 Aqua Alsietina, constructed by Augustus, on the rt. bank of the liber, for the use of his Naumacbia, which stood near S. Francesco a Ripa It was derived from the small Lacus Alsietinus (Martignano) W. of the crater of Baccano. The level of the stream (30 m. long) was the lowest m Rome, and the water was not drinkable. 8 Aqua Claudia, commenced by Caligula, a.d. 38, and finished by Claudius, A.D. 52. Its source was at the 38th m. on the Via Subla- ?if ^*!' o^®*"" *^® ""'^^^^^ ""^ ^g°^^*- I* was nearly 46 m. in length. About 36 m. were subterranean, and the remaining 10 m. carried over arches. Of this magnificent work, a line of arches no less than 6 m. in length still bestrides the Campagna, forming the grandest ruin outside the walls of Rome (Rte. 60). 9 Anio Novus, brought to Rome also by Claudius, on the same arches as the Claudia, but in a brick conduit placed over the stone specus ot tne latter Its source was near the 42nd m. on the Via Sublacensis. It was the longest of all the aqueducts, extending 62 m., of which 52 were underground ; it entered the city at a higher level than all the others, on the left bank of the Tiber. The specus may still be seen m ii^TRObUCTION.— AQtJEbtidfS. above that of the Aqua Claudia over the archea of the Porta Maggiord, and both are worth close examination as a very noble instance of Roman masonry. The Claudian aqueduct was repaired by Vespasian, Titus, Severus, and Caracalla. The brick arches of Caracalla, strengthen- ing the Claudian stone arches, are visible in many points on the Campagna. Nero extended this aqueduct across the Caclian to the Palatine, by a magnificent series of double concrete arches, faced with unusually neat brickwork. Later arches were built under them by Severus in 201, probably as supports after an earthquake. Near the Lateran are some arches two tiers high— the upper tier being extremely neat, in the best style of Nero's work. Near the Porta Maggiore is a fine lofty gateway for a road below this aqueduct, decorated with moulded brick imposts and short string courses— the holes for inscrip- tion slabs being still visible. 10 Aqua Trajana, constructed by Trajan a.d. 109, and derived from various sources along the hills on the W. side of the Lake of Bracciano. Its length exceeded 32 m., and its remains are well preserved in several places at La Storta, at S. M. di Oalera (Rte. 59), and along the enclosure wall of the Villa Doria-Paniphili (Rte. 34). It was restored by Belisarius, after the Gothic siege in 537, and by some of the Popes, including Paul V., and now enters Rome on the Janiculum, under the name of Acqua Paola (Rte. 33). It supplies also the fountains in front of St. Peter's, and a large part of the Trastevere. This water is the least pure in Rome. 11 Aqua Alexandrina, constructed by Severus Alexander in a.d. 226 for the use of his Thermae in the Campus Martius. Its sources, near the Lake Regillus, 14 m. from Rome, were the same which now supply the Acqua Felice. Some beautiful and well preserved arches of the ancient aqueduct may still be seen between the Via Labicana and Praenestina (Rte. 45). This was the last-constructed of the ancient Roman aqueducts. The following table shows the relative heights above the sea of the bottom of the channels of the aqueducts, where they entered Rome, at the Porta Maggiore : — Eng. Feet. Aqua Appia .... 121 Anio Vetus 149 Aqua Marcia .... 173 Aqua Tepula .... 182 Eng. Feet. Aqua Julia 191 Aqua Claudia .... 808 Auio Novus 212 The specus was 3 or 4 ft. wide and 6 or 7 ft. high, so as to allow a man to walk along it for the removal of earth and sediment ; and at intervals were vent-holes above and basins below, in which the sediment was allowed to settle. Here and there also were large reservoirs for storing up water against an emergency, such as the Sette Sale (Rte. 14). At points where the aqueduct crossed a public road, a sort of minor triumphal arch was erected with an inscription recording the name of the builder or restorer, as at the Porta Maggiore (Rte. 15), and the Porto S. Lorenzo (Rte. 35). [ 49 ] MEDIAEVAL AND MODERN ROME. BASILICAS.! A pagan basilica was a secular building used like a modern Exchange for the transaction of business, and containing also accommodation for the holding of courts of law. Until the period of Constantine it had no apse, but was divided into nave and aisles by long rows of columns, above which rose a clerestory with windows. Upon the establishment of Christianity as the State religion of the Empire, these buildings would still be required for secular uses, and could not therefore have been adapted for purposes of worship by the Christians, as has frequently been assumed. The most that can be said is that the obvious convenience of their form and general arrangement induced the Christian architects to imitate them. In spite, however, of much similarity in point of structure, and the significant testimony adduced by the general adoption of the name, the true origin of the Christian Basilica, of which the apse, it must be re- membered, is an all-important feature, must be sought among buildings of a very much earlier date than the period of Constantine. There existed in Pagan times a very large number of Sodalitates (guilds), sometimes political, but more often social, and designed for purposes of mutual succour, conference among friends, and burial of the dead. Their place of meeting was called a Schola, and the memorial chapel in which their members were laid to rest was a cella,X with an exedra or apsidal recess, in which friends or relations might sit at the funeral te&at on its anniversary. Except at times when they became politically dangerous, these guilds and their practices were recognised as legal and protected by the State ; and the Christians not unnaturally conformed themselves in large measure to the practice of these sodali- tates , and so gave cause to the Roman authorities to apply the same laws to both. Here probably we shall find the real source of the 4th-century Basilica. The Christians met first in private halls, and when they erected buildings for themselves, these took the form of unpretending lodge- rooms or Scholae ; they also assembled on occasions in or before the cellae of the cemeteries. At the end of the 3rd and in the 4th cent, larger buildings were needed, and aisles were added to the simple halls, which were now lighted in the basilican fashion. Partly as a reminiscence of the exedrae of the cemeteries, but chiefly as a natural consequence of the uses to which these buildings were put, they received universally an imposing apsidal termination, which gave them a marked architectural character. Accordingly there is produced from a imion of all these elements the church op the fourth century, with its fore- court and fountain reminiscent of the private house, its oblong plan t The entire question of relationship between the Christian Basilica and the Pagan building which bore the same name has been exhaustively treated by Prof. Baldwin Brown, in his highly interesting volume entitled 'From Schola to Cathedral ' (Edinburgh, 1886X X It is not meant, of course, that the ceUa was only erected as a burial-place for members of a guild. Any private individual who could pay for it might have one. The object of the guild was to place such a monument within the means of the comparatively poor. [Rome.'] f [50] INTRODUCTION. — CHURCHES. and tribunal or seat for the presidents derived from the primitive schola, its apse and ' confessio * recalling the memorial cella of the cemeteries, and its long rows of columns surmounted by a line of windows, exhibiting a modified form of the Roman basilica. The idea of the Christian Basilica may be broadly sketched as follows: I. Atrium or Court of Entrance, surrounded with an open arcade, and having a fountain in the centre at which the faithful washed their hands before entering the Church. The Court was intended as a covered waiting hall for persons who had business with the clergy, just as the forecourt of the Roman basilica served for a crowd of stockbrokers and suitors. II. Portico or Narthex, reserved for the catechumens or penitents. III. Nave, usually left free, and Aisles- thai on the rt. for men, 1. for women ; above the aisles were sometimes Triforia or galleries for the women. T^owards the end of the nave stood the Ambones or reading desks, one for the Gospel, the other for the Epistle. IV. Cancelli, or railings, separating the nave from the Choir, which was restricted to the use of the clergy. Hence the modern word Chancel. V. The Transept was a subsequent addition. When it occurred, it was divided in the centre by a Triumphal Arch, leading to the Sanctuary, and usually covered with mosaics. VI. Presbytery or Sanctuary, elevated by steps, where stood the altar. VII. Tribune or Apse, usually triple— i.e. divided into three hemicycles. ' The central one contained the tribunal or episcopal chair, the one on the rt. the sacred implements, the one on the 1. the sacred books.'— L. VIII. Crypt, inamediately beneath the Sanctuary ; an open grating {Fenestrella) ad- mitted a sight of the Confession or shrine of the Saint or Martyr in whose honour the Church was dedicated. CHURCHES. There are 352 churches in Rome, including chapels, oratories, and the four basilicas outside the walls. Of these the five patriarchal basilicas, St. Peter's, the Lateran, S. M. Maggiore, St. Paul's, S. Lorenzo, and the two specially revered churches of S. Croce in Gerusalemme and S. Sebastiano, form the seven pilgrimage churches. These are open the whole day, but all other churches are closed froni 12 to 3. Many of those attached to convents are open only at an early hour, and some only on the festival of the patron saint. Patriarchal Basilicas (so named in honour of the five patriarchs of Rome, Constantinople, Alexandria, Antioch, and Jerusalem) : Paulas, Virgo, Petrus, Laurentius, attiue Joannes ; Hi patriarchatus nomen in Urbe tenent. S. Giovanni in Laterano.f S. Pietro in Vaticano.f S. M. Maggiore.f S. Paolo fuori le Mura. S. Lorenzo fuori le Mura. Minor Basilicas. S. Croce in Gerusalemme. S. Sebastiano. S. Agnese fuori le Mura. SS. Apostoli. S. Cecilia. S. Clemente. S. M. in Trastevere.f S. Lorenzo in Damaso.f S. M. in Cosraedin.f S. M. di Monte Santo.f f With a chapter. INTRODUCTION. — CHURCHES. [51] S. M. dei Martiri (Pantheon). S. Marco. S. Niccol6 in Carcere. S. M. in Via Lata. S. Eustachio. Collegiate Churches. S. Angelo in Pescheria. SS. Celso e Giuliano. S. Anastasia. S. Girolamo degli Schiavoni. Parochial Churches. All the above, except S. Croce, S, M. di Monte Santo, the Pantheon, S. Anastasia, and S. Ovrolamo degli Schiavoni. A Parish Church may always be recognised by its Font. The remaining thirty-six are arranged in alphabetical order : — S. Adriano. S. Andrea delle Fratte. S. Angelo alle Fornaci. S. Agostino. S. Bartolommeo. S. Bernardo. S. Carlo ai Catinari. S. Catarina della Ruota. S. Crisogono. S. Dorotea. S. Francesco a Monte Mario. S. Giacomo al Corso. S. Giovanni dei Fiorentini. S. Lorenzo in Lucina. S. Lucia del Gonf alone. S. Marcello. S. M. in Aquiro. S. M. in Campitelli. S. M. del Carmine (Porta Portese). S. M. sopra Minerva. S. M. dei Monti. S. M. in Monticelli. S. M. del Popolo. S. M. del Rosario (Monte Mario). S. M. Traspontina. S. M. in Via. S. M. Maddelena. S. Martino. SS. Pietro e Marcellino (fuori). SS. Quirico e Giulitta. S. Rocco. S. Salvatore della Corte. S. Salvatore in Lauro. S. Spirito in Sassia. S. Tommaso in Parione. SS. Vincenzo ed Anastasio a Trevi. Tht remaining Churches belong chiefly to Religious Orders, or to Confraternities, or Guilds. The following surburban sees and Roman Churches give titles to Cardinals : — Cardinal Bishops. Ostia and Velletri. Porto and S. Rufina. Albano. Frascati. Palestrina. Sabina. Cardinal Priests. S. Agnese fuori le Mura. S. Agostino. S. Alessio. S. Anastasia. SS. Apostoli. S. Balbina. S. Bartolommeo S. Bernardo. S. Calisto. S. Cecilia. S. Clemente. S. Crisogono. S. Croce. SS. Giovanni e Paolo. S. Giovanni a Porta Latina. S, Girolamo degli Schiavoni. /2 j;^-. [52] INTRODUCTION. — CHURCH FESTIVALS. S. Gregorio. SS. Lorenzo e Damaso. S. Lorenzo in Lucina. S. Lorenzo in Panisperna. S. Marcello. S. Marco. S. Martino, S. M. degli Angeli. S. M. in Ara Coeli. S. M. sopra Minerva. S. M. deUa Pace. S. M. del Popolo. S. M. Traspontina. S. M. in Trastevere. S. M. in Via. S. M. della Vittoria. SS. Nereo ed Achilleo. S. Onofrio. S. Pancrazio. S. Pietro in Montorio. S. Pietro in Vincoli. SS. Pietro e Marcellino. S. Prassede. S. Prisca. S. Pudenziana. SS. Quattro Coronati. SS. Quirico e Giulitta. S. Sabina. S. Silvestro in Capite. S. Sisto. S. Stefano Rotondo. S. Susanna. S. Toramaso in Parione. S. Trinittt ai Monti. S. Adriano. S. Agata dei Goti. S. Angelo in Pescheria. S. Cesareo. SS. Cosma e Damiano. S. Eustachio. S. Giorgio in Velabro. S. M. in Aquiro. Cardinal Deacons. S. M. in Cosmedin. S. M. in Domnica. S. M. dei Martiri pantheon). S. M. in Portico (Carapitelli). S. M. della Scala. S. M. in Via Lata. S. Niccol6 in Carcere. S. Vito. CHURCH FESTIVALS. The Supreme Pontiff and Papal court may be seen attending high mass in the Sixtine Chapel or in St. Peter's, on stated occasions. Adm. by ticket, generally to be obtained from the Hotel porter. The Diario Romatw, annually published at the Propaganda Press (60 c), obtainable at a bookseller's, gives a list of the festivals for every day in the year in the different churches of Rome. Moveable Feasts. Most of the following are " stations," when the Church named is entirely lit up, the walls covered with rod drapery and the relics exhibited. Second Sunday after Epiphany. — Feast of the Holy Name of Jesus. After Vespers the Image is covered in the Sancta Sanctorum at the Scala Santa. Feast also at S. Ignazio, and S. M. in Ara Coeli. Septuagesima Sunday. — S. Lorenzo fuori (crowd of peasants). Sexagesima Sunday. — S. Paolo fuori. Ash Wednesday. — S. Sabiruiy S. Alessio, S. M. in Cosmedin. First Thursday in Lent. — S. Giorgio in Velabro. First Friday. — S. Oregorio, SS. Giovanni e Paolo; Trinitd dei Pellegrini. First Saturday. — S. Agostino, S. Trifone. First Sunday. — St. John Lateran. Women admitted on the Sundays in Lent (only) to the Chapel of the Column at da Tolentino. 19. Feast of St. Joseph at all his churches {Capo le Case, FaUgnami, Lungara) and at many others. 20. Exhibition of the relic called of St. Gregory the Great in the subterranean chapel of S. Helena in S. Croce : women admitted to the chapel on this day only in the year. 21. Feast of St. Benedict in S. Paolo fuori, S. Calisto, S. Ambrogio, S. Anselma, S. Cecilia. 25. Annunciation. S. M. sopra Minerva, S. Carlo al Corso, 81. S. Balbina. April. 16. S. M. dei Marti, S. Bernardino. 19. Feast of S. Espedito, protector in difficult law suits, at S. M. sopra Minerva. 21. Birthday of Home. Romulus began building the city. 28. Feast of St. George, patron saint of England, at S. Giorgio in Velabro (head exhibited), S. Giorgio in Via S. Sebastiano, S. Silvestro in Capite. 24. Chapel of Propaganda, Cappucini. 25. S. Marco. 26. S. Paolo alia Itegola, S. M. degli Angeli, S. Andrea deUe Fratte. 28. Feast of S. Paolo della Croce, founder of the Passionists, at ■ SS. Giovanni e Paolo. 29. Feast of S. Pietro di Verona at S. M. sopra Minerva, where olives are blessed against lightning and tempest. At Vespers women are allowed to visit the room of St. Catherine of Siena in the Sacristy. 80. Feast of St. Catherine of Siena, protectress of Rome, at S. M, sopra Minerva (where lies her body) : women admitted all day to visit her room in the Sacristy. May. 1. SS. Apostoli. 2. S. Atanasio (Greek rite). S. Oiov. dei Forentini. 3. Refinding of the Cross by the Empress S. Helena. Mass at S. Croce at 9.S0 and 10.45, and exhibition of the relics of the Cross : exhibition of similar relics at St. John Lateran and iS^ Peter's. 4. S. Agostino, S. Pietro in Vincoli. 5. Feast of St. Pius V. in S. M. Maggiore (where his body lies) 8. M. sopra Minerva, S. Sabina (where his room is shown), S. M. in Vallicella (or Chiesa Nuova). 6. Feast of St. John in S. Giovanni a Porta Latina (the place of his martyrdom), S. Giovanni in Olio. 7. SS. Vincemo ed Anastasio a Trevi. S. Andrea delle Fratte, S. M. degli Angeli, SS. Quirico e Giulitta. 8. Apparition of St. Michael : S. Michele in Borgo, S. Angela in II INTRODUCTION.— CHURCH FESTIVALS. [57] Pesclieria, S. Lorenzo in Damaso, S. Eusebio, S. Giuseppe a Capo le Case, S. Prassede. Feast of the translation of the Holy Image at S. M. della Vittoria. 12. Feast of SS. Nereo and Achilleo and Flavia-Domitilla in SS. Nereo ed Achilleo. S. Pancrazio. 14. S. Alessio. 16. S. Pietro in Vincoli, S. M. della Pace. 17. S. M. dell' Anima, S. Lorenzo in l^tidna. 18. Cappuccini. Feast of S. Pudenziana in S. Pudemiana (where lies her body). 20. S. Bernardino. 23. S. M. in Cosmedin. Cappuccini. S. Marcello (exhibition of miraculous crucifix). 24. Commemoration of the glorious return of Pius VII. in 1814, in S. M. sopra Mifierva, S. Carlo cU Corso. 25. S. Cecilia, S. Giov. dei Fiorentini. 26. Feast of St. Philip Neri (founder of the Oratorians) in S. M. in Vallicella or Chiesa Nuova (where his room is shown), S. Girolamo della Caritd, S. Giovanni dei Fiorentini, S. Andrea delle Fratte. 80. Feast of St. Ferdinand III. of Spain, in S. M. di Monserrato. June. 10. Feast of St. Margaret, Queen of Scotland (1099) in S. Andrea degli Scozzesi, and exhibition of relics. 13. Feast of St. Anthony of Padua, Franciscan, in St. Peter's (Cappella del Coro), S. Antonio di Padua, S. Antonio dei PortogJiesi, S. M. in Ara Coeli, S. Paolo alia Regola, S. M. degli Angeli. 15. S. Onofrio. 18. Feast of the translation of the head of St. Andrew, and exposure of the relic, in St. Peter's. 19. S. Gregorio. 21. S. Ignazio, Gesii, S. Apollinare, 22. S. ClemenU. 28. Eve of St. John Baptist. Flowers blessed for the sick, before vespers, in St. John Lateran. 24. Feast of St. John Baptist in St. John Lateran (exposure of the heads of SS. Peter and Paul) S. Giovanni dei Fxore^itini, S. Giovanni dei Genovesi, S. Silvestro in Capite (exposure of the head of the Baptist), S. Pietro in Vincoli. 25. jS. Lorenzo in Damaso : prornKKion nftor VoflporM. 26. Feast of SS. John and Paul at SS. UiH, generally intantoliiig s«oh nthmr at ri;;ht ongioa, ■OflMtimon tortuouM, more rarely diirMj||i|g tnm a oca tie, as ol S, lar$nzo ftunri le Mura. Thene gallecMa tra Abo«t 8 ft h^b br 8 to 5 A. wide. In tho tufa of tho walls ars «seait«|«l tbe aepukhMl fceuU or graves, forming tiers above each otlksr. Thoas fl^v«a trv ifrogslmr in sise, OH in depth, sometlm^a being t^itttingcl to ftflntohi 4 singlo oorjiM, in othor casos two or three. The awigs nosnbsr of fftuvm in mA dor [62] INTRODUCTION. — CATACOMBS. is about five, and their length 8 ft. When undisturbed they are found closed with marble slabs or tiles, on which inscriptions and Christian emblems are often cut or painted. Besides these loculi, confined to the walls of the galleries, wider spaces called arcosolia, consisting of an arched grave, or a sarcophagus hollowed in the tufa, are frequent, forming a kind of small apse over the place where the body was deposited. A third class, in the shape of sepulchral chambers (cubtcula) , surrounded with loculi and arcosolia, occur at intervals. These have often been converted into family vaults and places of worship. A few of the Christian dead were deposited in marble urns decorated with Christian emblems. Some of the sarcophagi may still be seen in the catacombs in situ, and others in the Christian Museum at the Lateran. It is probable that most of them were placed originally in the churches at the entrance of the Catacombs, or in the vestibules of the basilicas subsequently erected on their sites. The catacombs are mostly included within a radius of three miles from the walls, the farthest removed being that of St. Alexander, about 6 m. on the Via Nomentana. The total length of excavated galleries, including the stories, one above another, in some places amounting to as many as five, is estimated at over 500 miles ; the total number of bodies may have been two millions. Some of the earlier catacombs date soon after St. Peter's martyrdom, but by far the greater number are subsequent to the middle of the 2nd century. In later times oratories and churches were erected over the entrances. Several of the most celebrated Roman churches were built in this manner. St. Peter's was erected over the cemetery of the Vatican, St. Paul's over that of S. Lucina, S. Lorenzo over those of S. Hippolytus and S. Cyriaca, and S. Agnese over the catacomb in which that virgin martyr was interred. Speaking generally, it may be assumed that during the 1st and 2nd cents, catacombs answered the mere purpose of burial-grounds, permitted by the law ; and that they were first used as places of hiding and secret assembly during the persecutions under Decius and Valerian about a.d. 250-260. This state of things continued until a.d. 313, when free toleration of Christianity was accorded by the Edict of Milan. From this time burial, above ground also came into use, and the two systems continued until the capture of Rome by Alaric in 410, when catacomb burial ceased. The catacombs then became objects of pilgrimage, it being believed that they contained the bodies of none but martyrs. They were despoiled by the Goths in 557, and again by the Lombards in 756. These misfortimes caused the removal of the bodies to the churches within the city walls. They were then, from the middle of the 9th century, neglected and for- gotten, with the exception of the cemetery of St. Sebastiano. Discovered by accident in 1578, they again became objects of interest, and were thoroughly explored by a Maltese named Bosio ; his researches, to which he devoted the last 36 years of his life, were published after his death in a ponderous folio,t which contains a detailed description of most of the catacombs then known, with a few ground-plans and copies of their paintings and inscriptions. It is only, however, during our own times that this branch of antiquarian research has been resumed in a really scientific manner, and with the view of connecting the early Christian paintings and sculptures with the t ' La Boma Sotterranea ' di Antonio Boeio. 1 vol. folio. Boma, 1632. INTRODUCTION. — GALLERIES, ETC. — PALACES. [63] history and ceremonies of the primitive Church. The chief modern authority is De Rossi {Inscriptiones Christianae, 1857-61; and La Boma Sotterranea Cristiana, 1864-77). The best description in English is Roma Sotterranea, by the Revs. J. S. Northcote and R Brownlow, 1879. Admission.— To the Catacombs of St. Callixtus, 1 fr. ; Jewish Catacombs, 1 fr. In others visitors give a fee to the local custodians who act as guides and provide lights. ' GALLERIES, MUSEUMS AND EXCAVATIONS. The new regulations for free admission to galleries, museums, and excavations belonging to the Italian nation are very much more stringent than hitherto. Students should submit their credentials to the Italian Ambassador in London, and on his certificate a pass will be granted. A more troublesome method is for the student to make his application to the Ambassador of his country accredited to the Court of Rome, who must first judge whether the applicant belongs to a " recog- nised academy," and, if in his judgment he does so, then forward his application to the Minister of Education, who eventually sends a pass to the Embassy, whence it is usually forwarded to the Consulate of the city from which the application is made, and then by the Consul trans- mitted to the applicant. The pass when obtained permits the bearer to measure, sketch, and photograph, and to go in and out of the gallery or excavation free as often as he pleases. If he wishes to copy a picture he must apply to the director of the gallery in which it is exhibited, who will inform him under what conditions he may work. Amateurs can obtain permission to photograph on application to the director of the gallery or excavation in question. The application must be on stamped paper of 60 c, which can be procured of any tobacconist in Italy. For similar privileges with regard to the Vatican collections application should be made to the Pope's majordomo. PALACES. The Palazzi {Mansions) of Rome constitute one of its characteristic features. There are here a larger number of princely residences in proportion to the population than in any other city in the world. The Roman Mansions are in many respects peculiar in their architecture, and present a valuable field for the study of the artist. No class of buildings has been more severely criticised, and yet architects have been compelled to admit that no buildings of the same kind in Europe are so free from what is mean and paltry in style. The plan is generally a quadrangle, with a large staircase opening on the court. The windows of the ground-floor are usually barred, and the apartments often let out to tradesmen, or used for stables, coach-houses, or oflfices. The stairs leading to the upper rooms are frequently of marble, but sometimes so badly kept that the effect of the material is completely lost. The upper floors form suites of apartments running round the whole quadrangle, and communicating with each other. Each floor affords sufficient accommodation for a family ; hence it often happens that the owner reserves one floor for his own use, and lets out the remainder. Columns [64] INTRODUCTION. — GEOLOGY. of marble and gilded ceilings are not wanting, but the furniture is sometimes clumsy and antiquated. In the Mansions of the Roman princes the ante-chamber contains a lofty canopy or Baldacchino, on which the armorial bearings of the family are emblazoned, with a throne— the emblem of their once feudal rights. It is generally worth while to glance upwards when passing a Roman Palazzo, as most of these buildings, though perhaps not otherwise remarkable, have a rich and elegant cornice overhanging the street. GEOLOGY. The extensive tracjk of country which bears the general name of the Campagfna forms a kind of amphitheatre, closed towards the N. by the trachitic hills of Tolfa and the volcanic hills of Bracciano ; towards the N.E., E., and S.E. by the declivities of the Umbrian and Sabine Apen- nines, the Volscian and Lepine mountains ; and open on the S. and W towards the Mediterranean. In this amphitheatre rises, S.E., the volcanic group of the Alban hills, whose highest point is Monte haw (3135 ft.) ; to the N.W. Monte Cimino (3480 ft.), forming the S. boundary of the great plain of Etruria ; to the N. the solitary and classical Scyracte (2265 ft), and to the E. the insulated off -shoots from the Sabine Apen- nines—the ancient Montes Comiculani (1380 ft.) rising above the hill-town of Monticelli. The highest points of the encircling mountains on the E. of the Campagna are M>n.arrying six wives in succession, of whom one was the infamous Messalina. He was,' however, an able ruler. He began the conquest of Britain. He was poisoned by Agrippina, the sister of Caligula and mother of Nero (Aqua Claudia, p. [47] ; Anio Novus, p. [46]). Nero was the nephew of Caligula and great-grandson of Augustus. He was one of the worst of the Emperors. He caused his mother, Agrippina, to be murdered, and many of the nobles of Rome shared her fate, amongst them the philosopher Seneca, and the poet Lucau. His position with regard to the great fire at Rome and his persecution of the Christians is mentioned on p. [77]. He took advantage of the clearance made by the fire to build an immense palace, the Domus Aurea or Golden House. He committed suicide at Phaon's Villa, near Rome (p. 545) (Palace, p. 158; Baths, p. 195). The legions engaged in the war in Palestine proclaimed their general, Vespasian, Emperor, and, marching upon Rome, drove out his rival Vitellius. Vespasian was the first Roman Emperor who was not of patrician blood. He continued the conquest of Britain, suppressing the revolt of Boadicea (Colosseum, p. 103). His son Titus conquered Jerusalem during the lifetime of his father, and was himself Emperor for two years (Arch, p. 79 ; Baths, p. 158). Domitian was the brother of Titus, His lieutenant, Agricola, carried the Roman arms into Scotland. He was wantonly cruel, p.nd was assassinated (Temple of Vespasian, p. 61 ; Palace, and Stadipm on the Palatine, p. 112). Pomi^ tian's successor, Ncrva, was an aged and distinguished senator, selected by the Senate. He died sixteen months after his accession |Forum of ]^erva, p. 96), Tramn was in command of the legiojis o» [76] INTRODUCTION. — HISTORY OP ROME. the Rhine when his adoption by Nerva ensured his accession. He conquered Dacia ; built roads, bridges, canals ; was an able and popular ruler. It was customary to greet succeeding Emperors with the wish that they might be 'happier than Augustus, better than Trajan* (Forum and Column, p. 99 ; Aqueduct, p. [48]). Hadrian was the son of Trajan's cousin. He travelled over the greater part of the Empire, living for three years at Athens, and afterwards at his villa at Tibur. His reign is one of the happiest periods of Roman Imperial history. His policy towards the barbarians was firm, yet conciliatory. The address to his soul, on his death-bed, has been translated by Byron, Pope, and others : — * Animula vagiila blandula, Hoepes comesc^ue cori)ori8, Quae nunc abibis in lo<-rt Pallidula, rigida, nudula— Vec ut soles dabis jocos?' Hadrian founded Adrianople (Hadrian's Villa, p. 439 ; Castello St. Angelo, p. 272 ; Pantheon, p. 181 ; Temple of Venus and Rome, p. 81 ; Pons Aelius, p. 202). On the death of his favourite, Antinous, Hadrian adopted Antoninus, surnamed the Pious. He and his successor Marcus Aurelius were the only Emperors who devoted themselves to the task of government with a single view to the happiness of the people (Temple * Uui of tlieBto4c#. In bu •y^iU- iSoDA* bft tkMlj uuUjMi liift «nni obmncUr. Ho ahvo bit mdcmoii to IIm BMil RMMcul ii«r««euUoo tbo CtiriuUikf b»d y<4 MtfforMl (Coluxnii, pc 9). Stftimius Stvfrus yfti oootttModl Kmpcffoc by U>« •oMioni »l^ tlt«k abhorr«aKo of idolatry, Iboir IcnrHSbDC Oflooriiun» olbwnan cqwility, and ihoir IbNak ol tuiuro pttoisbmonl lo ovii-4ooos mado ibrao detested br ibo BBDp«toni» by iho Sdoklre«i comnionn ptoplo, and by ihu pbUoiopbk mbdiovore in iho b aalliw 90A1— by tiimnm* Tba gioalfir^iu Kcono, In aj>.64, wa* rciipudod by Ibe pMplo %a* tho worb of ibo Kmpovor Novo^ but ba oaMily found a Mapcuual in lh | o o u of aoeaaaUoa and ponklimont Ibooo nbcini^ MR^dy bakd tor Iboir wfeboAnioa, Ibo Moplo cnlkd ObrliikML . . . Tboy wno oonncUd* noi rc«Uy on Ibo chnrgo ol cauidm Iba (iro, but ralbtr for ibeir balrad to tho huaaua not. Moobcffka wcco added to ihoir dfaib ; Iboy ivato wofpad in Ibo tidnB ol wild b«MU and torn to ti^-- ^^ do(r». or cnteUUd, or oci on flro and burnt, vibto iho dayligbl Uil> , uircbc* to liflhl op tba ttkbt. N««o had knd bk own gaidaoo for Ibo op < rt a ck » aad ba nvo a cbaiioi taoo» ia which l>o via Mttt nkowitcd on bk car or "*^C""^ with ibo p*oplo ia Ibo dnoi of a obarioUar. Xh ibo roattli of alt, a ftilim of riin|ot •Uni amoo for tbo mileforh Ibon^ WoiKj asd ihijuffrlif aths of Diocletian. The great span of the va'ult of this transept (78 ft.), wider than the vault of any Gothic cathedral, suggests the great importance of the one factor to which Rome owes the size and the preservation of her magnificent buildings, viz., the splendid quality of the concrete with which her walls and vaults were built. The admixture of pozzolana, a volcanic deposit, of which there were large quantities under and round Rome, gave to the concrete the quality of a hard cement. * This pozzolana more than any other material contributed to make Rome the proverbial ** eternal city." Without it a groat domed building like the Pantheon would have been impossible, tvs would also the immense vaulted thermae, and a wide spanned basilica such as that of Maxentius.' — (Middleton.) The Romans themselves do not seem in the early years of the Empire to have recognised its great value. The stylobates, or raised platforms on which many of the temples were built, were filled in solid with this concrete, so that they became as finn as the natural rock. It is to this circums^nce that wo owe the preservation of the columns of many of the temples in the Forum, and the magnificent walls. The Roman architects were not only the greatest engineers of the world, but they possessed the most lasting and the strongest material to build with. Broadly speaking, there were two methods of building walls in Rome '. I. Opus quadratum, rectangular slabs of stone set with or without mortar. II. Concrete masses either faced or unfaced. In the former + For the CampcnUi, see p. [60]. INTRODUCTION. — ARCHITECTURE. [83] the Romans recognised the value of large blocks of stone, which averaged 4 ft. by 2 ft., and 2 ft. thick ; the shafts of their columns, whether in stone or marble, were almost invariably monoliths, i.e. in one block, A description of the various methods of facing is detailed in the Glossary. Temples. — Unlike the Greek temple, the Roman temple in Rome was rarely Orientated. It occupied the most prominent position in a forum or on an eminence, and was always raised on a stylobate, with a flight of steps in front. It was alw&yn prostyle, viz., with a portico of columns in front; sometimes peripteral, viz., columns all round; but more often pesudo-peripteral, that is to say, the cella occupied the whole width, and the columns were semi-detached, and formed part of the cella walls. There are three cases in Rome in which the temple was built in the centre of a great enclosure surrounded with a portions — the Temples of Venus and Rome, the Temples of Juno and of Jupiter within the Porticus of Octavia, and the Temple of Neptune within the Portions of the Argonauts. Basilica. — Of the two great Pagan Basilicas, the Ulpian and the Julian, only the bases of some of the columns and piers remain ; but some idea of their size and magnificence may be realised in the Churches of S. Paolo fuorl le Mura and S. Maria Maggioro. The latter, though smaller in its dimensions, and having only single aisles, bears perhaps the closest resemblance to the Pagan l>asilica ; the pilasters decorating the clerestory walls, and the richly coffered ceiling, though restored and partly rebuilt at a later date, give a fair idea of its original interior aspect. The Church of S. Paolo fuori le Mura was rebuilt after the fire of 1823 on the same plan, but with various modifications in the decora- tion of the clerestory walls, and the original open timber roof was replaced by a flat ceihng with deeply sunk coffers. The chancel arch with its superb mosaics of the fifth century was fortunately preserved ; and in course of time, when age has toned down the excessive polish of the marbles and the intense brightness of the gilding, the interior of this church will fairly represent the magnificence of the early basilicas. Theatres and Amphitheatres. — Of the many theatres built in Rome, that of Marcellus, Injguu by Julius Caesar and completed by Augustus, is the only one of which any considerable portion exists. The semi- circular part is decorated with the Doric and Ionic orders superimposed, with arches between. The orders employed are of the purest Roman style. The system of superimposition of the orders of an applied decora- tion is of Roman invention, and can also be studied in the Colosseum, where there are four orders superimposed. The three lower, of enga.ged columns, Doric, Ionic, and Corinthian, belong to the reigns of Vespasian, Titus, and Domitian, and have arcades between. The upper story, added in the first half of the third centurj', consists of a blank wall decorated with Corinthian plasters. The amphitheatre was a Roman invention. Thermae— The transept of the Church of S. Maria degli Angeli, and the circular chamber, now the vestibule to it, originally formed the tepidarium and the laconicum of the Baths of Diocletian ; the original floor was 7 feet lower. These halls, the remains of the Basilica of Maxentius, and the lower portion of the interior of the Pantheon, may, when compared with the ruins of the Baths of Caracalla, enable the ^ h 2 [84] INTRODUCTION. — ARCHITECTUKE. visitor to realise the extent and magnificence of the thermae of Imperial Rome. The marble facing of the walls and the columns of the exedra of the Pantheon are probably identical with the decoration of the lower part of the tepidarium of Caracalla's Baths ; the great recesses forming the aisles of the Basilica of Maxentius, and portions of the vault with the deep coffers, give some clue to the decoration of the vaults of these biths. These coffers in the baths were filled with mosaic. The Domestic Architecture of the Bomans as a whole can best be studied in Pompeii. There was, however, nothing there on so large a scale as the House of the Vestal Virgins, of which the foundations were discovered in 1883. The Atrium of this important building, together with the surrounding peristyle, measures 221 ft. by 71 ft., and outside these limits are traces of rooms, the tablinum, bath-room, &c. The next phase in the architecture of Rome, the Early Christian, is more amply represented there than in any other city. Owing, however, to the facility with which Pagan buildings could be despoil^ and the material utilised in new structures, scarcely any progress was made in the development of an architectural style ; and, were it not for the great size of the basilicas, for the magnificence of the marble columns transferred from ancient temples, the splendid mosaics which enrich the chancel aisles and apses, and the richly gilded and deeply coffered ceilings (many of which are due to later restorations), they would scarcely merit the interest attached to them. Many of the temples in Rome and elsewhere owe their preservation to the fact that they were transformed into churches, but there is no instance recorded of a Pagan basilica in Rome being thus turned to account. The two earliest examples of Christian basilicas, that of St. John Lateran and St. Croce, were expressly built by Constantino for the new faith; their plan, however, was based on that of the Pagan basilica, as giving greater space for the immense congregations which assembled. The old Basilica of St. Peter, erected by Constantine, and removed to make way for the present church, measured 380 ft. by 212 ft., thus covering an area of 80,000 square ft.— larger than any cathedral, except those of Milan and Seville ; the nave alone was 80 ft. wide, which is twice the average width of a Gothic nave. The Basilica of S. Paolo fuori le Mura gives the best idea of the magnificence of a Pagan building, for although it was rebuilt after the fire of 1823, it retains the simple elements of its original design better than the Lateran five-aisled basilica, which has been so much changed by subsequent additions and restorations. There is, however, one change to be observed. Whilst the columns of the latter, as well as of many others of the lesser basilicas, carry an entabla- ture supporting the waU above, in S. Paolo they carry arches, which would seem to have been found necessary to support the wall above, and also to allow of a wider span being given to the iutercolumniation. The same feature is found in the Church of St. Agnes outside the walls, and adopted also in the triforium gallery of the same church. Excepting the changes in plan which the Christian ritual required, these arches are almost the only advance made in architectural design throughout the whole of the dark ages in Rome. In other parts of Italy a new style was been gradually developed. • Although throughout the middle ages Rome went on building large churches, it was in the debased Roman style fitting together Roman pillars with classical details of more or lN¥R6DtCTldl^.— AEGIilTECTtRfi. [85] less purity, but hardly, except in their cloisters, deserving the name of a style.'— -{Fergusson.) It is in this respect that the cloisters of St. John Lateran and S. Paolo outside the walls come as a pleasant surprise, for although in the capitals of the arcades and in the entablature which they carry there is a close adherence to classic precedent of a pure type, in the elegance and freedom of their design, and variety of their twisted shafts, we seem to find ourselves in the presence of a new style. The cloister of St. John Lateran, according to Prof. A. L. Frothingham, was built by Vassalectus, the most talented Roman architect of his day, in 1227, and is the prototype pf the elaborate decoration of twisted shafts inlaid with mosaic. Scarcely less beautiful are the mosaic pavements which adorn the greater number of the churches in Rome. The designs for these were always made for the churches in which they were used, and arranged to include circular slabs of porphyry, sections from the immense monoliths which decorated the Roman Thermae. They are attributed to the Cosma family (see Glossary), who between 1150 and 1299 executed the more important examples. The Gothic Style took no root in Rome ; the only example, the Church of S. Maria Sopra Minerva, is of little interest. The last phase of architectural style in Rome is shown in the works of the revival, to which two titles are given— Renaissance and Italian. As a rule the first term is applied to the earlier changes which took place, when classic details were employed in designs based on Gothic composition. The best examples of the Renaissance in Rome are found in the tombs of popes and cardinals, especially in the Church of S. Maria del Popolo. The tombs of Card. Ascanio Maria Sforza and Card. Girolamo Basso, both sculptured by Andrea Sansovino in 1510, in the refinement and beauty of their sculptural detail, are almost equal to Greek work. Bramante's two palaces, the Cancelleria and Torlonia, better known as the Pal. Giraud, in the details of their capitals and other sculptured ornament, show similar refinement ; but the regular disposition of the flat pilasters which denote the two upper stories foreshadows the introduction of the Italian Style. This style was evolved by the great Italian masters, of whom Palladio, Vignola, Scamozzi, Serlio, and others, may be regarded as the chief exponents, especially as they all published works on archi- tecture, each setting forth his own version of the classic orders, with regulations as to their employment, their proportions, and their details. The great facility with which the orders could be piled one above the other produced a monotjny which was only relieved by the details of the capitals and other sculptured ornament. It is with a sense of relief, therefore, that we come to the Farnese Palace, commenced by San Gallo the younger, where, in the principal front facing the piazza, the use of the orders is confined to the windows of the first floor (the piano Twbile) and the upper story. The latter, and the magnificent cornice, were added by Michel Angelo, who in this latter feature shows his power in giving unity of design to a composition. The central bay of the garden front, by Giacomodella Porta, in 1580, shows on the other hand how such unity can be destroyed by the introduction of features out of harmony with the original design. The discontinuation of Michel Angelo's cornice, and the feeble copy of the internal decoration of the courtyard, destroy the breadth of this front. In the great court the upper story added by Michel Angelo is weak compared with San Gallo's work in the two lower stories. These latter, with the superb INTRODUCTION. — ABCHIffiCTURti. Vestibule, are the finest examples of their kind in the Italian styld The use of arcades round a courtyard, giving a covered approach to the rooms on two or three floors, is one of the most satisfactory features of the style. The courtyards of the Cancelleria, of the Pal. Venezia of the Monastery of Sta. Maria della Pace, and of the Pal. Santo, are all in© examples. In strange contrast to the attempt made to get rid of the orders altogether, we find in the Museum of the Capitol a distinct misuse of them, where a single order is carried through two floors. This gave Michel Angelo the opportunity of crowning his building by the entabla- ture of the Cormthiau pilaster, which produces a certain amount of unity, but at the sacrifice of truth. In Michel Angelo's greatest architectural work, St. Peter's, the adop- tion of thesmgle order produces at first a feeling of disappointment and It is not till after several visits that one begins to realise the immensity of Its interior. This sense of want of size is due mainly to the gigantic proportions of the order employed, and to the fewness of its sub- divisions. The nave of St. Peter's is about 300 ft. long, and consists of four bays only, each of an arch flanked by twin Corinthian pilasters on either aide. The width, centre to centre, of each bay is 75 ft. Now in Westminster Abbey, the bays are only 20 ft., centre to centre of piers so that there would be fifteen bays in the same length. Again in height, in Westminster Abbey there are three subdivisions— the nave Vnof^' T *"^^"""^ gaUery, and the clerestory— the total height being lOd ft. In St. Peter's there is only one order and the semicircular vault and in consequence it appears less high, though, as a matter of fact. It 13 in reality 47 ft. higher. Of course, with so gigantic an order everything else had to be designed to scale, and the baldacchino is 95 ft high, with an order of 62 ft., and figures 20 ft. high. Even the little cherubs which support the holy- water basins in the nave are some 10 ft. high. Michel Angelo's plan consisted of a Greek cross, in which the nave, the two transepts, and the choir would have had one bay each After his death three more bays were added to the nave, changing the design to that of a Latin cross. In addition to this a vestibule was added to the front, and the same gigantic order adopted as that which Michel Angelo had designed for the choir and transepts, the re.sult being that only the upper part of the dome is visible from the piazza, and to judge of Its effect, it is necessary to go round to the western end (the apse 13 at the west end in this as in nearly all the early churches in Rome), where its intended composition with the three apses in the minor cupolas can best be seen. InternaUy the splendour of the decora- tions, the rich marbles, and the simple grandeur of the semicircular coffered vault, make St. Peter's one of the most sublime architectural compositions. To a certain extent, a scale is given to the main front bv i3ernini'8 colonnades, which were not added till after 1665- but as Forgusson remarks, ' their effect is very much marred by their being joined to the Church by two galleries, 366 ft. long, sloping outwards aa they approach the Church. These last are in con.sequence scarcely seen in the first approach, so that the colonnades appear to be in contact with the Church itself, and its size is diminished by the apparent juxtaposi- tion. The portico of the north transept of St. John Lateran by Fon- tana, 1586, is very poor in design, and more applicable to a theatre than a church ; and the principal fa r In recent years extraordinary efforts have been made by Professor Furtwaonglert and others to rescue many more of the statues in Rome from their present anonymity, and to identify them as copies, more or less true, from Greek originals. As yet, however, there is too much divergence of opinion, in almost every instance, to justify either the acceptance of these new identifications in the Handbook or the discus- sion of them in this place. Whether we agree or differ, the result in each case bears principally on the missing Greek originals, and brings no clear and definite gain to our knowledge of the condition of the art of sculpture among the Romans. Putting aside the whole class of accepted or debatable copies from f ' MeiBterwerke,' 1893. English trauhlation by E. Seller,*. [88] tNTHOGUCTlON.— BCtLMtRfi. Greek originals, We still have in the Roman galleries a large pi'ot)ottion of sculptures in the form both of statues and bas-reliefs, which appear to have no distinction whatever in point of style. They are usually re- garded as examples of the last phase of Greek art working itself out in Rome. From the Greek point of view little more need be said of them. On the other hand, we have to bear in mind that the extraordinary prevalence of sculpture of this kind in ancient Rome must have exer- cised a widespread influence on Roman taste. For one thing, the bas- reliefs among them, however lacking in distinction of style, abound in technical skill, and to a people just beginning to develop the practice of sculpture this skill would appear marvellous. There was more to be learned from it than from copies of Polycleitos and Myron ; and as a proof that much was so learned we need only refer to the immense series of sculptures in relief executed in the time of the Empire, and still surviving. It is true that these Empire reliefs, as, for instance, on the Column of Trajan, follow only partially the principles of composition which are so conspicuous on the great mass of Graeco-Roman sarcophagi and such like.f But when occasion suits they are equally ready to avail them- selves of that other principle of bas-relief which became popular in Greek art in the Alexandrine age, viz., the rendering of open-air scenes with due regard to the landscape or scenery surrounding them, as distinguished from what may be called the academic principles of the older Greeks, in which the sense of open-air effect is ignored. Nor was the influence of this Alexandrine art confined to the extensive reliefs of the Imperial age on which long campaigns against barbarians are represented. It had begun to operate long before then in Rome, as may be seen from the series of reliefs collected by Prof. Schreiber.J We may take, as an example, a relief in the Vatican Museum representing a cow suckling her calf beside a fountain at which the cow is drinking, while a young hunter stands looking on. The cow suckling her calf is one of the oldest and most frequent motives in Greek art. But in the Vatican relief this simple and beautiful motive becomes only an incident in the landscape. The cow drinking at the fountain while her calf sucks her, is a step away from the ideal to the naturalistic. The hunter looking on, the tree, the temple-roof showing in the background, these have each as much importance as the cow and her calf. The whole is an open-air scene. Apparently the Romans of the Republican age had kept quite distinct these two opposite principles of bas-relief, bestowing a marked preference on the academic manner, which in their eyes was associated with the older and better periods of Greek art, yet learning much from the more recent and still living art of the Alexandrine age. Apparently, also, it was not till Imperial times that the Romans first embarked on the com- bination of those two methods on any large and important scale. On the other hand, it is hardly to be supposed that a combination, so remarkable from an artistic point of view, had not been preceded by a gradual process of preparation, and by the slow evolution of a distinctly Roman tendency in matters of art, of which the prominent features were an inborn love of the naturalistic, and a cultivated taste for the acadetoic in art. We are told by Pliny that towards the end of the Republic there were certain sculptors in Rome who were highly celebrated, first for the t C. Robert, *Ant. Sarcophag. Reliefs.' X ' Helleniiitische Keliefbilder,' 1S94. iNI^ROlitJeTlON.— feeULt>'rtRE. [89] accUl^afcy and finish of their work, and secondly for their close observa- tion of animal life. The two he mentions particularly were Pasiteles and Arcesilaos. Both of them were accustomed to make careful studies in clay, apparently from the life, as a preliminary to their sculptures. Both were very productive, but only a very few of their works are specially mentioned. It would seem, however, from what is said, that Arcesilaos had combined in some measure the academic and the naturalistic methods. As to Pasiteles the record is not so clear, but on the other hand there is in the Villa Albani a nude statue of a youth inscribed with the name of its sculptor, Stephanos, who claims to be a pupil of Pasiteles. In ordinary circumstances that assertion of pupilage would imply that the style of this statue was practically the style of Pasiteles. It is certainly a very peculiar style, as we shall see, and what adds to the interest of it is that the same striking peculiarities of treat- ment are found in a number of other statues by apparently nameless sculptors, particularly the groups of the so-called Orestes and Electra in Naples, and of Orestes and Pylades in the Louvre. It is not doubted that all these belong to one and the same school. The only question is whether their peculiarities of style are sufficient to con- stitute an independent school of sculpture. Some writers deny this, pointing out, very justly, that a group in the Museo delle Terme by the sculptor Menelaos, a pupil of Stephanos, and third in line from Pasiteles, does not show the same peculiarities of style. Others believe that the so-called Pasiteles style has nothing original in it whatever, but is simply a prolongation down into Roman times of a modified archaism which had begun in Greece several centuries before. It may well bo admitted that Pasiteles had started from the older, and highly artificial tendency. But for our present purpose the statue of Stephanos, and its kindred, are enough to show that the decadent archaism of Greece did not entirely satisfy the Romans towards the end of the Republic, whose instincts for a more naturalistic treatment of sculpture were then developing under the influence of Alexandrine art. While retaining the academic structure and pose in their statues, the school of Pasiteles infuse a singular tenderness into their rendering of the skin and flesh. The effect is everywhere very subtle, and, when diffused over the whole of a nude statue, it reacts against the academic formality of the outlines. This may not be going far in the direction of naturalism, but it is going some way. The beauty and charm of outline in a statue were perhaps never more finely displayed in Greek art than in the slightly archaic figures of the so-called Peloponnesian school, Pasiteles and his followers must have known that in choosing this particular type of statue as a basis on which to add a subtle, diffused naturalism, the effect would be striking and in many respects agreeable. The groups we have mentioned show that they succeeded in this. It was, however, in portraiture, and in the representation of bar- barians, that the Romans found the best scope for indulging their naturalistic instincts in conjunction with their academic training. By nature inclined to look on the world as they found it, being, in fact, men of the world, and possessing within their own race an infinite variety of type, as we see in the long series of existing busts, the Romans were in the best possible position to develop an extraordinary passion for por- traiture. The Greeks were differently constituted. As a race they were more select and more uniform in type. In their best days they had no [90] ll^l^RODudfK)!^. — BOULPtORii. special Idve of portraiture. Let us take as a Greek example the portrait statue of Mausolos in the British Museum. Here was an instance in which a semi-barbarous prince was to be portrayed. His long hair, his slight moustache and beard, and the general structure of his face, are all rendered with sufficient truth to indicate the race to which he belonged, and, in measure, the man himself. Precisely the same characteristics occur in a fine head of a barbarian, also in the British Museum. Yet , how different the artistic treatment I Clearly the head of Mausolos has been toned down to be in keeping with the formal and conventional Greek dress which he wears, while in the head of the barbarian, conventionality is cast aside, except in certain of the features, which, though true to the Gaulish type, are yet rendered in an academic manner. There are many portraits of Greeks in the Roman galleries, most, if not all of them, made in Roman times from older Greek originals. It was hardly possible but that in the copying a certain amount of modification would take place. We see to what extent this may often have been carried when we compare, for instance, the head of Pericles in the Vatican with the head of him in the British Museum. Yet with all allowances of this sort, the Greek portraits in Rome still preserve the predominant quality of clearly defined outlines and carefully modelled forms, with a corresponding absence of vivid personality— they retain style at the cost of natural effect. In the long series of Roman portraits it will often be seen that, com- bined with the greater variety of types characteristic of a more worldly race, there is on the part of the sculptors a constant effort to secure natural effect at the expense of style. Even in the portraits of Roman Emperors found in Greece or Greek colonies, we often see this difference between the Greek and the Roman very clearly marked. But there is always this to be said for the Romans, that their long training in academic style preserved them from carrying to extreme their love of natural effect, as has often been done in the portraiture of modern times. The dying gladiator in the Capitoline Museum, or the group of Arria and Paetus in the Museo delle Terme, may be taken as other examples of how the Romans strove to force in upon the academic training, which had been current for centuries among them, their own natural perception of the stern realities of life. It may not be art of the highest form to persist in combining in this way the results of laborious training, and its consequent love for the beauty of details, with natural instincts of an impressionist tendency. But such was the distinctively Roman idea. A certain number of sculptures, such as the Belvedere Torso in the Vatican, have survived from Roman times, having upon them the signa- tures of artists who describe themselves as Athenians by birth. It is agreed that fundamentally these artists were, one and all, copyists of older and celebrated Greek sculptures, such apparent differences as exist among their works being explained by the differences of style proper to the sculptures they set themselves to reproduce. The questions that remain are— How far they show in conmion a tendency to modify the originala in a particular direction, and whether this tendency had its origin in a desire to meet distinctively Roman taste? The general opinion is that the comparatively few signed sculptures of this so-called iNt^RObUCTlOjJi— SCULPTURt\ [91] Meo-Attic school do possess in common a particular tendency in the modifying of their Greek originals. Not only so, but a large number of the unsigned sculptures in Roman museums share the same artistic tendency, and may therefore be confidently classed with them. What, then, are the characteristics of this Neo- Attic school? Possibly they may be best described as the addition of greater expression than had been customary among the Greeks, in rendering the details of the human form. The Belvedere Torso is a standard instance of this greater intensity of expression, combined with Greek tradition, in the general disposition of the various parts of the body. But nowhere, perhaps, is this particular tendency more easily recognisable than in the series of reliefs noted as ' archaistic ' in the course of the Handbook. The differ- ence between them and true archaic Greek reliefs resolves itself always into a greater intensity of expression in the details, which in this case are mainly details of drapery, because in the true archaic Greek reliefs which they started from, draped figures are by far the most frequent. We may not admire the ovor-elaboration of the draperies in the later archaistic reliefs, nor the attempts to give more vitality to the action of the figures. Still less can we admire in the composition of groups the singular poverty of imagination which usually is content with the idea of a ceremonial procession as a sufficient means of binding the figures together in a group. f The fact remains that these archaistic reliefs clearly indicate a tendency, in the times of the Roman Republic, towards greater vitality and greater expression, within the lines of Greek tradition and academic training. It does not really matter that a certain number of archaistic reliefs have been found in Greece itself, or that this particular manner of sculpture had been practised spas- modically in Greece during several centuries. It is enough to see from the many examples of it in the galleries of Rome how largely it had caught the Roman taste, and to what lengths it was carried among the Romans beyond anything of the kind executed in Greece. Among the Roman copi.es of celebrated Greek statues some occur only in single examples, such as the Apoxyomenos of Lysippos and the Apollo Belvedere of Leochares. In these instances it is practically impossible as yet to say how far an extensive modification of details may have been combined with a truthful rendering of the general aspect of the figure. In other* instances two or more Roman copies exist from one and the same Greek original, such as the Doryphoros of Polycletus and the Discobolos of Myron. In these cases an exact arrangement throughout all the details of a statue would mean much, provided the result is quite consonant with what is otherwise known of the art of the period in which these sculptors lived. But equally it may mean that much of the details of the statues is consonant with the spirit of Roman copyists, otherwise known from their works. Between these alternatives it is possible that certain details of the originals may have survived, apart from the general aspect of the figure, which was doubtless always more or less correct. For our own part, we are inclined to see in these Roman copies, a system of modi- fication in the details intended to bring the originals more into line with the taste of the times, to make them more vivid as a whole and more expressive in details. t For a very elaborate discUBsion of theRe questions, 6©e F. Hauser, ' Neu-Attisch. Reliefs,' 1889. [92] iNTRODUCTlOl^.—^CttMURfi. Th6 latest development of Greek sculpture to any importdnt extent was that which is represented by the extensive series of reliefs from Pergaraon now in Berlin. For these sculptures, the old subject of a battle between gods and giants is realised in a new manner The horror of the scene is the predominant feature. Exaggeration abounds in the faces and the action. Yet with aU this there remains an extraordinary display of careful and accurate training in the rendering of the human form. There is no doubt but that the Fergamene school had greatly influenced art during the last century of the Republic, or even somewhat earlier. At the same time it is not right to Ignore the fact that the predisposition of Roman taste towards forcible expression had already been studiously combined with academic training. In the museums of Italy and elsewhere there are a certain number of sculptures representing wounded Gauls and Amazons, among which is reckoned the dying gladiator m Rome. It is supposed that these all belong to the Fergamene school, notwithstanding that they differ widely in pathetic expression from the authentic Fergamene sculptures in Berlin The general opinion may be right. The Romans inherited the kingdom of Pergamon, and to some extent they may also have inherited the art of that kingdom, still it is only fair to allow that the Romans them- selves were already in a fair way of developing the same taste for pathos and naturalism in art. In the Laocoon group the horror of the subject is doubtless a con- spicuous element, yet it is saved successfully from being a repulsive element by the splendid academic training which pervades the three figures. We are told that this was the work of three Greek sculptors of Rhodes, a father and two sons— answering to the father and two sons in the group— and there is every reason to believe that its advent in Rome made a profound impression. To this day there is probably no piece of sculpture which appeals more universally to mankind, just because of the balance it possesses between the extremes of natural expression and technical skill. '^ In the Roman Galleries there are many examples of sculptured foliage on altars candelabra, and large architectural blocks. Charming as they are to the passer-by they have a special interest for the student of strictly Roman art. In Greek floral decoration at its best, as seen in the Erechtheion at Athens, the striking feature is the precision and cnspness with which every leaf and tendril is outlined and cut sharply down to the background of marble. In the Roman examples of which we are speaking the effect is quite different. It is not an effect dependent upon outline, but principally upon light and shade. A few touches of colour are all that is required to produce as perfect an Illusion as could be wished. Yet even these touches of colour were unnecessary, and probably were seldom added, because the flicker of light and shade in the scattered foliage and flowers was itself sufficient to suggest a preponderance of natural colours over natural forms In the corresponding Greek work of the best age colours were frequently added to convey a passing appearance of truth to nature. But in the result it 18 always the form that predominates in the leaves and tendrils. In decoration of this kind later Greek art became more and more florid, but except in putting a bird here and there among the foliage INTRODUCTION. — ITALIAN PAINTING IN ROME. [93] it does not appear to have ever relinquished the supremacy of outline over light and shade. Possibly the art of Alexandria had effected the transition, with its love of open-air scenes, and connected as it was with Greece on the one hand and Rome on the other. We may say that after all it was only a change in the spirit of decorative art. It may even have arisen largely from some technical method such as that of the silversmiths, with whom the chasing up of design naturally weakens the force of the outlines. We know in what extraordinary favour chased silver vases were held by the Romans, and how admirably they compare in their floral decoration with the reliefs on marble altars, candelabra, and such like. Essentially it is a plastic treatment of decoration as opposed to an architectural treatment. But it was a change in the direction of naturalism and in keeping with what we have seen of distinctively Roman taste. In general the plastic effect of this form of floral decoration is most noticeable in the great mass of ordinary specimens. But even in the more refined examples it is conspicuous enough. We need only quote the decorative blocks which have survived from the famous Ara Pacis Augustae, which was erected B.C. 13, in honour of Augustus, on the Campus Martius, between the present Via in Lucina and the Piazza di San LoreuBo in Lucina. Remains of this famous altar with its sculptured enclosure were found in excavations beside the Palazzo Fiano in 1859, and this has led to the identification of similar blocks discovered in 1550 and 1568, and now in the Vatican, Villa Medici, Uffizi, and Louvre, as parts of the same monument.f An admirable example of the floral decoration is preserved in a block in the Villa Medici (Mon. dell' Inst, xi. pi. 36, fig. 4). The same love of ornament arose again at the Renaissance in Italy, and with new appliances was developed to a greater extent. In these brief remarks our object has been to show that the Romans, though not highly gifted, like the Greeks who preceded them, in artistic capacity, may yet have contributed certain new developments of art which should not be despised, as they commonly are. ITALIAN PAINTING IN KOME. In the great days of the Renaissance, Rome, unlike other Italian cities, never produced a race of independent artists. There was no Roman school of painting as there was a Florentine or Venetian, a Milanese or Perugian school. No master of first-rate importance was born within- the circle of the Seven Hills, no long line of native artists carried on the traditions inherited from their forefathers or helped to form a distinctively Roman style. But as in ancient times Imperial Rome attracted men of note from all parts of the civilised world, 80 from the earliest days of the Renaissance the best Italian artists were drawn by the same irresistible force towards the Eternal t These blocks were first identiftee the work of an unknown artist who was strongly influenced both )y Signorelli and Pinturicchio. (See the ' Central Italian Painters of the Renais- sance,' by B. Berenson, p. 170.) [96] INTRODUCTION. — ITALIAN PAINTING IN ROME. of the great Urbinate's genius is displayed. Nowhere can Raphael's work, in all its varied phases, be so well studied as in Rome. His early Umbrian period, when he worked as Perugino's assistant, is represented by the Coronation of the Virgin (Vatican Gallery), and the fine portrait of his master (Villa Borghese). The famous Entombment of the Borghese Gallery, with its lovely predella of the Christian Graces (Vatican Gallery), reveals all that he had acquired in technical skill and knowledge during his residence in Florence. In the Madonna di Foligno (Vatican Gallery), with its grand figure of the kneeling donor, Sigismondo de' Conti, in the portraits of his Venetian friends Navagero and Beazzano (Doria Gallery), in the beautiful Galatea of the Farnesina, we see Raphael as he was in his best Roman days, when his powers were at their height, and his genius was fully developed. In the Sibyls of S. Maria della Pace, he has already entered on a later phase, while in the decorations of the Farnesina and of the Vatican Loggie we see the exquisite dreams of his fancy executed by inferior hands. Finally, in the upper part of the Transfiguration, the great picture that was left unfinished on that sad Good Friday, we have the last vision that dawned upon the painter's eyes before a premature death put a sudden end to his life. A whole army of artists and decorators were working in Rome under Raphael's direction during these latter years. Chief among them were Giulio Romano — the only artist of any note who was born in Rome — Francesco Penni, and Pierino del Vaga, all of whom had a large share in the execution of the works that bear Raphael's name. Other masters again, such as Sodoma, Peruzzi, and Sebastiano del Piombo, who all three worked in Chigi's Farnesina villa at one time, felt his influence in varying degrees. But soon after his death, the horrors of the sack at Rome and of foreign invasion scattered his followers, and the few artists who remained in Rome fell under the baneful spell of Michel Angelo. Alone among the giants of the past, the great Florentine survived these disasters, and lived to finish the Last Judg- ment in the Sistina in 1541, and to paint his frescoes of the Conversion of St. Paul and the Martyrdom of St. Peter in the Cappella Paolina. But by this time he was seventy-five, and * fresco-painting,' as he said himself, * is not fit work for old men.' Both Leonardo and Titian visited Rome, the one in 1514, the other in 1545, but the damaged fresco in S. Onofrio, which long bore the great Florentine's name, is now recognised to be the work of BoltralRo, and the only portrait which Titian painted in Rome— that of Pope Paul III. and his nephews — is in the gallery at Naples. Fortunately Rome contains three first-rate works by the Venetian master, the Baptism of the Capitol, the Madonna of S. Niccol6 (1623], in the Vatican Gallery, and the picture long known as Sacred ana Profane Love, now more correctly described as Medea and Venus. This beautiful work, in Titian's Giorgionesque manner, belongs to the renowned collection of paintings originally formed by Cardinal Borghese early in the seventeenth century. This gallery, as well as the Doria collection, which was founded about thirty years later, under Innocent X., contains many of the spoils of Ferrara and other cities that were annexed to the Papal see ; and is especially rich in works of the Venetian and Ferrarese schools. Lotto, Tintoretto, Palma, and Bonifazio, Francia and Dosso Dossi, are all well represented, while one INTRODUCTION.— ITALIAN PAINTING IN ROME. [97] M.re portrait by Giorgione, and Correggio's famous Danae are among the treasures of the Borghese. f In Rome, as in the rest of Italy, a period of stagnation followed upon the golden days of the sixteenth century. Painting fell into the hands of the feeble mannerists, Arpino and Zuccaro, who were suc- ceeded, towards the end of the century, by the new school of naturalists under their able but repulsive leader Caravaggio (1569-1609). The religious revival that followed found expression in the work of the Carracci and their followers, who soon became popular with Cardinals and Jesuits. The frescoes of Annibale Carracci in the Farnese, the Aurora of Guido Reni in the Palazzo Rospigliosi, Domenichino's Communion of St. Jerome in the Vatican Gallery, and the decorative paintings of the Four Seasons by Albani in the Doria Gallery, are among the best works of the school in Rome. After these men came a host of inferior imitators, such as Carlo Dolci, Sassoferrato, and Pietro da Cortona, who. prolonged the life of a feeWe and debased art until the close of the century, when painting practically ceased to exist. During the eighteenth century Rome still continued to exert a remarkable degree of influence upon foreign artists. Here the French landscape painters of the classical school, Claude and the Poussins, sought inspiration among these scenes and sites famous in ancient story. Here liaphael INIengs came to study the great art of olden times, and in the nineteenth century David and Carstens, Overbeck and Cornelius alike found the impulse needful for the development of their different styles. That day is over now, and Rome has long ceased to influence the destinies of modern art. Painting itself has sunk to a low ebb in the Eternal City ; with the exception of one Roman master, the late Giovanni Costa, whose landscapes of the mountains of Carrara, of the Pontine Marshes, and of the Roman Campagna, claim a place in any records of Roman art. But his work has never been appreciated by his own countrymen, and his paintings, one of which has been hung in the National Gallery, are better known in London than they are in Rome. t The pictures in these iniportajit collections are fully described in the late Slguor Morelli's valuable work on 'Italian Painters,' vol. i., to which we must refer our readers for further inforntation. [^Ome.] [98] INTRODUCTION. — CHBO^OLOGlCAL tAHLtlhi. CHRONOLOGICAL TABLES. IMPORTANT EVENTS. 753 Foundation of Rome by Romulus. 716 Numa Pompiliua ; establishes the priest- hood. 673 Tullus Hostilius. War with Alba Longa. Tlie Horatli defeat the Curiatii. 642 Ancus Martius. 6l(J Tarquinius Priscus ; the Cloaca Maxima. 578 Servius Tullius; reforms the constitution ; builds the wails. 635 Tarquinius Superbus. The Sibylline books. Rape of Lucretia. Expulsion of the Tarqulns. 6U9 Republic established. Brutus and Coll»- tinus. Consuls. 608 Defeat of I^ars I'orsena. Horatius Cobles at the Sublician Kridge. 4 98 The first Dictator, Titus Lartius. 496 Defeat of the Latius and Tarquins at the Luke ilegillus. 49 1 Secession of I'lebeians to the Mons Sacer. Fable of the Belly and Members. Institution of Tribunes. 488 Legend of Coriolunus. 486 Agrarian law of Spur i us Cassius. 483 War with Veil. 477 Legend of the Fabian gens. 458 legend of Cincinnatus. 451 The Decemvirs appointed ; the code of the ten tables. 449 Vlrginius kills his daughter Virginia to save her from Appius Claudius. Second recession to Mons Sacer. 415 Third secession, lo the Janiculum. The Canuleian law i)ermit8 marriage between the two orders. 396 Veil taken by Camillus. 390 Rome sacked by the Gauls, under Brennus. 367 The Licinian Rogations ; triumph of the Plebeians. 366 First Plel)eian Consul. 302 Marcus Curtius leaps into the gulf in the Forum. 366 First Plebeian Dictator. 361 First Plebeian Censor. 343-292 Samnite and Latin wars. 337 First Plebeian Ptaetor. 321 The Sdmnites defeat the Romans at the Caudine forks. 300 First Plebeian Priests. 295 Defeat of the Samnites at the battle of Sentinmn. 287 Last secession of Plebeians to the Jani- culum. The Hortensian laws. 280 Pyrrhus defeats the Romans near Heraclea. 279 Second defeat of the Romans near Asculum. 276 Pyrrhus is defeated at Beneventum. B.a 272 Sutjugatlon of Tarentum. Supremacy of Rome in Italy. 260 Defeat of the Curthaginians in a naval battle off .Mylae. 256 Roman naval victory at Ecnomus. 255 Defeat and capture of Re^ulus. 241 Roman naval victory oft' Sicily. Treaty of Peace. Sicily annexed. 238 The Romans seize Sardinia and Corsica. 236 Hamilcar Barca in S|>ain. Oath of Hannibal. 219 Hannibal captures Saguntura. 218 flauuibal crosses the Alps; defeats the Romans at the battles of Ticinus and Trebia. 217 Hannibal destroys a Roman army at Lake Trabimeuus. 216 Hanuii)al annihilates a Roman army at Cannae. He winters at Capua. 213 Hannibal captures Tarentum. 212 Marcollus captuies Syraruse. The two Scipios defeated and slain by Hasdrulxil in Spain. 211 The Romans recover, and destroy, Capua. 209 The Romans n-cover i'arentum. 207 Hasdrubal defeated and sbin at the Metaurus. 206 Sclpio subdues Spain. 203 Hannibal reotlled to Carthage. 202 S«^ipio defeats Hannibal at Zama. 197 Defeat of Philip V., of Macedon. 19« Proclamation of Greek ludept- udence. 190 Defeat of Autiochus of Syria. 184 Censorship ot Cato. 183 Deaths of Hannibal and Scipio. 200-175 Conquest and annexation of Cisalpine Gaul, Lignria, and Spain. 168 Defeat ol Perweus, King ot Macedon. 146 Destruction of Carthage, and Corinth. Annexation of the Carthaginian Pro- vinces, Macedonia, and Acliaea. 133 Attains bequeaths IVrgamos to Rome. Tiberius Gracchus, tribune, obtains an agrarian law ; he is slain. 123 Caius Gracchus, tribune. His reforms. 121 Murder of Cains Gracchus. 107 Marius defeats Jugurtba in Africa. 105-0 Marius Consul for six years. 91 Proposed reforms of Drusus ; his murder. 90 The Social or Marsic war. 88 Contest between .Marius and Sulla. Flight of Marius. Sulla embarks for the war with Mithrldates, of J'ontus. 87 Marius and Cinna enter Rome. Reign of terror. • 86 Death of Marius. Sulla captures Athens and the Piraeus. 82 Sulla defeats the Samnites and Marians at the Colliue Gate. Is made Dictator. INTRODUCTION.— IMPORTANT EVENTS. m %b. Sanguinary pi-oscriptlous. Narrow e8cai)e of Julius C'ae^ar. 79 Sulla reforms the constitution ; abdicates. 78 Death of Sulla. 72 Pompey finishes the war In Spain. 66 Pompey defeats Mithridaies. 64 I'ompey annexes Syria. 63 Pomj)ey subdues Phoetdc ia anuts to deatli the Catilinarian conspiiato?8. 60 First Iriumvirate, Caeeur, Pompfy, Crassus. 68-1 Caesar conqners Gaul ; visits Britain. 51 liupture between Caesar and I'orapey. 49 Caesar crosses the l^ublcon. Pompey flies to Greece. Caesar enters Rome; is appointe<] Dictator. 48 C^aesar deleats Pompey at Pharsalus. 47 Caesar defeats Pharnaces at Zela; writes " Veni, \idi, vicl." 46 Caesar defeats the Pompeians at Thapsus ; suicide of Cato. Caesar Dictator for 10 years. 45 rae>ar defeats Pompey 's sons at, Munda. 44 March 15. ABsa8.-ination of (Jaesar, in the Senafc'-house, at the age ot 56. Antony rous* 8 the people. 43 OcUvian defeats Antony at Mutina. Secwid 'i ilumvirat*', Otl4ivian, Antony, and I>epidus. Proscriptions; Cicero among the victims. 42 Battles of Philippl. Defeat «.f Brntus and Cas8iu8 by 0< tavlan and Antony. 31 Naval battle of Actiuni. 0« tavian defeats Antony and Cleopatra. 27 Octavian rectives the title of Augtisius. A.l>. 14 I^eath of Augitstus. 41 The name Christian first nse^l, at Auiiocb. 43 Invasion of Britain. 64 Fire at i^>me; Nero accuses the Chris- tians; Persecution. 66 Martyrdom of SS. Peter and Paul at lUtnie. 70 Debtruction of Jerusalem by Titus. 7') Colosseum founded by Vesp.isian. 79 Krnption of Vesuvius; destruction of Herculaueum and Pom]>eii. lOJ Pliny, Junior, reports to irajan, on the Christians. 121 Hadrian's »'all erected in Britain. 137 Hadrian founds a new city, Aelia Capitollna, on the site of Jerusalem. Dis|)ersal of the Jews. 248 Mllleniau festival of the foundation of Rome. 249 Persecution by Detius. •..'69 Claudius def. ats the Goths. 274 Dacia relinquished to the Goths. 324 Con^tantine establ^hes Christianity as the State religion. 326 Constant ine convokes tho first General Council of Christians at Nicaea in BIthynla. 330 Con>tantinopIe dedicated. 337 liaptlsm and death of C^oubtantine. 89.J Death of Iheoiloeius the Great. Final A.O. division of the Empire. Honorlus Emp. of West ; Arcadius of East. 402 The W. court removed to Ravenna. 404 R( pulse of Alaric by Stiliclio. 408 Alaric, on the mediation of Pope Innocent L, retires from Rome with a tribute. 410 Alaric sacks Rome. The Roman arUjy leaves Britain. 461 Attila, the Huti, retires ft-oUi Rome on the intercession of Pope Leo I. 465 Genseric, the Vandal, sacks Rome. 472 Klcimer, the Suevian, sacks Rome. 476 Romulus Augustulus, Knip. of the West. abdicates. End of the Roniau Empire! Odoacer, the Vanrfal, king. 493 Tl eotloric, the Ostiogoth, takes Ravenna. Death ofOdoiicer. 626 Death of Theodoric. 527 Justluian, Emp. of East. 637 Rome recovered for Justinian by Bcli- Scirius. 547 Rome retaken l)y the Goths. 653 Rome recovered by Narses. End of the Ostngothic kingdom in Italy. 690 Gregory the Gnat, Pope. 694 Gregory sends Augustine to Britain. 724 Edict against images issued by Leo, Emp. ol East. The Iconoclast disputes. 725 Pope Gregory II. repudiates the Imperial authority. 752 The Loml)ard, Astolphus, captures Ravenna. 764 Pope Stephen III. names Pepin, the Frank, Patrician of Rome. Pepiu takes Ravenna from the Lombards, and gives it to the Pope. 800 Christmas Day. Charlemagne crowned Emi>eror at Rome by Pope Leo ill. 1 he Holy Roman Kmpire. S46 The Saracens sack Rome. «52 Leo IV. fortifies the I^eonine city. 962 Otho of Germany crowned Emperor bv Pope Join XI L ' 1065 Jerusalem taken by the Turks. 1073 Hildebrand becomes I'ope, as Gregory VII. Tl e war of the Investitures. 1077 I he Emp. Henry IV. does penance at Canossa. 1084 Henry IV. tikes Borne, and imprisons the Pope. Robert Guiscard, the Norman, sacks Borne. 1095 Peter tie Hermit pr. aches a Crusade. II 99 Jerusalem taken by the Crusaders. 1 122 The Con< ordat of Worms. 1167 'Ih»» Emp. Frederic Barbarossa captures the Leoidue City. 1183 Peace of Constance. 1197-1216 Innocent III., Pope. 1213 John, of England, doleon enters Italy ; victories of Ludi and Areola. 1798 The French take the Pope prisoner, and proclaim a Roman republic. 1901 Ry Napoleon. 1804 Napoleon crowned at Paris by Pius VII. 1805 Napole in crowned King of Italy. 180'J Rome annexed by Napuleon; the Pope taken prisoner. 1811 Rome restored to Pioa VIL 1815 The Congress of Vienna. 1829 Catholic en)ancipation in England. 1831 Mazzini forms the Young Italy iiarty. 1846 Klection of Pope Pius IX. 1848 Insurrection at Rome ; the Pope escaiies to Gaeta. 1849 Pius IX. restore! to Romo by the French. 1853 Cavour, Sardinian Prime Miui^ter, 1859 The Austrians defeated at Magenta and Solferino. Treaty of Villatranca gives I>art of N. Italy to Victor Kmmanuel. 1860 Ancona taken from the Pojie by the Sardinians. Garibaldi defeats the Neapolitan troops at Melazzo. 1861 Victor Emmanuel proclaimed King of Italy. 1866 The Italians join Prussia against Austria. Venice annexed to Italy. 1870 The Italian troops occupy Rome. 1871 Rome the capital of Italy. 18/8 Death of Victor Emmanuel and Pius IX.; accession of King Humbert and Leo XIII. 1887 The Jubilee of l^eo XIII.'s priesthood. 1893 Leo XIII. celebrates mans in St, I'etfr's on the occasion of his episcopal Jubilee. 1900 AssassiDation of King Humbert; acces- sion of Victor Emmanuel HI. 1903 Death of l^eo Xlil., aged !»3; election of Pius X. LIST OF EMI'ERORS. B.C. 49 Julius Caesar : murdered. 27 Augustus. A.D. 14 Tiberius: murdered. 37 Caligula (C*ius Caesar) : murdered. A.D. 41 Claudius: murdered. 54 Nero: suicidf. 68 Galba(S«rviliu8SulpiciUB): murdered. 69 Otbo: suicide. 69 Vitelllus : murdered. 70 VesjxLsian (Klavlus). 79 Titus (Flavius Vespasianup). 81 Domitiau: murdend. 96 Nerva. 9rt Trajan (Manns Ulpius). 118 Hadrian ( I'rajauus). 13H Antoninus ('Iltus Aelins). IGI Marcus Aurelius (Antonimis). )so Comm3 Jovianus. 361 Valentiiiian 1, and Valens. 1HVI810N OP THE E&iriRE. \VE8TKRN. A.IJ. 361 Valentinian and Gratian. 375 Gratian and Valentinian II, 3S3 Valentinian II, 395 Ilonurius Flavius. 425 Valentinian III. 455 Petronius Maximus. 455 Avitus. 457 Majorianus. INTRODUCTION. — LIST OF FAMOUS MEN. [101] A.D. 461 Severus. 467 AnthemiuB. 472 OlybiuB. 473 Glycerius. 474 Nepoe. 475 Romulus Augnstulun, Fall of the Western Empire. LIST OF FAMOUS MEN IN ANCIENT TIM F>;. — Historians (n) ; Poets (p) ; Generals (g) ; Orators ^o) ; Statesmen (s). Agrippa, Marcus VIpsanius (g, s) B.C. 63-12 Amuiianus Marcellinus (n) 11. about a,d. 380 Augustus (G, 8) . . . . B.C. 63 to A.D, 14 Pelisarius (g) a.d. 605-565 Brutus, Lucius Junius (.s g") . . fl. B.C. 609 Urutus, Marcus Jtmlns^."', a) , . fl. B.C. 44 Camillus (o) b.c. 367 Cassiodorus (h) a.d. 468 Cato the Censor (s) B.C. 234-189 Cafo of Utica (s) B.C. 95-46 Catullus (r) B.C. 87-57 Cicero (o, s) v.r. 106-43 Clai'dian (v) fl. a.d. 380 Diodorus Siculus (h) .... fl. a.d, 8 DionCa.ssius(u) a.d, 155-220 linysius(H) died b,c. 7 Ennius i^v) fl. B.C. 220 Eutropius (h) fl. a.d. 61 Gelllus Aulus (h) a, D. 117-180 Gracchus, Caitw (s) .... died b.c, 121 Gracchtt-', Tiberius (s) . . . . died u.c. 133 Hannibal (G) B.C. 247-163 Horace (p) b,c, 65-8 Horten>iu8 (o) b,c. 104-50 Jugurtha(G) B.C. 104 Julius Caesar (g, H, s) . . . . B.C. 100-44 Juvenal (p) abuut a.d, so IjCj idus, M, Aemilius, Triumvir (s) fl. B,c. 42 IJvy (M) B.C. 69 to A.D. 17 Macer(H) B.C. 110-6G Marcellus, M.Claudius (o) , . fl. b.c. 212 M.iec4nas(8) dietl B.C. 8 Mar»'lUisi.G) died B.C. 20S Mark-AnU.ny (g) b.c. 83-30 Marius, Cains (G) B.C. 157-86 Martial (p) a.d. 43-104 Mithridates the Great (g) . . B.C. 131-62 Narses (o) a.d. 478-567 0\id(p) B.C. 43 to A.D. 18 Persius (p) a,d. 34-62 Plautu9(p) fl, about B,c. 184 Plutarch (h) fl. about a,d. 85 P I'.y the Elder (if, g) . . . . a.d. 23-79 Pliny the Younger (s) . . . . fl. a.d. 88 Pollio, Asinius (h) . . . B.C. 76 to a.d. 4 Pompey iheGreat(o, 8) . . . B.C. 106-43 Polybiu8(H) B.c, 204-132 Procopius (h) a.d. 495-565 PropMtiu8(p) B.C. 62-10 Pyrrhu»(G) B.C. 318-272 Quintnian(H) a.d, 40-90 ReguluH. Atillus (g) . . fl. about b.c. 255 Sallust (h) B.c, 86-34 Sclpio Africanns (g) .... B.C. 2i 9-1 85 Sclpio Africai us Minor (G) . , b,c, 185^1^9 Sclpio A>iaticus (g). Seneca (h) . . . Statins (p^ . . . B.C. 190 . . . a.d. 65 . . . A.d. 61-96 StiHcho(o) A.D.395 Suetonius (n) a.d. 70 Sulli(G, 8) B.C. 138-7 >« Tacitus (h) A.D, 61-113 Terence (p) b.c. 195 Tibullus(p) B.C. 54-13 Valerius Maximus (h) . . . . a.d. 15 Varro. Terentius (h) .... B.C. 116-28 Velleius Paterculus (h) . B.C. 19 to a.d. 13 Vergil (p) B.C. 70-19 BISHOPS AND POPES OF ROME. BegAn to roipn. A.D. 42 St. Peter. 66 St. Linus of Vol terra. 78 St. Anacletas, Athens. 90 St, Clem' nt, Rome. 100 St. Evaristus, Bethlehem. 1' 9 St, Alexander I,, Rome, 119 St. Sixtus I,, Rome. 127 St. Telesphorus, Turio (S, Italy). 139 St. Higinus, Athens. 142 St. Pius, Aquiltja. 157 St. Anicetiis, Syria. 168 St. Soter, F»'ndi. 177 St. Eleutherius, Nicopolis. 193 St. Victor I., Africa. 21^2 St. Zephyrinus, Rome. 219 St, Calixtus I., Rome. 223 St. Url an I,, Rome. 230 St. Pontlanus, Rome. 235 St. Anterus, Policastro (S. Italy). 236 St. Fabian, Rome. 251 St. Cornelius, Rome. 252 Novatian (^Antipope), Rome. 252 St. Lucius, Lucca. 253 St. Stephen I., Rome. 257 St. Sixtus ll„ Athens, 259 St, Dionysitis, Turio (S. Italy). 269 St. Felix I., Rome, 275 St. Kutichianus, Luni in Tuscany. 283 St, Cains, Salona (Dalmatia). 296 St. Marcellinus. Itome. 308 St. Marcellus, Rome. 310 St. Eusebius, Ca-sano (Calabria).t 311 St. Melchiades AiricA. 314 St. Sylvester, Home. 336 St. Mark I., Rome. 337 St. Julius I,, Rome. 352 St. Llbeiius, Rome. 355 Fdix IT. (Antipope), Rome. 366 St. Ddmasus I., Portugal. 384 St. Siri( ius, Rome. 397 St. Anastasins I,, Rome. 401 St. Innocent I,, Albano. 417 St. Z' slmus, Mesurat a (S. Italy), 418 St, B«»niface 1., Rome, 420 Eulalius (^Antip(^\ Rome. f The first Pope who dfd not suffer martyr- dom. The mirtyretl Popes after this date are di^tjnguisbel by Mr [102] INTRODUCTION. — POPES. INTRODUCTION. — POPES. [103] Beg«n to A.D. 422 432 440 461 467 482 St. Colestin I., Campano. St. Sixtua III., Rome. St. Leo I, (the (ireat), Tuscany. St. Hilary, CagUari. St. Simpllcius, livoll. St. Felix 11. (called III.), Rome, great grantlfather of St. (Jregory. 492 St. Gelasius Africa. 496 St. Anaatasius II., Ro'ne. 498 St. Symmachus, Sardinia. 614 iMurentius (Antf/nype), Rome. 614 St. Hormisdas, Frosiiione. 523 St. John I., Tmcany, M. 526 St. Felix 1 V., Benoventi>. 530 Boniface II., Rome. 530 Oioscuros (Avtipomnus I., Rome. 678 S». Agatho, Reggio in Calabria. 682 St. Leo II., S. Martino, near iteggio. 684 St. Benedi. t II., Rome. 685 John v., Antioch. (Fable of Pope Joan.) 686 Peter (Antipope), Rome. 686 Tlieodore (ArUipope\ Rome. 687 Conon, Thrace. 686 Paschal (Antipope). 687 St. Sergius I., Antioch. 701 John VI., Greece. 705 John VII., Rossano. 708 Sisinius, Syria (20 days only). 708 Constantinu!*, Syria. 715 St. Gregory II., Romf. 731 St. Gregory III., Syria. 741 St. Zacharias, Sanseverlno (S. Italy). 752 Stephen II., Rome.f 752 Stephen IIL, Rome. 757 St. Paul I., Rome. t Died three days after his election ; never (X)usecrat94. Bcflruto raiini. A.O. 768 768 769 768 772 795 816 817 824 826 827 827 844 847 857 858 858 867 872 882 88 4 885 891 891 896 8',)6 897 897 898 900 903 903 90 i 911 913 913 928 929 931 936 939 943 946 956 964 964 965 972 974 975 9S0 983 9-5 996 99H 999 10U3 1003 1009 1021 1024 1033 1044 1046 1047 Tkeophilactuf (Antipope). Comtantine TI. (Antipo/>e), Nepi. Philip (Antipopf), Rome. Stephen IV., lieggio. Adrian I. (Coloniia), Rome. St. Leo III., Rome. Stephen v., Rome. St. I'a^ichal I., Rome. Eugeoins H., Rome. ZIminins {Antipope), Rome. Valentine, Rom<'. Gregory IV.. Rome. S«'rglus II., Rome. St. Leo IV., Rome. St. Benedict III., Rom". Anasfasitis {Antijnfpe), |{ome. St. M h(»las I., Rome. Adrian II., |{ome. John VIII., Rom.'. Martin II., Galle>o. Adrian III., I.'oine. Stephen VI., Rome. Formosus, Ostia. Serffiiig Iff. (Antipoite). Boniface VI., Tus. any (la days only). Su'pheii VII., Kome. Romanus I., (iallese. Theotiore II., Rome. J«)hn IX., Tivoli. Benedict IV.. Rome. Leo v., Aniea. Chri«t4»pht'r, Rom''. Sergius III., Rome. AnastaHiiiti III., Rome. l4indoniun, Sabina. John X., Ravenna. IjCo V^L, Rome. Stpphen V^II., Rome. John XI., Rome. IjCo VII., Tusculnm. St'phen VIII., Germany. Martin III., Rome. Agap^'tus II., Rome. John XII., Tust ulum. fjeo (Antiptpe), Rome. nenfdit't v., Rutne. John XIIL, Narni. Benetlict VI., Rome. DomnuH IL, Rome. Benedict VII., Rome. /ionifare Vlf. (Franame), Antipope, John XIV., Pavia. John XV., Rome. Grewory V. (Bruno), Saxony. John XVir. (Avtipopt). Sylvester II. (Oerbert), Auvergne. John XVI., Rome. John XVII., Rome. SergiuM IV., Rome. Benedict VIII., lusculum. John XVIIL, Tusculum. Benedict IX., Tusculum. Sylvester III. (Antipope). Gregory VI.. Rome. Clement U. (Suldger), Saxony, ^il BeRan to rfign. A.D. 1048 DamasQs IL, Boppa, Bavaria. 1049 St Leo IX., Bruno, Alsace. J 055 Victor IL, Gebhard, Bavarian High- lands. 1067 Stephen X., Lorraine. 1058 Benedict X. (Avtij)ope), Rome. 1058 Nicholas II. (Ghfrardus), Burgundy. 1061 Alexander II. (Badagio), Milan. 1061 Honorius II. (Cadalous of Parma'), Anti- pope. 1073 Gregory VIL (Hildehrand, or Aldobrand- eschi), Soana in Tus« any. 1080 dement II. (Ouibert of Ravenna), Anti- pope. 1086 Victor III. (Eplfani), Benevento. 1088 Urban II., Reims. 1099 Paschal IL, Bieda. 1 100 AUtert (Antipope), Atella. 1102 Thetxloric (Antipoj^), Rome. 1102 Syh'ester ill. (Antijx>pe), Rome. 1118 Gelasius IL (Giov. CaeUni), (iaeta. 1118 Gregtrry F7//. (.4 ntipope), Spain. 1119 Calixtus IL, Burgundy. 1124 Honoriiis IL, Boloena. 1124 Theoltald ('* Hoccadi Pecore "), Antipope. 1130 Innocent II. (Papareschi), Rome. 1130 AnacUtns II. (Antipope). 1138 Victor IV. (Antipope). 1143 Celostm II. , Citta di Cfcstello. 1144 Lucius II. , Bologna. 1145 EugeniusIII (Paganelll), IHsa. 1150 Anastapius IV., Rome. 1154 Aaii IV. (PanUleo), Troye>. 1264 CI ment IV. (Fourauld), Narlwnnc (Gros), St. Gliles. 1271 B. Gn'gory X. (Vi-^ontl), Ilacenza. 1276 Innocent V., Moutlers, Savoy. 1276 Adrian V. (Fieschl), Genoa. 1276 John XIX. or XX. or XXI. (Giuliano\ Lisbon. 1277 Nich<.la- III. (Orsinl). Rome. 1281 Martin IV., Champagne. 1286 Honoritis IV. (Savelli), Rome. 1287 Nicholiis IV. (Masci), A8C*>11. 1292 St. Celestin V. (Pieiroda Morrone), Iser- nia ; resigned within six montlis. Country. Began to reign. A.D. 1294 Boniface VIII. (Benedetto Caetani), Anagni. 1303 B. Benedict XI. (Boccasini), Treviso. 1306 Clement V. (de Couth), Bordeaux. 1316 John XXII. (Jacques d'Euse\ Cahorp. 1334 Nicholas V. (Antipope at Borne), Rieti. 1334 Benedict XII. »' Jacques Fournier\ Foix. 1342 Clement VI. (Pierre Roger de Beaufort), Limogts. 1.152 Innocent VL(fitienne Aubert), Limoges. 1362 Urlan V. (Guillaume de Grimoard), Mnde. 1370 Gregory XL (Rog. r de Beaufort), Li- moges. 1378 Urban VI. (Bartolommeo Prignanl), Naples. 1387 Clement Vlf. (Robert of Geneva), Anti- pope at Avignon. 1389 B<»niface IX. (Pietro TomacelH), Naples. 1394 Benedict XIII. (Pe/lro de Luna, a Span- iard), Antipope. at Avignon. 1404 Innocent VII. (Migliorati), Sulmona. 1406 Gregory XII. (Angelo Correr), Veidce. 1409 Alexander V. (Petrus Phylargyius), Candia. 1410 John XXIII. (BaldasFare Cospa), Naples. 1417 Martin V. (Oddone Colonna), Rome. 1424 Clement VIII. (a Spaniard), Antipope at Avignon. 1431 p:ugeniu!? IV. (Gabrieie Co' dulmer), Venice. 1439 Felix V. (Antipope). [End of the Western Schism.] . 1447 Nicholas V. (Tommaso Parent ucelli), Sarzana. 1455 Calixtus III. (Alfonso Borgia), Va'encia. 1458 Pius II. (Aeneas Sylvius Piccolomini), Pienza- 1464 Paul II. (Pietro Barbo), Venice. 1471 Sixtus IV. (Francesco della Rovere), Sa- vona. 1484 Innocent VIII. (Gio, Battista Cibo), Genoa. 1492 Alexander VI. (Roderigo Lenzoli Borgia), Spain. 15f'3 Pius III. (Antonio Todeschini Piccolo- mird), Siena. 1503 Julius II. ((Jiuliano della Rovere), Savona. 1513 Leo X. (Giovanni de' Medici), Florence. 1522 Adrian VI. (Adrian Florent), Utrecht. 1523 Clement Vll. ((liulio de* Medici), Flo- rence. 1534 Paul HI. (Alessandro Farnese), Rome. 1550 Julius HI. (Gio. .MariaClocchldai Monti), Monte San Savino in Tuscany. 1555 Marwllus IL (Marcello Ccrvini), Monte- pulciano. 1555 Paul IV. (Gian Pietro CaraflFa), Naples. 1559 Pius IV. (Glov.-Angelo de' Medici), Milan. 1566 St. Pius V. (Michele Ghislieri), Bosco, near Alessandria. 1672 Gregory XIII. (Ugo Buoncompagni), Bo» logna. 1685 sums V. (Felice Pereitj), Montalto, [104] INTBODUCTION.— SAINTS, RELIGIOUS ORDERS, ETC. reicn. A.D. 1590 Urban Vll. (Gk). BattisU Castagna), Rome. 1590 Gregury XIV. (NicooI6 Sfrondati), Cre- mona. 1591 InnocoDt IX. (Qlov. Antonio F&ccblnctti), ° Rologna. 1592 Clement VIII. (IppoUto AMobrandinl). of a Florentlue family, but born at Kano. 1605 Leo XI. ^Aleesandro Ottaviano de* Medici), Flcbi), Cesetia. IHOO Pins VII. (Gregorio Barnabe Cbiara- monti), Cetsena. 1823 Leo XII. ( Annibale della Genga), Spf>leto. 1»29 Pius VIII. (Franoetsco Xaviere Castig- lloni). Cingoli. 1831 Gregory XVI. (Mauro Cappellarl), Bel- iuno. 1846 Pius IX. (Giovanni Maria Mastai-Ffr- reiti), born at Sinigaglia, May 13, 1792 ; Cardinal, Dec. 23. 1839. 1878 Leo XIII. f Gioacchino Peccl), born at Car- pineto, March 2, 1810. 1903 Pius X. (Giu8epi)e Sarto), bom at Rlene, June 2, 1835; Cardinal, 1893; Pope, Aug. 4, 1903. KINGS OF UNITED ITALY. 1870 ViTTOSio Emanurli II. procixlmed King of ail Italy. Tbe i}n»t Parliament of united lialy was opened in Rome in Dec. 1871. 1878 Umbbkto I., born March 14, 1844, assas- sinated, July 29. 1900. 1900 ViTTOitio Emanurlk III , bom Nor. 11, 1 1863; married Oct. 21, 1896. Klrna. daughter of Nicola I., reigning Piince of Moutea«gro. teoe: Princess lofanda, b. June 1, 1901. Princes* Ma/alda, b. Not. 19, 1902. Prince Umbertn, Prince of Pleggar with dial). & Alfonso del IJguori, Bp. of S. Agata del Goti, founder ot the Redentpiorists (1696- 1787). Algerian Fathers.— A Miraion founde, at Barsaloe in Assyria. Jan. 22. S. Andrea Corsini.— Carmelite Bp. of Fiesole (1373). Feb. 4. Auiiunziata.— A brotherhood founded by the Spjiiilah Itominican Card. Juan Torreque- mada in 1460 for granting dowries to younir girls {S, M. Jifinerca). S. Antoiilo Al>ate (357).— P»tron of animals, and protector again>t accidents in riding or drivuig. Almost all the mules artd horses in I he Campagna bear a medal with the liead of St. Aniliony on their front. Jan. 17. S. Antcuio di Padova (1231) Franciscan friar, born at Lisbon. June 13. Flame In band or ou breast. S. Apollinare, M. (81).--Bp. of Ravenna. July 23. Black c^o^8 on woite robe. St. Atbanasins, Patriarch of Alexandria (373), and one of the four Greek doctors (Chrysoa- tom. Hasil, (Jregory Nazianzen). 'ihe Greek bishops wear nu mitre. St. Augustlre. — l^tin Doctor (430). Aug. 28. Heart, flaming, or irai'sflxei with arrow: booki}. INTRODUCTION. — SAINTS, RELIGIOUS ORDERS, ETC. [105] pi Angn^tinlans. — A religious order founded by St. Augustine, Bp. ot Hippo (430). but re- organised by Alexander IV. in 1256. Ibey consist of (I) Regular Canons ; (2) Hermits, aggregated with Friazs by Pius V. in 1567. Habit black, with a leathern girdle. Within tbeir own convents; and in any town where there are no D«iminicans, they are allowed todieas in white. Orders living uiKler the same rule : I'remonstratetisians, Trini' tarianst Order of Mercy, and ffrigiltines. S. Agostino ; S. M. del I'opolo (priory) ; S. FatrUio (Irish). Nunnerits: ."s (iiacomo aUa Lungara ; S. Calarina dei Funari ; S. M. ddle Vergini; SS. Quattro Curonati; Getii e Maria. S. Balbina, V. (132). Mar. 31. 8. Barbara, V.,M. (303), 4 Dec. Tower: feather: chalice. Barnabiies. — Regular Clerks of St. Panl, fouudfd by B. Antoniu Zjucaria (1539), and named auer a Church of St. Barnabas, which belonged to them at Milan. — S. Carlo ai Catinari. Baaiiian ilonki*. — An Order fi>undfd by St. Batil, Bp. of Ca< sarea in Cappad branch of the Bene- dictine Order, founded bv S. Komnaido si • Campo Maldoli in loi2. *Habit white, wlt^ Hbitu hood and girdle. S. CarolUo Lellls, founder of the Regular Clerics for ministering to the sick. Canonici.— Canons, attached to a Church • which has a chapter. They wear a rochet, and thoau in Rome wear also in winter an ample cape of white ermine (Mozzetta). CaptK hlns. — A branch of the Franciscjm Order, lounJedby M.ittoodi liasso of Urbino in 1526, but subject to the control of the Observants until 1617. Habit brown, with long p, Aacxl Willi W%fAl%\ SW. 0*m mi Jultan «r Aottock, M.M. fdr. >M>. Jul f. a>fTirM sf Tiif li ■> JMiw !!.(»••> IKvv. I. CftlMiel MImA-A o t t^ ieirtm ' (384). Doctors of the Church.— Greek : Athanasius, Basil, Chr3'8oetoni, and Gregory Nazianzcn ; sometimes Cyril of Alexandria and Cyril of Jerusalem are added. Latin: Ambrose. Augustine, Jerome, and Gregory the Great. They are commonly, but less correctly, called the Four \ Sigto; m, Jioiario tU MwU Mario: S, (Entente (Irish). Nunnerlait .VN. Iknncnico « Sisto ; S. Catarina ; An- nuntiata. S. Dorotea, V, M. (304). Feb. 6. Angel with fruit ; CTt>wn of loses ; palm. Bcoles Chretleiines— A Brotherhood of lay- men, founded by Ven. J. B. de la Salle in 1679, and established in Rome in 1702.— .S*. Salvaiore in iMuro; Via S. Sebattiano; Via S. Giftv. in Lat. The Brothers wear large white bands, but the boys, some of wliom act as chorhtteis in churches, have no uniform. S. Ejridio (Giles). Athenian noble (500). Sept. 1. S. Kllid<» (FloyX goldsmith, afterwards Bp. of Novon (665). Dec. 1. Blacksmitli, with toil Is. S. En^ebius, l»ri««t, M. (357). Aug. 14. S. Kusfichio, lUjman knight, M. (1"0). Sept. 20. In armour; stag with crucihx beiwe<*n horns. SS. FauKtmo e Giovita, priest and deacon of Brescia, .MM. (l>*2). Feb. 15. S. Filippo Neri (1595), fouitder of the Ora- toriana ; 26 May. S. Franceses Romana, wife of Jjortnzo Pomianidel /Tu/fo, fonndnss of the Oblalen of Tor de* hpecera of the following Ordem : Franciscan, l>i>miniran, Coiinellle, Augua. tiiiian, and r^rvtto. S. Galla. Roman lUHtron {c\t. 643). Majr 3a. S. Giillicano, Rnntan noble. M. (iUW). St. Gei>rge, M. (2h9). |*Mtmn Sdot of England, Germany, and Venice. Apr. 23, In armour; drngon at fori; siiuidard. SS. Giovanni e f»M«il«.i, MM. (362), Roman nobles and brnthera June 26t 8. Giov. Calibita (470). ItaslUan monk. S. Girolamo KMilllnni,— Found* r of the I'adrl Somaschir 1^:17) S. Glullana lI|^ JiDtll. St. Gregory th" <;rr«t i 60«). IVip«» and ^fte «f the four I.Attn lyn tor* Mtr. Z2. Itol^ St. ignutius of Tyiyi'iU. founder of the Jaasita (H91-1.'.56). .IftJy ;nso.--Hen«iJi(iknsions, and ediica- iion. A Jesuit can accept no preferment, vinless compelh>d thereto by command of the I'ope. Ordets founded since altout 1500 are not strict ty speaking Religions Orders, but Congrenatioiis or Societies Tl>e Society of Jesus, however, enjoys the prlvilegis of the older Onlers. 120 VU del .Seminario. S. Juan de Dies. — Founder of an Order of Charily for serving the sick in 1.^40. The brotlicrs n re styled Fate bene Fratdli, from the constant exhoitation of the Saint. Mar. 8, 1 S.IO. Beggar at his feet. Knights of St. John of Jerusidem, afierwanls called Knights of Malu (10'.>2). and Hospi- tallers. White cro^ on black mantle. The Order was founded in 1048 for the ptir- |K)He of nffordinp shelter and hospitality to pilgrims visiting the Holy I^md. It aft "r- wards became a band of warrior knights, who settled at Rhodes. When Rhodes was ktMen bv th" 'lurl KmIkIo* t«l cross on whiee mantle i siippriMaed In i:ill. K(. Ijauroncr, M., d'ncon of Hi. Hlxtus IL (361 X Aug. 10. Ortdin»n ^t LhuU IX . King of Kiitnee (t'i7nV lie lM>l<>ngKeivei| In the (!hur(«l I the niiMt that ta claimed f«r tl^HB lrilUltlM7 IM Mitjr r Ikt. Ift. Ox I Birtaric M*lrs »7.7aro at Venice. His followers afl^erwards obtained possession of S. M. in Ikrmnicn, Melthites. — Kastem Christians who accepted the decrees of the Omncil of Chalcedon, when the recalcitrants formed the Jacobite sclilsm. They were called Melchites by the Schismatics liecause they oonfoimed to the edict of th«" Kmp. Marcl.m (Syriac Me.le.k'), enforcing the decision of the Council, lliey have three Patriarchs — of Antiocb, Alex- andria, a'ld Jerusalem. (Padri) Merccnarl, founded by S. Pedro Nola(«co, for the retlemption of slaves, captives, and debtors In prison (1256). — S. Adriano. Minims.— An austere Order of mendicant friars founded by S. Francesco di Paola (1416-1507). Habit similar to the Minor OoMiiOt M SK **ti tttlh ft a^cft •rtfnlme raa»M iA at tbs ••*, arfel a «»aJI r«u»l boot.— >S. JC 4dte tJM*; X. ^nfrwt 4Md rt^tit; a.F1rmmtue»Mrmd*: K.MiA^( MMirrI «^' tw^f^ (R««l 0«a> F««n»4 bj se Ckallle 4e I>«1« (IU*\ A 42u«. hat. iWmpOMi) ; S 4?le«. JWm ; ifaC liter. Wim C iiWiWisK — TWi kfmth el Ibc rnmOmm af « »l* and M4 fref. Mi4 a4^ O* sum ••f V>^tt l« I4i own. Tto MMler fi l t sii wttnjt afti ue i t Hi i > «n » l )w «%e nk «# — 71* HnrUt tW Frsmtanos OriW. mh$ livM It ctetoM Mkmf sad ImM •• prjftt / . IfaMi lM«m. I* luftr 6W» tK neum^ty JBanslIrfs. aaJ In Kfk» JictmUrfm m.— %< AnUmi0. Via MmAsr* : Am Owlf; A M^r. fe l wiww; S. MoKiiiw; X. Bemaam" tars. MIlMfvfAe (rr9f*a ^ Xc4r* DiUi* 4t Uy^ TmmMl a« Walt^ea ty Cw Wliff m^ JftiMla rte. In tbs Bervt^ McMlf^aoesL — thU Itlk. tb9«gh laeorrrctlj • mM aa A •vHteMlMw !• M«fH9 M^^S. *o MMc <4 an yortirfaiiHil «Miurt. b* an AaifttMiap num W»^\ DaMiayt yrtkit (BItiM Itrr.> ' iet€W»lal» i*fWIVf«e(y4vy R«v.> TW 4Mla|piM*« »«%• oT CW 4|pft7 li A pvfia alraak htUv the vklla stack cr cellar. K— rcil.-IWtk t\ ife (220 Ixjys). Padri Pallnttini. — Mission priests founded by Ven. Fr. Pallotti in 1835.— A'. Silvestro in Vapite ; S. Salvatore in Onda. Padri Riformati del terz' Ordine. — S. Paolo alia Kegola. I'adri Scolopi (Scuole Pie). — Founded at the end of the 16th cent, by S. Giusepyie Cala- (-anzio for the fne education of chiKlren.— .v. I'antaleo (200 boys); S. lArrmzo in Borgo{\h(i boys); CM. Nazareno. S. Pancrazio, M. (60), ageil 14. May 12. S. Pantaleone, physician. M. (301). July 27. Olive branch ; hai ds over head, nailed in tree. S. Paolo del la Croce (1694- 1775), born at 0\ a'. Gioacchino ed Anna. S. Pasquale Baylon. — Spanish Franciscan (1592). May 17. Pasisioiiibis. — Founded by S. Paolo della Croce. Habit black, with monogram of I H S, heart and cross, on the left side.— A Giov. e Paolo ; Stala Santa. Patriarch. — The bigiiest dignity of the Christian hierarchy, fx)rne by the Metiopoli- tans of Alexandria, Rome, Antioch, Con- stantinople, and Jerusalem. As regards Rome, the title is merged Id that of I'op, and the remaining nees are regarded as Bchisraatical. Bisliops are still, however, nominated by the Tope to these four patri- archates ; but they all reside in Rome, except the Patriarch of Jerusalem, and have no jurisdiction. The Western Church admits aho a Maronite, Melchite, and Syrian Patri- arch of Antioch. an Armenian and Chal- daean Patriarch, a Patriarch of the Spanish Indies, a Patriarch of Lisbon, and a Patriarch of Venice. Penitence (Third Onler of).— Founded about 1795. Habit dark brown, with blue cord.— .S". M. delle Grazie ; S. M. in Macello Marlyrum. Penitentiaries.— Priests attached to the three great Basilicas for hearing confessions. At St. Peter's they are Minor Conventuals ; at St. John Lateran, Observants; at S. M. Magginre, I 'ominicans. Pii Operai dl Napoli.— A modem congrega- tion.— .S'. Giuseppe in Lungara. Poor Clares. — The Second Order of St. Francis, founded by S. Cbiara of Assisi in 1212. They settled in London at the •Minorles' in 1293. They pass several hours of the night in prayer, fast during a greater part of the year, and never leave their Convent. — SS. Cosma e Damiano in Trast. ;S. fjorenmin Panispema; S. Urbano (Via A'essandrina). S. Prassode,»V. (15o). July 21. S. I»ri8ca, V. M. (275). Jan. 18. Lion; ra«le; palm. S. Pudenzlana, V. (148). May 19. Sponge with blood ; cup. SS. Qua ran to Miirtirl, frozen to death ai Sehaste (320). Mar. 10. SS. Qnlrico e Olulltta (305>— martyred boy and mother. Reilen.ptorists. — A congregation founded by S. Alfonso del Liguori of Naples in 1732, and dedicated t4> the service of the Most Holy Redeemer.— .V. Alfonso ; S. M. in MnvU rone. RcKular Canons of the Literan.— (^'ollege of Prifsts at S. Pietro in Vincoli, quite dis- tinct from the Stvular Canons of the Basilica. — A Agnesefuori le Mara. B. Rito of Cascia, an Angustininn nun (Uth cent.). Aug. 16. S. Roch, French pilgrim (1327). May 22. Wound In leg. sa Rnfina e Seconda, VV. MM. Sisters (226). S. Saba, lUsilii.n abbot, 5 Dec. (531). S. Sabina, Ri man lady, M. (303). Aug. 29. Sacooni. — A Brotherhooid whose members were accustomet,s (chiefly In preparation f»^r the ptiestbood): — i^iTR^DUCTI6N. — SAINTS, RfiLlGlOtiS ORDERS, fiTC. [109] Benedictine, with the habit of the Order.— S. Paolo jfuori le Mura. Coliegio Nazareno (1622), 67 students, under the charge of the Padn Scolopi.— Vio Naza- reno. Coliegio del Noblll, 60 students, conducted by Jesuits, but no longer restricted to boys of noble birth. Evening dress, with white tie and bluish cloak. — PaX. Borromeo. Scu'tla dl S. Giuseppe. Black blouse, with silver letters on the cap. — Via Noinenlana, near .S. Agnese. Scuola Gregorian* (1836), founded by Gre- gory XVI. in the hope of supplying Iwy- trebles in place of falsetto singers for the Churches in Rome. Yellow sash.— i'. if. ilfW Anima. Scuola di S. Gregorio. Black cloth cloaks. Seminarlo di S. Pietro (1637), for boys who desire to Ijeconie Jttnejkiati at SL Peter's, 50 students. Violet, with long narrow red lappets on the left side, embroidered at the end with fleur-de-lis. — Piazza S. Marta, behind the Ba.silica. Seminario Pio (1352), founded by Pin* IX. for the education of one b>y from each diocese within the States of the Cburcli. and two from his birthplace (Slnigaglia). Black, with purple sash. — .S'. Apullinare. Seminario Pontlficio Romano (156!V), 80 students for the diocese of Rome. I'urple, with red buttons to the cassock. — S. ApoUi- nare. Spanish School. Black, with Img overcoat. St. Sebastian.— Officer In the Roman army under Diocletian, M. (284). Jan. 20. IMerced by arrows; bound to a tree or column. Sepolte Vive.— A name given to the Nuns of a Carmelite Convent founded by iSister Francesca Farnese in 1641, below the Church of S. Francesco di Paola. The rule under which they lived was so austere, and their aeclusion so absolute, as to earn for them the title of Buried Alive. The Convent was destroyed during the construction of the Via Cavour, but a remnant of the Nunnery still exists at a house In the Viadei Serpenti. Servites. — An Order founded by seven Florentine mercliants in 1233, and re- modelleserve the strictest silence among themselves, and work hard at manual labour. Habit, white ; but the lay brothers wear brown, and differ little in appearance from Franciscans.- -SSL Vincenxo ed Anasta- sio (Tre Fontane) ; Catacombs of St. Callix- tus. Trinitarians.— An Order founded by SS. Jean [110] ll^TR5t)UCTl6N. — AltTl^f 8. INTRODUCTION^.— ARtl6TS. till] de Mathi of ProVence, and Felix of Valols, a French hermit, for the redemption of Christian captivea oat of the hands of the Turks (1198). Habit, black over white, with red and blue cross.— .S. Critogono ; S. Carlo Qu. Font. ; S. M. Farnaci ; S. St^fanodei Mori ; Trinith (in Via Condotti). Umiliatl. — A religious Order 8uppres8«d by I'ius V. Id 1570 for their attempts upon the life of S. Carlo Borromeo, who had en- deavoured to reform them. Nuns of the Order were formerly at S. Cecilia, and their habit is still woin by the White Benedictine nuus who now reside there. S. Urbano, Pope, M. (230); 25 May. S. Ursula, V. M. (463). Oct. 21. Arrow; l»anner with red cross. Ursuline Nuns. — Founded in 1537 by .S. Angela Merici of Desauzano (1640), and established in Rome in 1688.— & Giutepj)t (^^Corso). Vallombrosian Order. — A branch of the Bene- dictines, founded by S. Giov. Gualberto (1073). Habit originally light grey, now generally black.— .s'. Prassedt. S. Venaiizio, M. (254), aged 15. Dec. 14. St. Vincent.— Deacon, of Valencia in Spain, ^ martyr, d in 303. Jan. 22. Haven ; palm. S. Vincenzo dei Paoli. — Founder of the I^zzarists or Priests of the Mission (1625), now establish, d at the Trinita (Hte. 10). July IJ). Child in arms, or at feet. Visitation Nuns.— Instituted by St Jeanne Fran§oise Fremiot de Chantal, under the patronage of St. Fr. de Sales, in 1610.— I'tifa Millf. S. Vital', M. (160). Apr. 8. St. Vitus, M. ?303), aged 13. June 16. Cock ; boy with palm ; cauldron of oil. LIST OF ARCHITECTS. SCULFTORS, AND PAINTERS. A = Architect. S = Sculptor. P = Painter. Agecander (a.d. 79\ Greek S. of Rhodes. Agnolo and Agostino da Siena (early 14th tent.), S. Albani, Fr. (1578-1660). P. School of Bologna. Alberti, Leon Battista (1404-72), A. Flo- re ice. Alfani, Paris. P. (1483-1536). Umbria. Algardi, Aless., P. (1592-1654). Bdogna. Allori, Aless., P. (1535-1607). Florence. Allori, Crlstofano, P. (1577-1621). Florence. Ammanati, Bart. (1511-92). A. S. Horence Andrea del Sarto. K (1486-1531). Florence. Antonello d* Messina, P. (1493). Arnolfo di Cambio, Flor. A. S. (1240-1311) Arpino, Cav. d', P. (1660-1610). Ifome. Aspcrtlnl, Amiro, P. (1474-1552). Bologna. Athenodorus, of Rhodes; joint sculptor of the La«)coon ; period of Titus. Baaio B.in.linelli, S. (1493-1560). Florence. Baccio Pontelli, A. (cir. 1475). Florence. Baciccio, Rom. P. (1639-1709). Bagnacavallo (Bart. Kamenghi), P. (i484- 1542). Bologna. ^ ^ Bakhoysen, P. (1631-1708). Dutch, liarile, Giov., S. (cir. 150(»). Siena. Barna da Siena, P. (cir. 1340-1380). Paroccio, Federigo, P. (1528-1612). Umbria. Bartolou.rae... Fra (Iteccio della Porta). P. (1475-1,17). Flonnce. iHasidti, Marco, I'. (1520). Venice. Bassano, Fr. (1549-92). P. Venice. Battoui, P«mif)eo (1708-87), P. Home. Bazzi (see StHh/ma). B80), A. S. Naples. Bonifazio Veneziano (1679), P. Venice. Bonifazio Ver-nese (1540), P. Venetian Schwjl. Bojdfiizio Veron., the Younger (1615), P. Bordone, Paris (1500-71), P. Venice. Borromlnl, Kr. (1599-1667). A. Rome. iVif^cb, Hierunxmu-* (1470-1616), P. Flemish. Both, Jan (1610-60), P. Dutch. iiotdcelli, Sanoro (1447-1610), V. Florence. Bramante Lazzari (1437-1514), A. Florence. Brej{no(Andr.a). S. of Com-. (1421-1506). Bril. Paul (1556-1626), P. Flemish. Bronzino, Angelo (1502—72). P. Florence. Brouwer. Adrian (1608-41), Dutch P. Brueghel, Jan (1568-1625). Flemish P. . Cignacci, Guido (1601-81), P. Ikdogna. Calisto da Lodi ^Piazza), 1'. (1514-1 j.-^e). Callot, Jacques (1692-1635), French P Cambl.Bo, Luca (1527-81). P. (Jenoa. Canipiglia. (}. D. (1692-1766), Lucca. P. Canalitto. Antonio (1697-1768), P. Venice. Canovu, Antonio (1757-1822), S. CaraccI, Aimiliale, P. (1560-1609). Caracrl. Lodovico, P. (1555-1619). Bologna. Caravaggio, M. A. da (1569-1609), Ix)nibard and Roman. P. Tali. Pasqnale. P. (cir. 1590). Roman. CavallinI, Pietro (1295-1344), P. I{<,nic. Cellini, lieiiver.uto (15(0-71). Florence. S. Cigoli (Lodovico Cardi), P. Florence (1589-lt>13). Ciu)adaCon«gliano(150S), P. Venice. Claude I. or rain (1600-82). P. France. Codde, Pieter(I610-6s), Dutch P. Cola dell' Amatrice (1543). Naples. P. Conca, .Sebfistlano (1676-1764), Napl*«s. P. Correggio (Ant. Allegri). Parma. I'. (H94- 1634). Costa. Lor. (1461-1535), P. Padu*. Cranach, Lucas (147'2-1.553). Franconian P. Crlvelli. Carlo (1496). Venice. P Croc-, B. (15euys Calvaert). Flemish P. (1540-1619). Filarete (Antonio Averulino). Florence. A. S., l&th cent. Fionnso di Lorenio. Umbrian I'. (1472- 1620). Fonuna, Carlo (1634-1714), A. FonUna, Dom. (1543-1607), A. Fra Angelico (Giov. da Fiesole), Flor. P. (1387-1466). Francesco da Citt& di Cast-Uo (I5th cent.). A. Francia (Fr. R&ibolini). Bologna. P. (1450- 151S). Francken, Francis (1581-1642). Frlzzi, Federigo, S. Florence (cir. 1520. Fuga, Ferd. (1699-1780). Rome. A. ' Gaddo Ga-ldi (1259-1333). Hor. P. Gaetani, Scipione (1550-88). Home. P. Galilei. Ale«8. (1691-1737). Flor. A. Garofalo (Benvenuto Tisi). School of Ferrara, P. (1481-1559). Gentile da Fabiiano, Umbrian P. (1370-1460). Gerard van der Meire (1460-1512). Flemish P. Gherardo delta Notte. Dutch P. (1592-1662). Ghlrland.ijo, Dom. (1449-1494). Flor. P. Ghirlandfjo, Ridolfo, Flor. P. (1483-1561). Giacomo da Pietra Santa, A. (cir. 1470). Olmignani, Giacinto (1611-81). Bologna. P. Gioamdo da Verona. Fra (1435-1615), A. Giordano, Luca( 1632-1 705). Naples. P. Giorgione (Barbarelli). Venice (1477-1511). P. Giotto (Angelo di Bondone), P. A. (1266- 1337). Florence. S. Giovanni, Giov. Manozzi da (1590-1636). P. Giov. da Udine (1487-1664), P. Venice. (Jlov. d^l Duca (cir. 1550), A. Girolamo da Treviso (1497-1644). Venice. P. Giuliano da Majano (1439-90), A. S. Tuscany. GiulioClovio (1498-1578): Roii». P. Giulio Romano (Pippi), P. (1492-1546). Greuze (1724-1806). French P. Guerdno (Giov. Fr. Barbieri), P. (1591- 1666). Bologna. Guido Heni (see Jietii). Holbein, H. (1497-1543). Swabian P. Honthorst (1690-1668). Dutch P. Houdon, J. A. (1741-182S). French S. Ibi, Sioibaldo, Umbrian P. (early 16th cent.). L'lngegno (cir. 1505). Umbrian P. Innocenzo da Imola (1494-1550). Bologna. P. Isaia da Pisa (cir. 1464). Tuscan and Roman. S. Jacopo degU Avanzi (cir. 1376). Bologna. P. Jacopo da Torrito (cir. 1290), P. aud mosaicist, Rome. Landlnl. Taddeo (1594) Florence. S. l^anfranco (1682-1648). Rome. P. Laureti, Tommaso (152O-16U0). Rome. P. Leochares (cir. 379). Athens. S. Leonardo da Vinci (1452-151»). Florence. P. Lippi, Annibale, A. (cir. 1590). Lippi.Filippino (1461-1504). Florence. P. Tiippi. Filippo (1406-69). Florence. P. Longhi, Luca (1507-80). R;ivenna. P. Lorenzetto (Martino), S. (1490-1541). 1/orenzo di Credi (1459-15;i7). Florence. P. Lotto, l^renzo (1480-1554). Venetian. P. I.uini, Bernardino (cir. 1530). Lombard. P. Luaghi, Martiuo, A. (1561-1619). l^uti, lienedetto (1666-1724). Roman P. Lysippus (B.C. 356-23). Sicyou S. Maderno, Carlo, A. (1556-1639), Magibter Paulus, Roman. S. (cir. 1410). Maini, Michele (dr. 1500). Fie8«de. S. Mautegna, Andrea (1431-1506). Padua. P. Maraita, Carlo (1625-1713). Rome. P. Marco da Oggionno (1470-1540). Lomb. P. Mario dei Fiori (1603-7.3). Roman P. Masaccio (1402-23). Florence. P. Masolino da Panicale (1383-1447). Flor. P. Mazzola, Fr. (see Farmigianino). Mazzolino, Lodovico (1481-1530). Padua. P. Mazzoni, Giulio (cir. 1650), decorative S. Melozzo d.i Forli (1438-1494). Padua. P. Memliiig, Hans (1430-95). Flem. P. Mengs, Anton Raphael (1728-79). Roman P. Meo del Ciprino (1430-15ol). Roman A. Michel Anjjelo Buonarroti, A. P. S. (1475- 1664). Florentine School. Michelangelo .Sanesf, S. (cir. 1524). Siena. Mluo (oi Giovanni) da Fiesole, S. (1431-84). Mocchi, Fr. (1580-1646). Tuscan S. Mola, Pierfrance»«co (1612-68). Bologna. P. Moretto (Ale^s. Bouviciuo). Brescia. P. (1498-1664). Moroni, G. B. (1510-78). Bergamo. P. Mosca (Simone Cioli), S. (1498-1554). Mostaert, Jan (1555). Flemish P. Murillo, Bart. Esteban (1618-82). Spanish P. Muziano, Girolamo (1530-92). Brescia. P. Myron. Athenian S. (cir. b.c. 470). Myteiis, I). (1590-1656). Dutch P. Nanui di Baccio Bigio, S. (cir. 1550). Naukydes, S. (cir. b.c. 350). Argos. Netscher, Gaspar (1639-84). Dutch P. Niccold da Foligno (1430-1502). Umbrian P. Nic<"ol6 della Guardia, S. Rome (cir. 1464). Novelli, Pietro (1603-60). Sicily. P. Olivieri, Pietro, A. (cir. 1570). OrizoDti (G. F. von Bloemen), P. (1662- 1748). Ortolano, Benvenuto (cir. 1540). Ferrara. P. Padovanino (1400), P. Padua. Palestrina (Giov. Pierluigi da), the greatest Church musician of the revival, was succes- sively Choir-master at the Sixtine Chapel, S. Giov. in Laterano, S. M. Maggiore, aud S. Hetro (1624-94). Palladio, Andrea, A. (1518-80). Vicenza. PalmaGiovane (1554-1628). Venice. P. Palma Vecchio (1480-1628). Venice. P. Palmezzano, Marco (1490-1637). Padua. P. Paolo da Siena (14th cent.), P. Paolo Veronese (Caliari), P. (1528-88). Parmigianino (Fr. Mazzola). P. (1504-40). I [112] INTRODUCTION.— AftTlS'Pg* Tasiteles (b.O. 12-48), Sonthem Italy. 8. rassignano (I)om. Cresti da). Floreuce. P. (1560-1638). Paul Potter (1625-64). Dutch P. Pellegrino rellegrini (1527-91). Bol. P. Penna, Ag(»6tino (18th cent.), P. Rome. Penni, Francesco (II Faltore). Koiuan P. (1488-1528). Perngino (Pietro Vannucci). Umbrian P. (1446-1524). Peruzzi.HaldiHsare (1481-1537). A. P. Sieua. Peselliuo (1422-53). Florence. 1'. Pbeidiu8 (cir. b.c. 490-464). Atlienian S. I'iazza, (Jusinif, p. (1557-1621). lieriiio del Vaga (1499-1547). Jlomaii P. Pierodi Cosimo (1462-1521). Florence. P. Pietro da Cor.ona (IJerrettiui), P. A. (1596- 1669). Pinturicchio (Bernardino Ik-tti J$iagi), I*. Umbrian School (1455-1513). PiBunello (Vittore Pisauo). Floreuce. P. (1380-145S). Poli.loroda<'dravapgio(1492-1543). Pom. P. Pollajnolo, Antonio (1429-98> Flor. P. S. P0II4JU0I0, I'ietro (1441-96). Flor. P. S. Polyclems(B.c. 460). Argosand Sikyon. S. Polydorus (cir. B.C. 100), S. HhiKles. Pomarancio (1552-1626). Roman P. Pontormo, Jac. da (1494-1557). Florentine P. Ponzio, Flaminio, A. (cir. 1650). Pordenone, G. A. da (1483-1539). Vene- tian P. Porta, Giacomo della (1541-1604). lomhard. A.S. I'oussin (Caspar Dughct). French P. (1613- 75). Poussin, Nicolas (1594-1665), P. Praxiteles (b.c. 3o4-329). Athenian S. I'rocaccini.G. C, (1557-1635). Hologna. P. Provenzale, Marcello, Mosaicist (1639). l^uligo, l>om. (1475-1527). Floreuce. P. Quoutiu Massvs (or Quinten Matsys). Flemish P. (1466-1530). Raffaele iJanti (da Urbino), P. A. (1483- 1520). RaffaelllnodelColle(1490-1540\ Florence. P. Kaffaelliuo del Garbo (1466-1524). Florence. P. llaffaello da MonteluiK), S. (1505-70). Flo- rence. Rainaldi, Girolamo, A. (1570-1655). Ravestein, Jan van (1572-1677). Dutch P. Rembrandt (160f<-69). Dutch P. Reni, Gnidu (1575-1642). P. Bologna. Ribera, Giuseppe (Spagnoletto), Spanish P. (1688-1656). Romauellon6l0-62). Roman P. Rumauiuo,Gir. (1485-1566). Bn>Bcia. P. Rondlnelli, Niccolo (1450-1505). Ferrara. P. Roea, Salvator (1615-73). Naples. P. Rosselli, awimo (1439-1505). Florence. P. Roesellini, bernardino, A. (1409-1464). Rubeas (1577-1640). Fleunsh P. SabbatinI, Lor. (1530-77). Bolognese P. Sacchi, And. (159^-1661). Roman P. Salviati. Fr. (1510-63). Romao P. Sangallo, Ant. da (1456-1634), A. Saugallu, Ant. da (the younger), Flor. A. (1485-1546). Sangallo, Gluliano da (1445-1616), A. Saiisovioo, And. Conlucci (da Monte Sansavino, S. (1460-1529). Sansovino, Jacopo (1477-1570), 8. Santi, GIov. (1494). Umbrian P. Sinti di Tito (1538-1603). Florence. P. Saraceni, Carlo (1585-1625). Venice. P. 8a88oferrato (G. B. Salvi). Roman P. (1605- H5). Sivoldo. Girolamo (1548). Venetian P. Scar.sellino, lpj)olito(1551-162o). Ferrara. P. Schiivone, And. (1522-82). Venetian P. Scopas (cir. b.c. 379). Paros. A. S. Sebastiano del PiomlK>(I4S5-1547),P. Rom. Sicciolante da 8crmoneta(cir. 1572). Roman 1 • Signorelli. Lnca (^1441-152.3). Cortona. P. Simone Cioli (U Mosca), S. (1660). Simone Ghini. A. S. (b. 1407); pupil of Hrunellfschi. Simone Martini (1233-1344). Sienese P. Snyders, Fr. (1679-1667) Snlonia (GIov. Ant. Bizzi), P. (1477-1549). I^ombard. Sofonisba Anguiss da (1539-1625). Cremona. Solario, An 1. (1448-1630). Milanese P. St.vle. — Havingcolumn.sateach end ; said of a Temple. A*iadyomene. — Aphrodite, emerging (dra- Svo^cVii) from tiie sea. Anta (pi. antae).— A pier built against a wall, generally treated as a pilaster. Antis, In. — Said ol the column} of a portico, ranged between antae. ApiHlyterium. — Room for undressing, in a Roman bath. Aps?.— (a) Thv' tribune or court of law In a Pagan Basilica, (b) The sanctuary in a Christian church, always semicircular or p >lyguual in plan. Arcaen to the nave and containing the aliar. Benediction. — A comparatively modern rite, during which the priest hoMs up the m<*i.- st-ancc containing the Host, for the pur- pose of blessing tbe people. It usually takes place in the evening, and is for that [liotne.] reas m confounded by Protestant travellers with Vespers. In Germany, however, the Benediction is frequently given in the morn- ing, as in the German Church of S. M. deW Anivia. where the hymn 'Tantum Ergo' is beautifully sung at the ceremony (about 10.30 A.M. on Sunday). Riga. — A chariot drawn by two horses abreast. Caiucens. — The staff of Mercury, winged at the top, and entwined with two sn ikes. CaUlarium. — The hot-chamber of a Roman bath. Carceres. — A row of stalls or horse-boxes, ustially twelve in number, enclosed by double doors, within which the chariots waitel at one end of the circus until the signal was given for st irting, and the doors were simulianeouMy thrown open. Cartinal. — The sacred College consists of six Card. Bishop-:, 50 Card. Priests, and 14 Card. Deacons, but is rarely complete. Tiie Bishops govern the suburban sees ; tiie Priests (who maj' be Bishops by consecration) are the successors of the ancient parish priests of Rome ; and the Deacons (who may be priests by ordination) represent tbe region- ary deacons of the Roman Church (see Titulus). Caryatides.— Female figures serving as sup- ports to a building instead of pillars or pilasters (see Atlantes). Castellum. — A large tank or reservoir, placed at intervals along the line of an atiueduct. Casula. — A cloak of coarse material, with a hood. It is the origin of the Chasuble. Cavea. — 'I'he pit of a theatre, so called be- cause originally hewn out of the rock agahist the side of a hill. ('el la. — The Sanctiuiry of a Temple, con- taining a statue of the deity. Chasuble. -The outer vestment of a priest while celebrating. It hangs down to the knees before and behind, but has no sleeves. It is more or le.-s richly adorned with a large cross. Usually at tiie back, but in Italy often in front. Chiapjscuro.— The art of distributing light and shade in a picture. Sometimes the term is employed to denote paintings in imitation of reliefs, where only one colour is used (see (frisailLej. Chlamys. — A Greek riding cloak fastened with u buckle ov. r the right shoulder to leave the right arm bare. Ciljoriutn. — Title given now to the tabernacle in which the Host is deposited. Cippus. — A sepulchral monument in the form of an altar, round or square. Cista. — A chest or box, usually of bronze, and k [114] INTRODUCTION. — GLOSSABY OP TECHNICAL TERMS. INTRODUCTION. — GLOSSARY OF TECHNICAL TERMS. [115] richly engraved, for holding articles of the toilet. Clerest >ry.— The upper portion of the nave of a church pierced with windows above the triforium. Ex. : St. Agnese. Colonnade. — A row of columns carrying an entablature. Concrete. — An artificial stone made with small pieces of stone or brv^lcen bricks mixed with lime, and in Rome with pozzDlana, whit h gave it the quality of a hard hydraulic cement. Console. — A vertical corbel. Cope.— A v( stment used by the priest in pro- cessiond and at Benediction, but never at the Mass. It is longer than the chasublf, and is open in front, fastened at the neck by a buckle. Corbel.— A projecting m<'mber of stone, brick, or wood, supporting a cornice or sill. Cornice. — The upper member of the entabla- ture, sometimes richly moulded, and pro- jecting in front of the structure below : its upper p)rtion constitutes the gutter. Cosmati.— An adjective applied collectively to the Cosma family, celebrated for their very beautiful work in inlaid mosaic and marble. The name Coxma is Greek (Kopu8 mixtam. — A variety of facing em- ployed at the close of tiie third cent, when t.!S. the brick facing was varied by bands of tufa. Opus signinnm. — A hard cement, made of lime, pozzoUuia, and pounded brick or pottery, used in hypocausts, and for th« lining of aqueducts. (In all these cases, except in arches, and bonding couives, the materials used are triangular at the back, so as to tail more eflftctually into the concrete.) 0|>U8 ; in decoration : Opus albarium. — The purest form of stucco, made of lime and powdered white marble, and tempered with white of egg or milk. Opus Alexandrinnm. — So named from Alex- ander Severus, who was extremely fond of it. blarly 3rd cent. Composed of various coloured marbles, and used exclusively for pavements. It is commonly con- foimdetl with (Josinatesque Mosaic. The only well-preserved example in Rome is in the apse of the Triclinium on the Palatine. Opus figlinum.— Flowers, foliation, fruit, and sometimes figures of conventional form, more nsed for walls than pavements. Begun about b.c. 30, and revived at the time of the lienaissance. Opus musivum. — M««aic, originally used only for paving, and borrowed from the Greeks. In its earliest form it consisted simply of pebbles stuck on a concrete flooi, and afterwards arranged in pat- terns. Opus sectile.- Thin slabs of coloured marble cut into geometrical shapes and arranged in patterns. Begun alx)ut B.C. 100. Flo- rentine mosaic is a revived form of it, laid on backings of slate. Opusspicatim). — A pavement of small bricks (4 in. by 1) set on end in zigzag. Opus tesselatum.— Small cubes {tesserae) of stone, marble, or glass, | in. in length, let into the pavement and forming pattenis in black and white. The oldest type of Roman mosaii*. Oratorio. — A musical performance of a devo- tional character instituted at the C'hiesa Jiuova by St. Philip Neri, by way of counter- acting the evil influence of theatres. Orders.- In Greek, Roman, and lUlian archi- tecture, the term applied to the style em- ployed in the column and entablature. There are three Orders — Doric,Ionic, and Corinthian. The Doric capital has a circular moulded cap under a square abacus ; the Ionic capital has a spiral volute at each angle under a moulded abacus ; the Corinthian capital has smaller volutes at the angle, while in the centre, under a moulded abacus, are two rows of leaves round the bell. Each Order has its own style of entablature, the mould- ings of the Corinthian being the most elabo- rate and richly ornamented. Tbe Doric frieze is subdivided by triglyphs, upright l>auds with vertical flutings; the spaces between Ihem known as metopes, which are square, are sometimes decorated with circular medal- lions, shields, or hearts. 'ITie Corinthian frieze is richly sculptured with ornament, or filled with a panel on which inscriptions are carved. In Romanesque and Gothic archi- tecture the term Order is applied to the several rings of arches which, projecting one in front of the other, emphasise the con- strucfural features of the Norman and Gothic poitals. The so called Tuscan Order is a simple form of Doric employed by the Etruscans. The Composite is a mixture of the Ionic and the Corinthian. Palazzo.— A name given in Italy to any large house or block of tenements, and commonly though quite erroneously translated into Palace by the English. Our word, except in the rare case of a monster building like the Crystal Palace, is reserved exclusively for royal and episcopal residences ; and the exact English equivalent of Falazto, a.n applied to any private house however lai ge, is Mansion. Similarly the Italian Piazza, or French Placc^ is not a place, but a i^uare. Palladium.— The chief of the seven sacred relics, guarded by the Vestal Virgins. It is supposed to have been an archaic wooden figure of Pallas, holding a spear, and is thus represented at the Lateran Museum. Pallium. — Anciently an ample cloak, corre- sponding among the Greeks to the Roman toga. Ecclesiastically it is a narrow white woollen vestment hung over the chasuble in the form of the letter Y, and worn by Arch- bishops, Patriarchs, and certain Bishops by exception. Originally, it was nothing but a stole, looped in front like a scarf— the loop being now stitched into the conven- tional form. The pallium is made of the wool furnished by the two Lambs which are blessed at S. Agne^e on the 2lBt Jan., and is consecrated by tbe Pope on the 28th .Tune. Palm. — Obsolete Roman measure of 8 inches. Parazonium. — A short sword, worn by Roman oflBcers, and attached to the girdle by a belt (more correctly, the belt itself). Patera. — A routid disk of terra-cotta or bnmze. Peperino. — A conglomerate of ashes, crystals, and fragments of stone, cemented into a dense mass. So called from the black spots ot scoriae with which its surface is peppered. The Romans named it Jxipis Albanus, and it is still worked at Albano and Marino, Walls of Servius Tullius (in part) ; mouth of the ClfJdca Maxima. Peripteral.— Having columns all round. Peristyle.— An open court, surrounded hy a portico or colonnade. The inner or private hall of a Roman house. Piscina.- A large Roman tank or water basin. In Gothic architecture, a basin with a hole and plug for the water in which the Priest has washed his hands before celebration. Platea.— I'he pit of an Italian theatre (boxes. palchi; stalls, posti distinti). A seat m either of the first three rows of stalls is poltrona* [116] INTRODUCTION. — GLOSSARY OF TECHNICAL TERMS. Podium — A low wall round the arena of an amphitbedtre. ronderariuTD. — An ofiflcial collection of standard weights, origtDally kept in the Temple of Jupiter Capitolinus, with dupli- cates in other '1 emplee, and translerred to certain Churches about a.d. 393. According to tradition, the weights were used in times of persecution as Martyr's Stones. Portico. — A porch with columns in front of a bu'lding. Porticoes are furtSier defined us follows : — In antis. — Between autae. Ex. : Portico of Octavia. Teira-style. — Foar columns In front row. Kx. : T. of Fonuna VIrilis. Hexasty le. — Six columnK in fn >nt row. Ex. : T. of Antoninus and Faustina. Octabtyle.— Eigtit coluams In front row. Ex.: Pantheon. Decastyle. — ^Ten columns. No example in Rome. Dodecastj'le. — Twelve columns. No example in Rome. Porticus. — A building with its roof supported by one or more rows of columns, either in one straight line or enclosing an open court. Pozzolana. — Tiie pulvis puteolanus of the Romans, so called from Its large beds at Puteoli, near Naples. It is found also in enormous quantities beneath and around Rome, ' lying in thick strata just aK it w as showered down out of the neighbouring volcanoes.' — J/. The best quality is choco- late red in colour ; an Inferior kind is brown. Mixed with lime it forms a very strong hydraulic cement, which was exten- sively used by tbe Romans for concrete walls, vaults, and floors. Pr*»nao8. — The veAtibule or ante-chamber of a I emple. Prostyle. — A Temple having a portico at one end (see Amphipmsiyle). Prothyrum. — Entrance porch or vestibule of a Roman hou.se. Pseudo- peripteral. — Term given to a temple where the oolunms in the rear round the cella are semi-detached, and form part of the cella wall. Ex. : Fortuna Virilis. Pulvinar. — Throne, box, or bemi-cycle, where the Emperor sat on cushions {pulvini). i^rant' Ore. — Exposition of the Host for 40 (actually 48) consecutive hours, insti- tuted (for Rome) by Clement Vlll. in 1592. The Churches are arranged in cycles, so that in one or another the Blessed Sacrament is exposed all the year round. R«x;het. — A light-fitting vestment of white linen, with long sleevet fa,'>tcned at the wrist, proper to bishop and abb<»ts, hut worn also by caunns. ^a■ rarium. — Depository in a temple for tbe lioiy vessels and utensils. Simroctouos. — ApoUu as lizard-killer. Scapular. — A monastic garment bauKing from the shoulders before and behind, the lappt-ts being connected half-way down by a hori- zontal band. Scudo. — An obBolete coin, worth about 4«. Semo Sancus. — A divinity of the Sabines, who built a Temple to him on the Quirinal (see Porta Sangualit). He was identical with tbe Roman Hercules. Seven Churches.— S. Giov. Lat., 8. Pietro, S. Paolo, S. M. Maggiore, S. Croce, 8. Lorenio, S. Sebastiano. They are sometimes vihited In pious pilgrimage in one day, after an old custom revived by St. Philip Neri. Sottaua. — A cassock. Specus. — The channel of an aqueduct. Spina. — A low wall dividinit the arena of a circus in the direction of its length, and lying below the meta>. Stations. — Fixed days for visiting certain Churches with specially devotional Inten- tion. The name is derived either from the custom of standing on such occasions at prayer, or from statuere (to fix), or from the Stations of Roman soldiers on guard, adapted to Christian uses. The custom has existed at lea.st frum the lime of Gregory the Great, and is probably more ancient still. The Churches originally assigned were the five patriarchal Basilicas, those which give a title to Cardinal priests, and S. M. ad Martyres (Pantheon). To these were added six diaconal titulars — S. Agata dei Goti, SS. Cotma e Damiano, S. M. in Campitelli, S. M. in Ifomnica, S. M. in Via, and S. Niccolo in Carcere, and others by special privilege. Stations are held every day in Lent, and afford an op|>ortunity of vLiiting several Churches of great interest, which are extremely diffi- cult of access at other times. The Stations of Advent, Epiphany, the Rogation days, kc, are leas important. Stations of the Cross. — The 14 stages of the Passion, arranRed in pious imitation of a pilgrimage to the Holy Sepulchre— some- times within the walls of a Church, some- times along a Via (yvcis, as formerly in the Colosseum. The devotion began with the Franciscans, as guardians of the holy places in Jerusalem. The Stations are : 1 Pilate's senteoce ; 2 Our iiord reeeiving the Cross ; 3 His first fall ; 4 His mcfting with His Mother ; 5 Cross laid upon Stmon ; 6 Veronica wipes His face; 7 His second fall ; 8 Daughters of Jerusalem ; 9 His third fall ; 10 Stripping of His garments; 11 Cruci- fixion ; 12 His death ; 13 Deposition ; 14 Burial (see Via (Yucit). Stylobate. — Verm given to the three steps of a Greeli Temple, and to the raised pUtform of a Koman Temple, dividetl in the latier case into cornice, «lie, and base. Suburban Sees, always lield by a Card. Bishop of the Sacred College : — Ostia mihI Velletri (Dean); Furto and S. Jiujiua (Sub-ointment. Torso. — The trunk of a statue, without head or limbs. Travertine. — Pure carbonate of lime, formed by deposit in running water, with texture highly stratified, and full of cavities. It is found in large quantities along the bed of the Anlo, and especially on the road to Tivoli. Triclinium. — The dining-room of a Roman house, so called from the arrangement of the three routhea round the table. Triforluut. — The 8j»ate between the na\e arcade or colonnade and the clerestor j', some- times occupied by a gallery above the aisUs. Ex. : St. Agnese. Tufa. — A Conglomerate of ashes and Fand thrown out of the crater of volcanoes. Every hill in Rome consists mainly of tliis substance, and it was the only material originally employed for the building of tbe ancient city. Tufa litoide (hard) was used for walls and for the Cloaca ; the Catacombs were ex- cavated chiefly in T. granulare (soft). Sometimes it crumbles away, and becomes T. terrosa. Unum ex Septem Altaribus. — Iimocent II. in 1130 granted certain Indulgences to persons who visited devotionally the following Altars in St. Peter's : — Gregoriana, SS. Processo e Martiniano, S. Michele, S. Petrouilla, Madoima della Colonna, SS. Simone e Giuda, and S. Gregorio. Subsequent Popes ex- tended the privilege to various Churches outside Rome — the altar at which the devo- tions are performed being always irdicated by the above in>cription. Via Crucia. — Road lined with the 14 Stations of the Cross, usually leading to a shrine at the top of a hill. In the middle ages there was a Via Cruets from the neighbourhood of S. M. in Cosmedin to Monte Testaccio (see Stations of the Cross). Volto Santo. — The likeness of Our Saviour, said to have been impressed upon a hand- kerchief tendered by S. Veronica on the ascent to Calvary. [118] INTRODUCTION. — CoATS OP ARMS. COATS OF ARMS OF FAMOUS POPES AND NOBLES. Alhani AldobrandinI (aemente XI.) (Cleiuente VIII.) 1700. 1592. Altenipe. Altieri (CUmpnte X.) 1670. Barberln! (UrlMiiu VIII.) 1623. Barbo (Paolo II.) 1464. BouapATte, Buonoompaitnl (Gregorio XIII.) 1672. Borgbeae (I'aolo V.) 1605. BorKift (Aleabandro VI.) 1492. Brascbi (Pio VI.) 1776. OmUoI (Bonifacio VIII.) 1294. OapmnicA. Cappt llarl (Oregorlo XVI.) Oarafa (Paolo IV.) 1565. tNTRODUCTlON.— COATS OP ARMS. [119] Castlglioiie (PioVIIL) 1829. CencU CftL Chlaramontl (Pk) VIL) 1800. aiigi (Aleasandro VII.) 1655. Cibo (IiiDoocnzo VIII.) 1484. Oulonna (Martino V.) 1417. Condolmierl (Kugenio IV.) 1431. OontI (InnocfDzo HI.) 1198. Corsini (CleiuMite XII.) 1730. Delia Qenga (Leoiift XII.) 1823. Delia Rovere (Steto IV. and Giullo II.) 1471. 1603. Del Mont« (Ginlio 111.) 1650. Doria. Falconieri. Faloonieti. FWIMM (Paolo III.) 1634. Mastal FerrettI (Pio IX.) 1846. OttolotJi Fiano Fiescbl (Alesaandro VIIL) (Inuocenzo IV.) 1689. 1243. £120] INTRODUCTION. — COATS OF ARMS. Ganganelli (ClementeXIV.) 1769. (ihtslieri (PI.. V.) 1566. Giustlniani. Giustiniani. Orazioll. IjAmbertini (Benedetto XIV.) 1740. Lancellotti. Lante. liiulovH (Clreg«»rio XV.) 16-21. Mafisiiuu. Mattel. MeiHci (Leone X.) 1513. Negroni. Parentvcelli Cdescalthi (Niccol6 V.) (Innoceiizo M.) 1334. Ib76. Orsini (BtneUetU) XIII.) 1394. Pamphill (luDuceozo X.) 1644. PatiM. Pecci Peretii (LwmeXIU.) (SiBto V.) 1878. 1585. INTRODUCTION. — COATS OP ARMS. [121] Plccolomlnl Pignatelli Rezzonico (Plo II. and III.) (Innocenzo XII.) (Clemente Xlfl.) 145H. 16»1. 1758. Rinuccini. Rospiglicsi (Clemente IX.) 1667. Ruspoli. Salviatl. Santacroce. Sarto. (Pius X.) 1903. Savelli. Scuura. Sforza. Sfurza Cesariui Sforza. Spada. Strozzl. Tomacelll (bouifaclo iX.) 1389. Torloaia. Venuti. Vidoiii. .-^^ MAP OF ROUTES DES CRIBED IN THE HaRdBOOK — a» - ^8 GiMT^itut r I 32 YiXloL. Umherto Prima i-i:^-« iPte ~M^ ; S>;# N Ri>iAMMMi«ft ''v i. I a t 2 1 l.8.(hOT*IIIU SUzrane _ Trastever 4rrAux4m Scale of 1 EngUsb MUe />)e We«/ f^iurv-a refer t<> tftr HnuU*s dv^crib^d r«Ml JTi.^ Lon^Mk . Baw»ra Stuibrd. U. 13 * 14. Lou^ Acre . W. C StoA/brii 6ecg> EtUit*. tondarv LIST OF EOUTES. SECTION I. THE CITY AND THE IMMEDIATE SUBURBS. Names of important places are printed in black letters only in the Routes under which they are described. Route page 1. From the Porta del Popolo, along the Corso Umberto Primo, to the Piazza Colonna and Monte Citorio. ... 1 2. From the Piazza del Popolo to the Fountain of Trevi, by the Pincio, the Villa Medici, La Trinita dei Monti, the Piazza di Spagfna, the Propaganda, and S. Andrea delle Fratte . 12 3. From the Fountain of Trevi to the Palazzo Doria, by the American Colleg^e, the Palazzo Sciarra, S. Ig^azio, the CoUegio Romano, and the Kircherian Museum. . . 20 4. From the Palazzo Doria to the Ara Coeli, by the Church of the Apostoli, the Piazza di Yenezia, the Monument of Victor Emanuel, S. Marco, and the Gesu. . . .30 5. The Capitol and its Museums. — Panoramic View of Rome from the Tower 37 6. The Forum Romanum, with the Churches built upon its ruins 69 7. From the Capitol to the Column of Trajan, by the Mamertine Prison, the Academy of S. Luke, and the Imperial Fora . 92 8. The Colosseum 103 9. The Palatine Ill 10. From the Arch of Constantine to S. Stefano Rotondo, by S. Gregforio, SS. Giovanni e Paolo, and the Villa Mattei 123 11. From S. Stefano to the Porta S. Giovanni, by the churches of the SS. Quattro Coronati and S. Clemente . . . 131 12. The Basilica of S. Giovanni in Laterano, with its Baptistery and the Scala Santa 139 13. The Museums of the Lateran 149 14. From the Colosseum to S. M. Mag^g^iore, by the Baths of Titus, S. Pietro in VincoU, S. Lorenzo in Panis-Pema, and S. Pudenziana 157 15. From S. M. Maggiore to S. Croce, by S. Prassede, S. Mar- tino, S. Eusebio, and S. Bibiano, the Minerva Medica and the Porta Maggiore 169 16. From the Piazza del Popolo to the Piazza della Minerva, by the Mausoleum of Augustus, the Palazzo Borghese, and the Pantheon 178 [124] LIsl* OF Koutati. ROUTE t>A(}tt 17. From the Gesh. to the Piazza Navona, by S. Andrea della Valle, the Palazzo Massimi, the Pasquino, the University, and S. Lui^ dei Franchesi 190 18. From the Piazza Navona to the Ponte S. Angelo, by S. Apol- linare, the Palazzo Altemps, S. Agostino, and S. Salva- tore in Lauro 198 19. From the Piazza dogli Apostoli to the Quirinal, by the Palazzo Colonna, the Torre delle Milizie, S. Silvestro al Quirinale, and the Casino Rospig^liosi 203 20. From the Quirinal to the Piazza Sallustiana, by the Quattro Fontane, the Palazzo Barberini, the Cappuccini, the Palazzo Margherita, the Porta Pinciana, and the Porta Salaria . .211 21. From the Railway Station to the Torre delle Milizie, by the Muzeo Nazionale delle Terme, S. M. degli Angeli, the Fontaua dei Termini, S. Bamardo, the Via Nazionale, and the Irish College 21G 22. From the Ponte S. Angelo to the Ponte Sisto, by the Via Giulia ; returning by the Trinity dei Pellegrini, the Palazzo Spada, the Palazzo Famese, and the English College . 229 23. From the Ponte S. Angelo to the Piazza Ara Coeli, by the Chiesa Nuova, the Cancelleria, the Campo dei Fiori, the Theatre of Pompey, S. Carlo ai Catinari, and S. Catarina dei Funari 238 24. From the Ponte Sisto to S. M. in Cosmedin, by the Porticus of Octavia, the Theatre of Marcellus, S. Nicola in Carcere, and the House of Crescentius 244 25. From S. M. in Cosmedin to the Palatine, by the Janus, the Cloaca Maxima, S. Giorgio in Velabro, and S. Teodoro . 253 26. The Churches on the Aventine 25G 27. From the Ponte Quattro Capi to the Ponte Garibaldi, bv the Island of the Tiber, S. Cecilia, S. M. dell' Orto, S. Fran- cesco a Ripa, S. M. in Trastevere, and S. Crisogno . 260 28. From S. M. in Trastevere to S. Passera, by the Convent of SS. Cosma e Damiano and the Via Portuensis . . 270 29. From the Ponte S. Augelo to the Vatican, by the Mausoleum of Hadrian and the Borgo ...... 272 30. The Basilica of S. Pietro in Vaticano 281 31. The Paintings and Frescoes of the Vatican .... 296 32. The Sculptures and Antiquities of the Vatican . . . 318 33. From the Vatican to S. Pietro in Montorio, by the Palazzo della Famesina, the Palazzo Corsini, and the Museo Torlonia (The Lungara) 351 34. From the Vatican to the Church of S. Pancrazio, by S. Ono- frio, the Janiculum, and the Villa Doria-Pamphili . . 359 35. From the Railway Station to the Church of San Lorenzo fuori le Mura 362 36. From the Palazzo delle Finanze to the Campo Militare, the PoHclinico, and the Basilica and Catacombs of S. Agnese fuori le Mura 367 37. From the Porta Salaria to the Catacombs of S. Priscilla, by the Villa Albani 374 LIST OF ROUTES. [125] ROUTE PAGE 38. To Civita Castellana, visiting the Villa Borghese, the Villa di Papa Giulio, the Ponte Molle, and Prima Porta . . 380 39. From the Piazza del Popolo to Monte Mario, with Excursion to Villa Madama 393 40. From S. M. in Cosmedin to the Tre Fontane, by Monte Tes- taccio, the Protestant Cemetery, the Pyramid of Caius Cestius, and the Basilica of S. Paolo fuori le Mura . . 396 41. From S. M. in Cosmedin to the Porta S. Sebastiano, by S. Anastasia, the Baths of Caracalla, the Churches of SS. Nereo ed Achilleo, S. Sisto, S. Cesareo, S. Giovanni a Porta Latina, the Columbaria, and the Arch of Drusus . 406 42. From the Porta S. Sebastiano to the Tomb of Cscilia Metella, by the Chapel of " Domine quo Vadis," the Cata- combs of Callixtus, the Church of S. Sebastiano, and the Circus of Maxentius ^16 SECTION II. THE CAMPAGNA. 43. From the Porta S. Lorenzo to Tivoli, by Hadrian's Villa. . 437 44. From the Central Station to Subiaco, by Tivoli and Mandela. 451 45. From Rome to Subiaco, by Palestrina ..... 459 46. From the Porta INIaggiore to Palestrina, by the Via Praenestina 468 47. From Rome to Frascati 472 48. From the Central Station to Albano, by Cecchina or Marino . 479 49. From the Porta S. Sebastiano to Albano, by the Old Appian Way 482 60. From the Porta S. Giovanni to Albano, by the New Appian Way, the Basilica of S. Stefano, and the Tombs on the Via Latina 487 51. From Albano to Ariccia, Genzano, and Nemi . . . 490 52. From Rome by Train to Albano, by Grotta Ferrata, Marino, Castel Gandolfo, and the Lago di Albano. — Ascent of Monte Cavo 495 53. From the Central Station to Segni, Cori, and Sermoneta, by Civita Lavinia and Velletri 504 54. From the Central Station to Porto d' Anzio and Nettuno, by Cecchina ......-.•• 510 55. From the Central Station to Fiumicino, by Porto . . . 514 56. From Rome to Ostia, by River or Road 518 57. From Ostia to Porto d' Anzio 529 58. From the Central Station to Cervetri, by Palo . . .532 59. From the Trastevere Station to Viterbo, by Bracciano.— Ex- cursions to Veii, Galera, and the Baths of Stigliano . . 536 60. From Rome to Mentana, by the Via Nomentana and Monte Rotondo 544 SECTION I. THE CITY OF EOME. Section i. Rte.l. Lo&don ' Bfbrard Stutfbrd. 12. 13 A 14. Lon^ Aer«. W. C . HANDBOOK FOR ROME AND THE CAMPAGNA. SECTION I. THE CITY AND THE IMMEDIATE SUBURBS. ROUTE I. From the Porta del Popolo along" the Corso Umberto Primo to the Piazza Colonna and Monte Citorio. : [Omn., p. [28], 20.] The Porta del Popolo, by which, before the construction of railways, travellers from the N., by way of Florence, entered Rome, occupies the site of the Porta Fla7ni7iia, pierced in the walls of Aurelian for the exit of the Via Flaminia from the citv. The works commenced in 1877 to enlarge this gate by the addition of two lateral arches revealed the existence of two round towers (since destroyed), similar to those flanking the other gates restored by Honorius on the Aurelian circuit. These towers had been enclosed in two square ones, built by Sixtus IV. in 1475, with the marble blocks of an ancient Roman mausoleum, which then stood in the Piazza del Popolo. The N. face of the central arch of the gate (outside the city) was erected in 1561 from Michel Angelo's designs, and has two large columns of red granite, and two of pat^onazzetto.^ Between them, statues of SS. Peter and Paul. There are four columns of pink Baveno granite outside the lateral arches. On the E. is the entrance to the Villa Umberto Primo (formerly Borghese). The long suburban street issuing from the gateway leads N. to the Ponte Molle (Rte. 38). The S. face, towards the town, was constructed by Bernini on tlie occasion of the visit of Queen Christina of Sweden, to Pope Alexander VII. in 1655. From this gate Bishops dated their letters to the clergy — the Pope alone having the right to date any document from the interior of the city. t A few of the most important coluiiuis which adorn the city and its churches art' meiitioiicd in this volume. For a detailed account of them the reader is referred to the ' Handbook of Ancient Roman Marbles ' by the Rev. H. W. Pullen. B Section I, !^^it^P2j5?! ^^ Rte.l. m^fimm' Loudon Bdward Stanford. 12, li & 14.Lan^ Acre. W.C. HANDBOOK FOR ROME AND THE CAMPAGNA. SECTION I. THE CITY AND THE IMMEDIATE SUBURBS. ROUTE I. From the Porta del Popolo along* the Corso Umberto Primo to the Piazza Colonna and Monte Citorio. : [Oinu.,p. [28], 20.] The Porta del Popolo, by which, before the construction of railways, travellers from the N., by way of Florence, entered Rome, occupies the site of the Porta Flaminia, pierced in the walls of Aurelian for the exit of the Via Flaminia from the city. The works commenced in 1877 to enlarge this gate by the addition of two lateral arches revealed the existence of two round towers (since destroyed), similar to tliose flanking the other gates restored by Honorius on the Aurelian circuit. These towers had been enclosed in two square ones, built by Sixtus IV. in 1475, with the marble blocks of an ancient Koman mausoleum, which then stood in the Piazza del Popolo. The N. face of the central arch of the gate (outside the city) was erected in 1561 from Miclicl Angelo's designs, and has two large columns of red granite, and two of pavouazzetto.f Between them, statues of SS. Peter and Paul. There are four columns of pink Baveno granite outside the lateral arches. On the E. is the entrance to the Villa Umberto Prima (formerly Borghese). The long suburban street issuing from the gateway leads N. to the Ponte Molle (lite. 38). The S. face, towards tiie town, v*as constructed by Bernini on the occasion of the visit of Queen Christina of Sweden to Pope Alexander VII. in 1055. From this gate Bishops dated their letters to the clergy — the Pope alone having the right to date any document from the interior of the city. + A few of the most important columns which a«lorn the city and its cliurcJies are nu-iitioned in this vohune. For a detailed account of them the rea«ler is referred to the ♦ Haudl»f«>k of Ancient Roman Marbles ' by the Kev. H. W. Pullen. B ROUTE 1. — PIAZZA DEL POPOLO. [Sect. I. [Outside the gate, 200 yds. to the E., is the Muro Torto, a huge mass of ' twisted ' wall in concrete, faced with opus reticulatum, supporting the N.E. corner of the Pincian hill, and about 50 ft. high. This very curious fragment dates from about B.C. 80, and is described by Procopius. He says that the overhanging wall had been rent for some time from top to bottom, and that Belisarius wished to pull it down and rebuild it, but the people would not allow it to be removed, stating that it was under the protection of St. Peter. The Goths, he adds, never attacked it, whieh made the people regard the spot with so much veneration that no one has ever attempted to rebuild it. An inscription discovered in 1868 shows that the gardens, of which the Muro Torto formed a substruction, belonged to Manlius Acilius Glabrio, consul, A.D. 91. It is now in the Capitoline Museum. All along this portion of the road the Gardens of the Pincio are supported by walls of opus reticulatum, buttressed by a long series of modern arches. Beyond the Muro Torto are several arches which appear to have formed the substructions of a considerable edifice divided into two or more stories. Between this and the next gateway the walls, beginning with the 19th tower from the Porta del Popolo, exhibit brickwork of the period of Honorius. As we advance we meet with every variety of construction, from the compact brickwork, which would have been worthy of the best times of Rome, to the rude repairs of Belisarius and the patchwork restorations of the middle ages and the Popes.] The ♦Piazza del Popolo, designed by Valadier under Pius VII., forms a nobly impressive entrance into Rome. It has six Fountains — four in the centre, issuing from the mouths of Lionesses in the Egyptian style, at the foot of the Obelisk ; one on the right, ornamented with a figure of Neptune between two Tritons ; and one on the left, with a statue of Roma between the Tiber and the Anio. At the extremities of the two hemicycles are figures of the Four Seasons. On the rt., ascending behind the fountain of Neptune, a road crosses the modem Pont^ Margherita, and leads through the new quarter on the rt. bank of the Tiber to Monte Mario and St. Peter's ; on the left rises the Pincio (Rte. 2). The ♦Obelisk {6fie\6s, a spit) is of red granite, broken into three pieces, and covered with hieroglyphs. It is one of the most interesting which have been preserved. It stood before the Temple of the Sun at Heliopolis. The hieroglyphs mention the names of Meneptha (B.C. 1326), and Rhamses III. (b.c. 1273). It was removed to Rome bv Augustus after the conquest of Egypt, and placed in the Circus Maximus (b.c. 23). It had fallen from its pedestal in the time of Valentinian, and remained buried until removed to its present site by Sixtus V. in 1589. The height of the shaft, without base or ornaments, is 78 ft. ; the entire height from the ground to the top of the cross is 118 ft. On the N. side is the following inscription, showing that Augustus renewed the dedication to the Sun : — imp. cabs, divi . p. AVGVSTVS— PONTIFEX . MAXIMVS— IMP. XII. COS . XI. TRIB . POT . XIV.— AEGVPTO . IN . POTESTATEM . — POPVU . ROMANI . REDACTA.— SOLI . DONVM . DEDIT. •In Egypt obelisks were always u.sed in pairs, and erected at the entrance of the great Temple portals, close to other gigantic monuments of nearly the same size and height. But the Romans, viewing them The City.] route 1. — s. maria del popolo. 3 only as trophies of their vast Imperial dominion, cared little to render them effective by placing them in appropriate situations.* — B. They were all dedicated to the Rising Sun, and placed on the E. bank of the Nile; whereas the Pyramids, symbolic of the Setting Sun, stood on the W. side. There are said to have been at one time 48 obelisks in Rome, about 30 of which may yet lie buried beneath the ruins of the ancient city. On the left, immediately inside the Gate, is the Church of ♦S. MARIA DEL POPOLO,t founded by Paschal II. in 1099, on the spot where stood the tomb of Nero. The Pope replaced the tomb by a church because it was suppose'd to be haunted by demons in the shape of black crows. It was rebuilt by Sixtus IV., from the designs of Baccio Pontelliy in 1480 ; and completed and embellished by Julius II. Agostino Chigi and other wealthy citizens contributed to the expense. Alexander VII. modernised the whole building on the plans of Bernini. The sculptures and paintings in its chapels make it one of the most interesting churches in Rome, many of its sepulchral monuments being of the time of Sixtus IV. and Julius II., the best period of the Renaissance. Right Aisle. First Ohapel, Cappella della Rovere (now Venuti). Rovero was the family name of Popes Sixtus IV. and Julius II., from the Latin robur, hence the oak upon the Rovere .Arms. *Ffescoes by Pinttiricchio (1479) : over the Altar, Nativity with a charming land- scape ; five scenes from the Life of St. Jerome in the lunettes alx)ve. To the 1., ♦Tomb of Card. Christeforo della Rovere (1480), the founder of the chapel, who dedicated it to the Madonna and St. Jerome ; above, relief of the Virgin and Child with two Angels, by Mino da Fiesole. To the rt., Tomb of Card, dc Castro, a Spaniard (1506). Handsome railing to the Chapel. Second Chapel, Cappella Cibo, rebuilt in 1700, with gaudy columns encased in Sicilian jasi^er, and coloured marbles of no particular beauty or value. Altar-piece, the Assumption, with SS. John Evangelist, Jerome, Augustine, and Gregory by Carlo Maratta, painted on the wall. Third Chapel, Cappella Giovanni della Rovere (brother of Julius II.), founder of the Chapel. Frescoes by Pinturicchio, restored by Camuccini : over the altar, Virgin and Child with SS. Augustine, Francis, and two friars behind them ; in the lunettes, five scenes from the Life of the Virgin. To the rt., ♦Tomb of the founder (1483) ; left, ♦bronze recumbent effigy of a Venetian Bishop (Florentine School) ; above it, the Assumption (School of Pinturicchio). Below, in grisaille, Martyrdom of St. Peter, Dispute of Augustine with pagans, Martyrdom of SS. Catharine and Paul. Elegant railing and ]>eautiful tiled floor. Fourth Chapel, Cappella Costa (now Ingenheim). Over the altar, Renaissance ♦Tabernacle with beautiful arabesques, and figures of St. Catharine between SS. Vincent and Anthony of Padua. In the lunette, the Latin Doctors, by Pinturicchio. To the rt., ♦Tomb of Marcantonio Albertoni, who died of the plague in 1485 (Florentine School). It represents a youthful figure of great beauty, wearing a short tunic, with his feet resting on a cushion, and his hands crossed upon his breast. On the left, ♦Tomb of the Founder of the chapel. Card. Giorgio Costa, of Lisbon (1508). Good railing to this and the opposite chapel. t Popolo is an early form of Pieve (parish), still used in Tuscany. I B 2 ' 4 ROUTE 1. — S. MARIA DEL POPOLO. [Sect. I. Rt. Transept Immediately on the rt. is the ♦Tomb of Card. Podocatharus of Cvprus (16th cent.). Above is an exquisite *Virgin and Child, with two Angels. Nearly opposite is a medallion head of Giuseppe Girometti (1851), engraver of cameos on pietra dura. Through a door in the corner, and a long passage to the left, we reach the Sacristy, passing a beautiful *altar.piece of the Virgin between SS. Auffustine and Catharine, sculptured by auglielnio da Per'eira (1497). Sacristy. *High altar, bv Andrea Bregno (1473), formerly m the Church, and put up by Alexander VI. when Cardinal. At the sides, statuettes of SS. Jerome, Augustine, Peter, and Paul; above, God the Father, with three Angels ; in the centfB, a Madonna of the Sienese School. To the rt., Tomb of Bishop Ortega Gomiel, with beautiful arabesques ; to the left. Tomb of Archbishop Rocca of Salerno (1482). Choir. ♦Frescoes on the vault by Pinturicchio : in the centre, Coronation of the Virgin ; at the cardinal points, the Evangelists ; in the corners, the Latin Doctors ; above them four Sibyls (good light necessary). The ♦painted glass of the N. and S. windows is the best in Rome It is the work of Claude and William of Marseilles (MarciUac), and represents, 1., six scenes from the Life of the Virgin, rt. the same number from the Life of Christ. Below them are the magnificent ♦Tombs of Card. Asconio Maria Sforza, son of the Duke of Milan, and Card. Girolamo Basso, nephew of Sixtus IV., sculptured by Andrea Sansovino (1510), at the expense of Julius II. The monuments are of similar design, differing chiefly in ornamental details. In both, the figure of the deceased leans on his elbow as if asleep, with his head resting on his hand. Above are the Virgin and Child, and higher up Christ enthroned between Angels, the whole being flanked with statuettes of the Virtues in niches. The leaning posture was here first borrowed by Sansovino from the Etruscan and Roman sarcophagi, where the dead are commonly represented as reclining at a perpetual banquet in the Elysian fields— a very questionable exchange for the beautiful fitness of the accepted Christian model. ' Upon Gothic and Early Renaissance tombs the portrait statue is always laid out in the majestic repose and solemn stillness of death, like the body when it was laid to rest in the sarcophagus.'— P. On the floor between the tombs is a stone slab which marks the site of the original shrine of Paschal II., bearing a short inscription in large Over the high altar, which has four fluted columns of Porto Venere marble, stands a miracle-working image, ascribed to St. Luke. It was oricinally in the Chapel of the Sancta Sanctorum at the top of the Scala Santa, but was brought hither by Gregory IX. on the occasion of a devastating pestilence. , ,, ^, • ..i. * i.- Left Transept In the Chapel nearest the Choir, the Assumption, bv Ann. Caracci ; on the walls, St. Peter raised upon his cross, and the Conversion of St. Paul, by Caravaggio. At the corner opposite, ♦Tomb of Card. Bernardino Lonati (about 1490). Left Aisle Fourth Chapel, Cappella Mellini. Frescoes by Giov. da S. Gi'ova7ini : rt., Constantine carrying the Cross; 1., Eleva- tion of the Cross with St. Helen. . , , xu j • r Second Chapel, ♦Cappella Chiqi, erected Irom the designs of Raphael and dedicated by Agostino Chigi to the Virgin of Lore to. The mosaics on the vault of the cupola represent the creation of the heavenly The City.] ROUTE 1. — THE CORSO. bodies. Each planet is depicted as a pagan deity, attended by a guardian angel. The letters LV. Op. and the date (1516) on the torch otCupid indi- cate the name of the artist, Luigi della Pa^e, who executed these mosaics during the lifetime of Raphael, and from his designs The laige oil. painting of the Nativity of the Virgin over the altar and those between the windows, were begun by Sebastiaiw del Piombo, and fimshed by Salviati in 1554 after his designs. David and Aaron in the lunettes are by Vanni, and much injured by damp. The ♦S;^batue of Jonah sitting on a whale, supposed with great probability to have been modelled by Raphael, was ^ulptured by Lorenzetto (1520), out of a fragment of a column from the temple of Castor and Pollux in the Forum Ehas opposite, 'feeble in character and wanting in significance {P')^Jlf designed and executed by the same sculptor. Daniel and Habakkuk are by Bernini, by whom are also the tasteless pyramidal monuments of AgostTno and Sigismondo Chigi. The bronze relef of.the Woman o Samaria on the altar front is by Lorenzdto. V^^.^^^^Pl^J.^i^.^'^t-th a chapel is the tasteless tomb of Princess Odescalchi Chigi (1<71), witu a rather remarkable lion. , ^ j * i. -^ -DoiioTMoini First Chapel, Baptistery. ♦Tomb of Card. Antonio Pallavicmi (1507^ Beside the altar, two beautiful ciboria, with statuettes. On the W,^ slab effigy of Bishop Giov. di Montemirabile (1497). . There are several interesting slab tombs on the floor of the nave and aisles. S M. del Popolo is a parish Church, served by friars of the order of St. Augustine, and gives a title to a Cardinal Priest. In the adjacent Convent Luther resided when he visited the city, and celebrated here his last mass as a priest in communion with Rome. Two popes Pius II. and Gregory XIIL, walked barefoot to the altar o the Virg n in the Church, the former to implore her intercession for the city against the Turks, the latter to obtain her favour in time of pestilence. Station on the Tues. in Holy Week ; Festival, 8th Sept. Three long streets radiate from the Piazza del Popolo towards the S • on the 1 the Via del Babuino, leading to the Piazza diSpagna (Rte 2) ; in the centre, the C(yrso Lmberto Prime; on the rt. the Viadi RipettaMivting the Tiber (Rte. 16). At the entrance to the Corso are the twin Churches of S. M. di Monte Santo (left) and S. M. dei Miracoli (right), erected at the expense of Card. Gastaldi, treasurer to Alexander VIL in 1^2 In the tormer is a painting of the Virgin and Children with SS Francis and James, by Carlo Maratta. This Chmch ranks as one of 'the Minor Basilicas, and has a Chapter. Upon his creation as Cardinal, Monsign. Gastaldi wished to complete the front of S. Petromo at Bologna ; but as the authorities refused to allow him to place his armorial bearings upon the building, he abandoned his intention and rebuilt these two Churches instead. The noble work of S. CamiUo Lellis (see S, M. Maddalena) was commenced m the thurcn ot b. m. dei Miracoli in 1584. The ♦Corso. now officially styled the Corso Umberto Primo-WB,^ so called from the Horse-races at the Carnival, first permitted by Pa^ul ^1 in the 15th cent. It stretches from the Porta del Popolo in a straight line for about a mile to the Piazza Venezia under th^ C«,pitc,lme hill The Monument of Victor Emanuel II., when completed, will be 6 ROUTE 1. — S. CARLO AL CORSO. [Sect. I. visible through the whole length of the Corso. This street was the Via Flaminia, and was spanned by four triumphal arches. A few yards down on the rt. is the Pal. Rondinini, once celebrated for its collection of sculptures and paintings. In the court are several inscriptions and reliefs, and an unfinished Pieta by Micliel Angela (1555). No. 18 opposite, with an inscription, was inhabited by Goethe in 1786. Further 1. is the Church of Gesu e Maria (1640), belonging to the bare-footed Augustinians, and handsomely decorated in the style of the period. The 1st chapel 1. has two fluted columns of bardiglio, and the 2nd two of breccia pavonazza. Opposite is the Church of S. Giacomo in Augusta (1600), so called from its vicinity to the mausoleum of Augustus (Rte. 16). The adjacent Surgical Hospital of S. Giacomo degl' Incurabili, founded in 1338 by Card. Pietro Colonna in memory of his uncle Giacomo, has room for 350 patients, and is excellently served by Brothers and Sisters of Charity. At No. 16, in the adjoining Via S. Giacoim, is the studio of Canova, studded with scraps of ancient sculpture. In the Via Vittoria (2nd to the 1.) is the little Church of S. Giuseppe (1760), attached to a Convent of Ursuline nuns. We now reach on the rt. S. Carlo al Corso, the national Church of the Lombards, with a heavy, ill-proportioned front. The interior, daubed all over with paint, is by Martino Lunghi (1614) and Pietro da Cortona. To make way for this tasteless structure the architects destroyed the old Church of S. Niccolb in Tufis, with its fine frescoes by Pierino del Vaga. At the high altar is a large picture of S. Carlo Borromeo in glory, with SS. Ambrose and Sebastian, by Carlo Maratta (1690). Beneath the altar is buried the heart of S. Carlo. The rich chapel of the rt. transept has a mosaic copy of the Conception, by the same painter, at S. M. del Popolo. St. Barnabas preaching (a rare subject), in the next chapel, is by Pierfrancesco Mola. On the floor of the nave, nearly in front of the pulpit, is the slab-tomb of Count Alessandro Verri, author of the ♦ Notti Romane ' (1816). Festival, 4th Nov. Adjoining the Church of S. Carlo, at No. 437, are the Rooms occupied by the celebrated Accademia degli Arcidi, founded in 1690 by Gravina and Crescim- beni. Its laws were drawn out in 10 tables, in a style imitating the ancient Roman. The constitution was declared republican ; the first magistrate was styled custos ; the members were called shepherds : it was solemnly enacted that their number should not exceed the number of farms in Arcadia; each person on his admission took a pastoral name, and had an Arcadian name assigned to him ; the business of the meetings was to be conducted wholly in the allegorical language, and the speeches and verses as much so as possible. The aim of the Academy was to rescue literary taste from the prevalent corruptions of the time ; the celebrity of some among the originators made it instantly fashionable; and in a few years it numbered about 2000 members, propagating itself by colonies all over Italy. The association completely failed in its proposed design, but its farce was played with all gravity The City.] route 1. — s. lorenzo in lucina. 7 during the 18th cent. ; and besides Italians, scarcely any distinguished foreigner could escape from Rome without having entered its ranks. Sir Isaac Newton (1642-1727) was a member. In 1788 Goethe was enrolled as an Arcadian, by the title of Megalio Melpomenio, and received, under the academic seal, a grant of the lands entitled the Melpomenean Fields, sacred to the Tragic Muse. The Arcadia has survived all the changes of Italy. In its hall evening lectures are frequently given on literature. (Admission free.) We now pass on the 1. the well-known Via dei Condotti, leading to the Pis^za di Spagna. At the entrance is the Church of the Trinitli (1741), belonging to the Spanish Order of the Trinitarians (see List of Saints and Religious Orders, p. [104]), with captives bearing chains over its doorway. The Palazzo Ruspoli, further down the Corso, on the rt., was built by the Rucellai family, from the designs of Bart. Ammanati (1586). The staircase, with 120 steps of white marble, is one of the finest in Rome. There is a handsome saloon on the first floor. The ground- floor is occupied by a Restaurant. (Entrance round the corner, in the Piazza S. Lorenzo in Lucina.) Opposite this entrance is the Pal. Fiano Ottoboni, originally built by an English Cardinal in 1300. In the Court are some reliefs and figures from the Ata Pacis, set up by Augustus in the year B.C. 9. Some other slabs of its bas-reliefs are set in the wall of the Villa Medici ; others are in theiUfiizi, Florence ; one is in the Cortile Belvedere, in the Vatican ; one in the Louvre, Paris. Others discovered in the excavations of 1898 and 1902 are in the cloisters of the Museo Nazionale ; and some still remain embedded in the foundations of the Palazzo Fiano, where they may be seen, with the tufa foundations of the altar, by descending into the subterranean vaults (lighted by electric light). On one side of the panels of the low wall that enclosed the altar are represented two sacrificial processions and various gods ; on the other side decorative garlands, and ornamental plinths. (The custode is to be found in the office of the Scavi or excavations, Via in Lucina.) There are also several sarcophagi and other fragments found in the cemetery attached to the neighbouring Church of S. Lorenzo in Lucina, founded by Sixtus III. in 440, and modernised in 1606 ; the portico and part of the Campanile are all that remains of the original building. Above the high altar is a *Crucifixion by O-uido lieni. Between the 2nd and 3rd chapel rt. is a monument to Poussin (1665), designed by Lemoyne, and executed at the cost of Chateaubriand, when Frencn ambassador at Rome ; the reUef upon it is a reproduction in marble of Poussin's well-known landscape of the discovery of the Tomb of Sappho in Arcadia. In an inscription relating to the dedication of the Chui:ch by Celestin III. in 1196, a list of numerous prelates is headed by the Archbishop of York. In the Sacristy are preserved a bar of the gridiron and other relics of St. Lawrence. The marble slab on which his fire was kindled is at his Church outside the walls (Rte. 35). This Church gives a title to a Cardinal Priest, and belongs to the Chierici Minori. 8 ROUTE 1. — SAN SILVESTRO IN CAPITE. [Sect. I. Returning into the Corso, at the corner of the Via della Vite, on the left, an inscription marks the site of a Triiunphal Arch, sup- posed to be that of Marcus Aurelius and Lucius Verus, demolished by Alexander VII. in 1662, because it interfered with the horse-racing in the Corso. Some of the reliefs which adorned it are preserved in the Pal. dei Conservatoti, and one in the Pal. Torlonia ; four columns of vercle antico are at S. Agnese in the Piazza Navona ; and four in the chapel of 6'. Andrea Corsini at the Lateran.f The Via delle Convertite (reclaimed women) J now leads left to the Church of San Silvestro in Capite, founded by Pope St. Dionysius in 261, rebuilt in 761 and again in 1690, when it was given to the Poor Clares, and bestowed upon the English Catholics by Leo XIII. in 1890. Here Gregory the Great delivered several of his homilies. In the court on the rt. are three ancient columns. In the atrium is a curious inscription of 1119, relating to the custody of the Column of Antoninus, committed to this Monastery in 955. Beside it, slab-tomb of a Bishop of Volterra. This Church, which gives a title to a Cardinal, derives its name from the head of St. John Baptist preserved in it. The tabernacle on the high altar has four beautiful colonnettes of giallo antico. Remains of a line pavement in the 3rd chapel left. The extensive Convent has been converted into a handsome Post and Telegraph Office, adjoining which is the Office of Public Wo7'ks. In the centre of the Piazza is a white marble Statue of the lyric poet Metastasio (1698-1792), and in the S.E. corner is the English Church of the Holy Trinity. Turning S. out of the opposite corner we soon reach on the 1. the Church of S. Claudio, attached to a Hospice of Burgundians established in 1662, and rebuilt in the last cent. At No. 96, to the 1., is the British Consulate. Further S. is the Church of S. M. in Via, founded in 1253 to receive a miraculous Virgin painted on a tile, and found floating in a well sunk in the street (Via). The Church, which gives a title to a Cardinal priest, was rebuilt in 1594 by the Servites, to whom it now belongs. In the 1st Chapel rt. is the picture and the well ; in the 2nd a painting of no value represents a miracle of S. Filippo Benizzi, founder of the Order. The Choir was added by Card. Bellarmini in 1604. Facing this Church, in the Corso, is the Palazzo Verospi, now i Torlonia, with a heavy portal and bad columns. On the 1st floor is a gallery with a vault painted by Albania representing the planets and hours — graceful but commonplace. At the corner, close by, is the Palazzo Chigi, begun in 1562 from the designs of Giaconio della Porta, and completed by Carlo Madema. In one of the ante-chambers is a group of Life and Death by Bernini under the form of a Sleeping Child and a Skull. In the saloon are ancient statues of Venus, Mercury, and Apollo, supposed to be of the time of Hadrian. A small t The first triumphal Arch of which we have any record is that of Stertiiiius (B.C. 196). There were at one time 36 in Kome, and 17 are said to exist at the present day in Africa, Italy, France, and Spain. J Here was fonnerly a Church dedicated to the Magdalen, destroyed since 1870. The City.] route; 1. — piazza colonna. 9 collection of pictures, not open to the public, includes works attributed to Garofalo, Giicrcino, Guulo Rcni, Andrea SaccJii, Donienicliino, Dosso Dossi, and Sodoma. Here is now the Austrian Embassy to the Court of Italv. The Library was founded by Alexander VII, , and is rich in MSS. Among these are the Chronicles of St. Benedict and St. Andrew, the Chronicle of the Monastery of S. Oreste or Soracte, a Dionysius of Halicarnassus of the 9th cent., a Daniel of the Septuagint version, an illuminated Missal of 1450, a folio volume of French and Flemish music, containing motets and masses, dated 1490; a letter of Henry VIII. to the Count Palatine, requesting him to show no mercy to Luther; several inedited letters of ]Melancthon, some sonnets of Tasso, 20 vols, of original documents relating to the Treaty of West- phalia, and a large collection of inedited and almost unknown materials for the literary and political history of Europe. The imposing * Piazza Colonna is at all times crowded with loungers, and is especially frequented on summer evenings, when the band plays four times a week. In the centre stands the ♦Column of Marcus Aurelius Antoninus, from which the Piazza takes its name. It was erected to Marcus Aurelius by the Senate and Roman people, a.d. 174. It is an imitation in Carrara marble of the column of Trajan, and exhibits the same mixture of styles ; the reliefs surround the shaft in a spiral of similar design, but they are inferior in taste and execution. They represent the events of the Marcomannic war, and are devoted chiefly to battles and military manoeuvres, in higher relief than those of Trajan. One of them, about 15 ft. from the base, on the W. (almost entirely defaced), represents Jupiter Pluvius, the water falling from his outstretched arms, and has reference to a rain storm which saved the Roman army in a critical situation. Eusebius (4th cent.) explained the incident as a miracle due to the prayers of a Christian legion. The Roman army being in great distress for want of water, the Emperor Marcus Aurelius requested the Christians among them to pray for rain. Their prayers were heard ; the enemy were smitten with lightning, and the Romans refreshed with a much-needed shower. The ill-proportioned pedestal was added by Fontana. The height of the entire column is 122 ft. 8 in., including the base. The shaft, including its base and capital (excluding the pedestal), is exactly of the same height as that of Trajan, 100 Roman feet (97| English). The diameter of the shaft is 11^ ft. ; it is composed of 28 blocks. On the summit is a statue of St. Paul, 10 ft. high, placed there by Sixtus V. in 1589. The interior is ascended by 190 steps, and is lighted by 42 openings. The column has suffered from lightning, and from having been used to support fireworks on public festivities. It is supposed that it stood in the Forum of Antoninus, the site of which is now occupied by a part of the modern Piazza Colonna and the Pal. Chigi. The German Archaeological Institute (p. [11]) has issued a hand- some volume of photographs from casts, of the whole column, with a learned commentary. In the Piazza is a large fomitain basin of porta santa marble, in many varieties; and on the S. side the Pal. Ferrajuoli, with some 10 ROUTE 1. — PIAZZA DI PIETRA. [Sect. I. marbles from Veil, and a good library of modern works, collected by Marchese Gaetano Ferrajuoli. The small but popular Church of S. M. della Pietlt, or S. Bart, del Bergamaschi (1561), on the same side, contains a much venerated painting attributed to Outdo Reni. On the W. side of the Piazza Colonna is a building raised by Gregory XVI. in 1838 (where are now the well-known restaurants ' Colonna ' and *Fagiano'). It has a fine Ionic portico with twelve ♦fluted columns of marmo Tasio, from Veil. Adjacent on the W. is the Piazza di Monte Citorio, so called because here the public criers were wont to summon {citare) the electors to choose new magistrates on the days of the comitia. Its N. side is formed by the Curia Innocenziana, formerly the Papal Law Courts, an imposing edifice, begun in 1642 by Innocent X. from the designs of Bernini, and completed by Innocent XII. from those of CarU) Fontana. It was adapted in 1871 for the sessions of the Italian Parliament, by the addition of an ample semicircular hall in the courtyard. A new Camera dei Deputati, or House of Commons, is now in course of erection. (Entrance at No. 10, Via della Missione, behind the building. Sittings at 2 p.m. At other times, the entrance to view the interior is at No. 36.) [In the Via della Missione is the Church of the Trinitii della Missione (1642), entered by a long gallery hung with portraits of members of the Society. Here was found part of the Column of Antoninus Pius, now in the Giardino di Pigna at the Vatican ; on the left in the Court was discovered an angle of the Ustrinum on which the Emperor's body was burnt.] In the centre of the Piazza stands the red granite *Obelisk of Monte Citorio, erected in 1792 by Antinori, covered with beautiful hieroglyphs, and broken into five pieces ; it is one of the most celebrated of these monuments. According to Lepsius' interpreta- tion of the hieroglyphs, this obelisk was erected in honour of Psam- meticus I., of the 26th dynasty, 6| cent. b.c. It was brought to Rome by Augustus, from Hellopolis, and placed in the Campus Martius, where it was used in the construction of a celebrated gnomon or sun- dial. It was discovered underground in the Piazza dell' Impresa, in the time of Julius II., but was not removed until that of Pius VI. The fragments of the Antonine column were employed to repair it, and to form the pedestal. The height of the shaft without the base and ornaments is 72 ft. ; that of the whole, to the top of the bronze globe, 84 ft. A few yards S. is seen the E. end of the Church of S. M. in Aqniro. 2 min. to the rt. of it lies the Pantheim (Rte. 16). Following the narrow Via della Guglia to the S., and turning left, we reach the Piazza di Pietra, in which stands the Exchange, formerly a Custom House, and still known as the Dogana di Terra. The eleven embedded Corinthian columns formed the N. side of a Temple of Neptune, erected by Agrippa, in the centre of the Porticus of the Argonauts. They have suffered severely from the action of fire; they aie of white Carrara marble 4^ ft. in diameter, and 42^ ft. high. On the 4th column from The City.] route 1. — porticus op the argonauts. 11 the ]., behind the lamps, may be seen a tiny figure of the Crucifixion.— L. The bases and capitals have almost disappeared, and very little of the ancient entablature has been preserved. Innocent XII. built a wall between the columns to form the front of his Custom-house, and completed the present entablature with plaster. In the interior are some remains of the vaulting, composed of enormous masses of stone, together with fragments of the cella. The blocks of marble, forming the inner parts of the architrave and entablature, as seen from the court, are stupendous in size. Some ruins in the adjoining Palazzo Cini, consisting of a massive wall of huge blocks of peperino, belong to the Poptlcus of the Argonauts that surrounded the temple. This building, one of the most celebrated in the Campus Martius, was raised PORTICUS OF THE ARGONAUTS. by Agrippa b.c. 26, after his naval victories. It took its name from a painting representing the Argonauts, with which it was adorned. The Porticus and Temple having been much injured by fire (a.d. 80), were restored by Hadrian. In the middle ages their accumulated ruins encumbered the area to such an extent that the name of Piazza di Pietra was given to the site. In the 16th and 17th cent, many ancient marbles were removed from this place, among which were several pedestals, each with a figure representing a Province of the Roman Empire sculptured in high relief. The pedestals stood below the columns, and in the spaces corresponding to the intercolumniations were 12 ROUTE 2. — MONTE PINCIO. [Sect. I. Section 2 Rt«. 2. other reliefs representing trophies of arms and flags peculiar to each Province. A Corinthian capital in marble, excavated here in 18-47, is now in the Lateran Museum. Pietro Sante Bartoli mentions having seen some of these pedestals in their original position. Lanciani proves by measurements, and by the evidence of Palladio and other architects, that there were 36 columns to the sides and back of the Temple. Admit- ting that the building was reduced to its present form by Hadrian, the number of 36 pedestals would correspond to that of the provinces of the Empire, towards the middle of the first century. The porticus, or cloister around the sacred area of the temple, consisted of a wall of opus quadratuni, 3 ft. thick, in peperijio, of which a part may be seen in the cellars of the Pal. Cini ; another crosses the Via dei Bergamaschi, and runs under the Pal. Grazioli, where it attains a height of 8 yards. The peristyle was magnificent ; columns of giallo antico, of which fragments have been found, flanked the four entrances, the other columns being of white marble. In 1878, during the construction of a drain from the Piazza Colonna to thCj^Pantheon, were found three more pedestals, about two yards square, each bearing the allegorical figure of a Province and of three trophies. The masses lay buried in the foundations of the ancient little Church of S. Stefano del Trullo, which is supposed to have stood on or near the site of S. Bart, del Bergamaschi, but has long since disappeared. Portions of two fluted columns of giallo antico were also foimd, besides fmgments of a frieze and cornice, and of two inscriptions in honour of Claudius Drusus and the Emp. Claudius, taken possibly from his arch on the adjoining Flaminian Way. In 1880, on the arrangement of the cella of the Temple of Neptune as a Chamber of Commerce, the various sculptured pedestals and slabs were placed in the courtyard of the Palazzo dei Conservator! (Rte. 5). Other interesting remains are preserved in the Pal. Odescalchi, Altieri, and Farnese, and the Naples Museum. ROUTE 2. From the Piazza del Popolo to the Fountain of Trevi, by the Pincio, the Villa Medici, La Trinity de* Monti, the Piazza di Spagna, the Propaganda, and S. Andrea delle Fratte. [Omn., p. [28], 20.1 The beautiful and frequented promenade of * Monte Pincio occupies the platform of the hill called by Suetonius Collis Hortorum. In later times it was covered by vineyards belonging to S. M. del Popolo, which were laid out in gardens under the French occupation during the exile of Pius VII., between the Muro Torto and the gardens of the Villa Medici. It is approached by a fine drive rising from the Piazza del Popolo. Upon the winding ascent are two columnae rostratae, or columns LenaAB . Bd»«»l Stauifonti, 12. 13 « 14, l.ou^ Acre. W.Se discerned the pine woods of the Villa I>or^a PamphUi On the other (E.) side are beautiful views over the grounds of the Villa Borghese In the Gardens are fountains, a hydraulic clock, supplied by the Marcian Aqueduct, a Caf^- Restaurant f^nd a, gymnastic-yard for children. Military band several times a week in the afternoon. The Pincian hill was occupied in classic times by the Gar^ns of tJw Acilian family, as shown by inscriptions discovered in 1775 near La Trinita. and in 1868 near the Gate by the Villa Medici. Of the magnificent buildings which ornamented these gardens nothing remains Scept a reservoir under the Casino (Spillmann s Restaurant) and the substructions of reticulated work, facing the Villa Borghese.-L The small red granite Obelisk, erected in 1822 by Pius VIL was found near the Church of S. Croce in Gerusalemme, on the site of the Ci^us Varianus. It was raised in honour of Antmous, in the name of Hadrian and Sabina. The height of the shaft without the base '^ ^jJst inside the S. gate of the Pincio is a sphere of bronze on a granite and marble pedestal, in memory of Galileo, ' guilty of having seen the earth revolve round the sun.' Outside the gate stands the * Villa Medici, the seat of the French Academy, and the property of the French Government. It was built by Card. Rlcci, of Montepulciano in 1540 from the designs of Annihale Lippi, with the exception of the garden facade, which is attributed to MieJiel ^n^.Zo, and was enlarged by Card. Alessandro de' Medici, afterwards Leo XI. Galileo passed some time in prison here. The situation is one of the finest m Rome and the grounds are nearly a mile in circuit Adm., p. [di]). In front o the ViUa-is a cluster of ilex-trees and a pleasant Fountain, from which is gained a beautiful view of St. Peter's. The villa contams a fine set of gobelins, and an Art Library. ^. ^ 4.„ u|on the front towards the garden are several interesting fragments of ancient sculpture, including a curious rehef <> . »»* '"^.^^^^'^^^"^'^ the Sublician Bridge, the Judgment of Pans, por ions of t^« Pe*"^^] of the Ara Pacis Augustae, and some representations of temples ana 14 ROUTE 2.— LA TRINITA DE' MONTI. [Sect. I' other edifices of ancient Rome. To the 1. of the front is a large Collectimi 0/ Casts, with an inner room devoted to sculptures from the Parthenon Further 1., between two granite columns, is an ancient statue with a good head detached from a Greek work. At the corner a closed door (gardener, 25 c.) leads to a raised terrace and Grove of Ilex, beyond which is a mound, reached by 61 steps, and commanding a 'magnificent view. ** The French Academy, founded in 166C by Louis XIV., at the Pal Salviati, was removed here in 1803. French students who gain the rrtx de Emiie, in painting, sculpture, architecture, engraving, or music are maintained by the French Government for 4 vears. There is an annual exhibition of their works in the spring, previous to their being sent to Pans. " In this neighbourhood stood the celebrated Gard4^ns of Luciillus the wealthiest and most luxurious of the Republican nobles. They afterwards passed into the possession of Valerius Asiaticus, whom Messalina murdered, in order that she might obtain them. Here she celebrated her marriage with Silius, and here she was put to death by the i.mp. Claudius, whose property the gardens then became. Further on to the left rises the Church of *u ^ ^^j"\^ *^^' ^°°^' ^^^^^ ^" ^^^^ ^y Charles VIII. of France, for ^!u ??^^ iWimr/wrs, on the petition of S. Francesco di Paola, founder of the Order. It suffered severely at the time of the French revolution and was abandoned in 1798, but was restored by Louis XVIII It is now attached to a Nunnery of the Sacr6 Cceur, devoted to the education of girls. The School has 80 boarders and 150 day pupils, besides 300 free scholars It was founded here in 1827, and has a branch establish- ment at S. Rufina and an Orphanage at the Villa Lante. The church is closed at an early hour, but strangers are admitted at the side door 2nd chapel rt., portrait of S. Francesco di Paola, on wood 3rd over the altar, Assumption, by DanieUda Volterra. In the rt. corker we recognise in the old man with outstretched arm the portrait of Michel Angelo; on the walls 1., Massacre of the Innocents; rt.. Presentation of the Virgin by Alberti of Florence. 5th, frescoes of the Nativity Adoration and Circumcision, by the School of Bazzi {SodomaV much injured. 6th, Resurrection, Ascension, and Descent of the Holy Spirit School of Perugt7io, in better preservation. ' On the wall outside the last chapel, looking back. Procession of St Gregory the Great, by an unknown hand, with view of the Mausoleum of Hadrian in the time of Leo X., who is represented as St. Gregory. On the vault above, Prophets and Sibyls. ^ Left transept. Assumption of the Virgin, by F. Zuccliero ; paintings on the v^Mlt hyPicrino m Vaga and Salviati, The transepts alone have preserved their original pointed architecture. Handsome cande- la bra. 6th chapel left, Christ of the Sacred Heart, Wise and Foolish Virgins, and Prodigal Son, by Seitz, a modern German artist. 5th. Noli me tangere, attributed to Giulio Ronmno or // Fattore. 3rd, Immaculate Conception, by Ve^t, with frescoes of the Annunciation and Salutation on the walls, and a monument to the Prince of Rohan Card \bp of Be8an Ibf Panthtc^ fRie. 16KpMdiig ott the il- iha Piti, Ih n vm t o , in which ii the Vnii'^pitA Ortforuma, a»te Jofuit direction* tbo moa laftpo«Uni cdiiiro uf cocMMticU ' la IMl tha halMinf hMamf an AugiMlliilaa Nunnonr. Chi Iba ri.» ai tha mtrmnca to tbo Via I'iJ di MarmOt U a aotoftia/ Foot in while maiMe, wldeli |flvM ita namo to the Ofoei. In p«llinff down an old house nt this comer, in tno spring c4 1^1, •onM ^ffuaiKi wttUt wara aipoitfti. about il ft. think, Utaring tha K a B^vtt and ailll* imiMad by ooSamnt of jpnukSie and girey BMrne. Tbo tUbig grouDd on wUdi it ttMida u knncd of miiiK imm ihtt Ttmple of I*it and Straj^s. AnMia« th^em atood totmttfy aa I^Grptiiin Cyneoa* ■Mna IB no gtaoilo, iBrknatnM by iba p«Oflo smmmo (baboon}— M»eo tb« modcfB UMBO ol tUo Chnrch. 22 KOUTE 3.— KIRCHERIAN MUSEUM. [Sect. I. \W The City.] KOUTE 3.— KIRCHERIAN MUSEUM. 23 Returning into the Piazza, along its N. side extends the Colleg^io Romano, built in 1682 by Gregory XIII., from the designs of B. Ain7nanati. It is now a Lyceum .'under the name of Liceo Ennio Quirino Visconti. On the E. side of the Piazza is the entrance to the Galleria Doria (see below). The Library of the Collegio Romano has been incorporated with the Biblioteca Vittorio Emanuele. (Entrance from the E. side, at No. 27, Via del Collegio Romano.) Among its curiosities are a metrical deficription of the Greek Archipelago, with 49 maps engraved on wood, supposed to have been printed at Venice between 1475 and 1485 ; edi- tions of Strabo and Poraponius Mela, printed at Venice in 1480 ; a Latin edition of Ptolemy, printed at Bologna in 1462 ; some Chinese works on Astronomy ; and some editions of the classics, with notes by Christina, Queen of Sweden. An ample fund has been assigned by the State for the purchase of modern works in the principal languages of Europe, including a large collection of scientific and literary reviews. Three Reading Rooms are open daily— -one for the public generally, another for students, and a third in which are upwards of 300 reviews and magazines (Adm., p. [19]). Recommended students may take out volumes. Apply to Embassy, or Consulate. From the Library we ascend three flights of stairs to the •KIRCHERIAN MUSEUM (Adm., p. [34]), founded by the learned Jesuit, Father Athanasius Kircher (1601-80), Professor of Mathematics in the Roman College. It is now a Government Institu- tion, and an admirable prehistoric and ethnographic collection was added to it in 1876. The collections are now styled the Museo Preistorico Etnografico e Kirclieriano. From the entrance turn to the 1. (see Plan) for the Ethnographical Collection, in sections 1 to 25, on three sides of the Court of the Collegio Romano. It consists mainly of the costumes of various countries, their domestic and war implement^, &c. Section 1 Burma, Siam, India. 2 China, Japan, Arabia, Syria. 3 Arctic Regions, and South America. First case on the rt., curious drawings of animals, marked Ciutkci. An Esquimaux Caiak (canoe). 4, 6, 6, 7, 8, 9 Paraguay, Borneo, South Sea Islands. 10 Embroidered mantle from Mexico, which belonged to a General of the time of Fernando Cortez (1519). 11, 12, 13 Australia, &c. 14, 15 Africa, South and East. 16 Gifts to King Humbert from Menelik, Abyssinia. 17 East Africa. Morocco. 18, 19, 20, 21 Africa, Central and West. 22, 23, 24, 25 Africa. Here begins the Pbehistoric Collection. 26, 27. 23, 29, 30 Italy, Stone age. In 30 is a tomb containing a human skeleton lying partly covered by the soil in which it was I !! originally found at Remedello di Sotto, Brescia. For the purpose of indicating the period of its interment, a bronze spearhead and flint arrowhead are left in »itu, ^^^^^ showing it to date from the m^mm^mm^am^a^^mag J transition epoch between the Stone and Bronze ages. 31, 32 Italy, Neolithic Tomb with human skele- ton, from Fontanella. 33, 84, 35, 36 Italy. Bronze age. In 33 another skeleton from Fontanella. 37 Italy. Bronze and Iron ages. 38, 39 Italy. Iron age. In 39 tomb found near Pe- saro, resembling those dis- covered in the prehistoric necropolis on the Esquiline. 40 *Trea8URE of Pbae- NESTE, a collection of obj ects in gold, silver-gilt, silver, ivory, glass, amber, bronze and iron found, in 1876, by peasants in a plot of ground which they had purchased near the Church of S. Rocco in Palestrina. The tomb in which they had been de- posited was 5^ yards long and 3^ wide. The walls built of irregular stones, without any cement or plas- tering, do not show a trace of decoration. The ceiling appears to have given way, very likely when the Roman town was built ; the falling stones and rubbish broke the funeral suppellex into pieces, so that its reconstruc- tion required much patienco and skill. To a large extent these objects are the work of Phoenician or Carthaginian industry alx)ut the 7th cent. B.C., at which time there existed a commercial treaty between the Carthaginians and the Latins. Of dis- tinctly Phoenician work- manship is the silver patera (26), with design of figures KIRC9IRRIAX KTIIXO- grathk! a3(d rns- IIISTOMC XUSKCM. 24 ROUTE 3. — KIRCHERIAN MUSEUM. [Sect. I. in Nile boats, and in the centre an Egyptian king slaying his enemies. This vase is inscribed with hieroglyphics and Phoenician characters. 25 Silver patera, with Phoenician designs incised and slightly beaten Tip. 24 Gold vase of Phoenician design, as is also the round cauldron- shaped vase (lebes) with serpents' heads round the rim, which is of silver gilt. 20 Gold vase with two sphinxes above each handle. This may be of native Latin or Etruscan work, as the Etruscans seem to have very early excelled in working in gold with minute globules (granaglie); which they soldered down into patterns. Of this nature also are 1, 3, 4, 5, and 6. 1 Clasp or ornament of some kind, made of a rectangular piece of solid gold 8 in. long and 4 wide. The borders and the central line are ornamented with bands, worked in wavy lines, ending with lions' heads. On the flat surface stand, or crouch, one hundred and thirty-one animals, such as lions, sphinxes, and sirens. 2 Fibula of gold, nearly 5 in. long, not different from the Etrusco- Roman shape. 3 Part of a gold fringe (fimbria), ornamented with birds and lions. 4-6 Three cylinders of bronze, lined with wood, and covered with plates of gold, probably to contain hairpins. 27 Iron dagger, with amber handle, twined with gold threads. 28 Iron sword with ivory handle. 45-49 Series of ivories with designs in relief— Phoenician work- manship. 56-59 Fragments of amber ornaments. 72 (On the upper shelf) Tripod of bronze and iron, with three human figures and three animals. 81 Large case of a bronze pedestal, conical in form. 75 (lower shelf) Broken pieces of a large cauldron in hammered bronze, with handles of griffins' heads. 41 Iron age. From necropoli in Province of Rome. 42-48 Flint implements and other antiquities from various countries, including a fine collection, in 46, 47, 48, of Peruvian vases, stuffs, baskets, and bronzes. KiRCHERiAN Collection. 49 Sculpture. 50 Curious reliefs and carvings in ivory. Greek and Latin inscriptions, chiefly slabs from Roman cemeteries, belonging to the first ages of Christianity. They bear the usual Christian sjnnbols, and in some instances the Pagan formula, D.M. (Diis Manibus). Figure of Christ on blue enamelled metal, in pure Byzantine style, found near S. Calisto. ♦Bronze lamp, with handle formed by a griffin's head. Small lamb, of bronze, with a cross on the head— a symbol used in the earliest times, before Christ was represented on the cross. Bronze crucifix, once gilt ; the feet rest without nails on a pediment. Terra-cotta lamps, distinguished from the ancient Roman ones by ruder form and the Christian monogram, fish, dove, and palm-leaf. 51 Rudely scratched on a portion of wall-cement found in the Domus Gelotiana on the Palatine, is* the outline of a man adoring a crucified figure having the head of an ass, The name AAEHAMENO^ The City.] route 3. — kircherian museum. 25 (Alexamenos) is scratched beside the man. The words 2EBETE 0EON are generally read as following on after Alexamenos, in which case 2EBETE is a'late form of 2EBETAI. The words would mean * Alexame- nos worshipping his god.' It is generally supposed that the graffito was a caricature of the Crucifixion. Another theory is that among the Gnostics (about 300 a.d.) was a sect which worshipped the Egyptian god Seth, recognisable by his ass's head ; hence, that the graffito was not intended for ridicule, but is merely a statement that one Alexamenos belonged to this sect. Broken vase of bigio marble of fine form and work in relief — Madonna and Child, with the faithful adoring. Fronts of sarcophagi in relief from a Jewish cemetery, probably of the 3rd century. Fronts of a sarcophagus representing the miracles of Christ. Remains of colour and gilding may be traced. 52 Earthenware lamps. Etruscan and other painted vases, affording good examples of different forms and styles of ancient decoration. Dice and other objects in ivory, bone, ancient glass and terra-cotta. 53 Antique Roman coins, including the aes rude, consisting of rough pieces of bronze with tin alloy, and aes signatum, found at Vicarello in 1852, and deposited here by the Jesuit Father Marchi — 'the finest numismatic group in existence with reference to the origin of Roman and Italian coins.' — Lanciani. Iron ring for a fugitive slave or animal with a bronze label suspended from it, bearing the inscription : * I have run away ; catch me, and restore me to my master, who will reward you with a solidus.' Leaden pages of a book inscribed with mystic symbols of the second century. 54 The celebrated *Cista Ficoboni. These bronze cistae (cylin- drical boxes for holding articles of the bath and toilette) are found chiefly at Praeneste (Palestrina), as was the present one, about 1745. Its first possessor was a dealer in antiquities named Ficoroni, who presented it to the Kircherian Museum. It is much larger than usual, and the design incised round the body is finer. The figures are large and of a noble Greek type, modified in places by a rough vigour of drawing which the artist probably owed to his Latin origin. On the lid the drawing is considerably inferior : the design is a hunting scene. It is to be noticed that while the incised work is so strongly Greek in character, the modelled figures which form the handles and feet have more of an Etruscan or Latin appearance, and may have been the work of a different artist. The handle is formed by a group of Bacchus between two Satyrs. The feet are ornamented with a winged figure between Hercules on the rt. and lolaos on the 1. The subject incised on the body of the cista is the landing of the Argonauts in the country of the Bebrfces (supposed to be opposite Constantinople), where was a fountain of beautiful water guarded by the giant king Amicus, who forbade the Argonauts to approach it. But Pollux after a contest of boxing with him bound him to a tree, and the fountain then became free to man and beast. The principal scene on the cista represents Pollux binding the giant to the tree. Above the tree is Victory flying towards Pollux : on the rt. are the goddess Minerva and two of the friends of Pollux; on the 1. two friends of Amicus— a winged bearded dlem'pn with his foot raised on a rock, and a figure seated on an 26 ROUTE 3. — S. MARCELLO. [Sect. I. overturned vase. The winged figure may be the local demon who appeared to the Argonauts promising them success, and whom they called Sosthenes ; he was probably a wind god like Boreas. On the rt. and 1. of this principal group we see the stern of the Argo drawn up on shore, and figures enjoying the waters of the fountain — among them a Silenus who sits beside the water. Behind him is a youth practising boxing against a sack (kor^kos) filled with sand hanging from a tree. On the tablet which supports the handle are the names of the maker of the cista in Rome, and of a lady of Praencsto, who gave it to her daughter. NOVIOS . PIiAVTIOS . MED . BOMAI . FECID . DINDIA . MACOLNIA . FILEAI DEDIT The grammatical and palaeographical forms of the inscription point to the beginning of the 2nd or end of the 3rd cent. B.C. Silver itinerary cups found at Vicarello, near the lake of Bracciano, among the ruins of the ancient therume, known by the Romans as the Aqu^e Apollhmres ; these vases have engraved upon them itineraries from Cadiz to Rome. They date from the times of Augustus, Vespasian, and Nerva; those of the two last reigns contain stations established in the interval, and not enumerated in the list of those of Augustus. Fine Bronze Seat found near Osimo; the bars of the feet are beautifully inlaid with silver tracery. On the arms are the heads of a swan, an ass, and a Silenus. Beautifully engraved mirrors, worth minute examination. Beam from the Galley of Tiberius in Lake Nemi, with long copper nails projecting from it. Portions of leaden water-pipes with inscriptions on them to regulate the distribution of water, from the aqueduct reservoirs, to public establishments or private houses, according to contract. The Observatory was for many years directed by the learned Father Secchi (died 1878), one of the first astronomers of his day. The entrance is at 7, Via del Caravita. It is furnished with all the latest astronomical instruments. The apparatus for registering the atmo- spheric pressure, and all other meteorological phenomena, invented by Father Secchi, gained the grand gold prize medal, with a premium of 6000 fr. at the Paris Exhibition, 1867. Attached to the establishment is a good Astronomical Library and a ^fagnetic Observatory, well supplied with English instruments. The great Equatorial of Merz stands on a pedestal or buttress built of stones from the walls of Servius Tullius on the Aventine, Standing back from the Corso, a few yards E. of the entrance to the Museum, is the popular Church of S. Marcello, mentioned as far l)ack as 499, and said to have been founded in 305 by S. Lucina, a Roman matron, on the site of her own house. Grego^ XI. gave it to the Servites in 1373, who rebuilt it in 1519 from the designs of Giac. Sansovino. The poor fa<;ade was added by Carlo Fontana in the 18th cent. The interior was restored in 1867, from the designs of Vespignani. In the 3rd chapel rt. is the tomb of Card. Weld (1837), who was titular of S. Marcello. The 4th has fine paintings on the roof hy Fieri no del Vaga; in the centre the The City.] ROUTE 3. — PALAZZO DORIA. 27 Creation of Eve, and on the 1. St. Mark and St. John. SS. Matthew and Luke are by Daniela da Volterra ; the Cross borne by angels, over the altar, was painted by Luigi Garzi from P. del Vaga's designs. In this chapel is the tomb of Card. Ercole Consalvi, minister of Pius VII. (1824), and of his brother Andrea (1807). Opposite, unfinished recum- bent effigy of Bp. Matteo Griffi (1568). 4th chapel, left. Conversion of St. Paul, by Federigo Zucchero ; frescoes on the walls by his brother Taddeo. The six busts and mural inscriptions belong to members of the family of Frangipani. To the left of the door, Tomb of Card. Michieli (16th cent.). Adjoining this Church was the Catahidum, a large central con- veyance ofiice for parcels and travellers. Maxentius forced St. Marcellus, while Pope, to groom horses in its capacious stables, during which servitude he died, and was buried by Lucina in the cemetery of S. Priscilla. Remains of the building have been found under and near the Oratorio del Crocifisso. Lower down the Corso on the rt. is the Church of S. M. in Via Lata, built on the remains of the Septa Julia (see below), where once, according to tradition, .stood St. Paul's ' own hired house.' The Church was founded by Sergius I. in the 8th cent., rebuilt in 1485, and restored in 1662, when the tasteful and effective ♦front was added by Pieiro da Corfona^ who considered it his master- piece in architecture. The interior is the work of Co»imc da Bergamo, who barbarously cased the Ionic cij^llino columns of the nave with Sicilian jasper. At the end of the rt. aisle are the tombs of J. G. Drouais, the French painter (1788), and of the learned E. Dodwell (1832). In the 1. aisle the poet Ant. Tebaldeo (1537), and Princess Zenaide Bonaparte (1854), daughter of Joseph King of Spain, and wife of Prince Charles L. Bonaparte, Prince of Canino (bust by Tenerani). Opposite is a monument to Prince Joseph Napoleon Bonaparte, her eldest son (1865). At the end of each aisle is a good piece of Cosmatesque pavement. At the high altar is a much venerated Madonna. In the Crypt, supposed to have formed part of St. Paul's house, are some very interesting reliefs, together with a spring of water, which according to the legend sprang up miraculously, to enable St. Paul to baptize his disciples. It is entered by a double staircase from the Portico, or through the Sacristy. At the end of the Crypt are some remains of the Septa Julia, a corridor 320 yds. long, built by Agrippa for the Comitia Centuriata. It was divided into seven alleys by rows of pillars, sumptuously decorated with marbles and statues, and named in honour of the deified Julius Caesar. More extensive remains exist beneath the Pal. Doria. PALAZZO DORIA.— This immense edifice, the most magnificent perhaps of all the Roman palaces, owes its origin to Card. Niccolo Acciapacci, Abp. of Capua (1435), and became later the property of the Dakee of U rhino, and of Card. Fazio Santorio. Under the Pontificate of Sixtus V. it was inhabited by Count Olivares, the 'terrible* Ambassador of Spain. Having become the property of the Doria- Pamphili it was reconstructed by them from the foundations. The side facing the Corso, frittered away into confusing details, is by Valvasori (1690) ; that towards the Collogio lioniano by Fictro da 28 ROUTE 3. — PALAZZO DORIA. [Sect. I. Cortona, the vestibule being added by Borroniini. The whole mass of buildings, covering nearly 16,000 sq. yds., rests on the remains of the Porticiis Septorum of the time of Agrippa. On the Ist floor is the ♦Gallery (Adm., p. [34]). Entrance from the back, at No. 1a, in the comer of the Piazza del Collegio Romajio. Having passed up the stairs, knock or ring at a door on the right on the 1st floor. Gratuity of 50 c. on leaving. Catalogue, 1904, 1 fr. Keep on wraps, as the rooms are notoriously cold. There is nothing of note in the Ante-Room. Entering the First Gallery we keep to the left. First Gallery. 71 Claude Lorrain : Small landscape with Diana hunting. 72 Claude Lorrain : Mercury driving away the cattle of Apollo. 74 Ann. Caracci : Nativity. 76 Claude Loyrain : ♦Landscape with a Temple of Apollo. 78 Ami. Caracci : Assumption. 80 Ann. Caracci : Cor so TJia\)erto I c ■♦3 M Second Gallery I— t m Court Fourth Gallery nuf Piazza del Collegio Romano PLAN OF THE PALAZZO DORIA. Flight into Egypt. S6Ann. Caracci : Entombment. 88 Claude Lorrain : ♦Landscape with a Mill. 92 Claude Lorrain : ♦Landscape, introducing the Flight into Egypt. In a small cabinet on the left is 118 Velasquez : ♦Innocent X., founder of the Panfili family. * With the exception of a few of Rembrandt's finest likenesses, this painting surpasses all other portraits of the 17th cent.' — M. Second Gallery, with Sculptures, leads to Room II. (see plan). 120 Mazzolino : Massacre of the Innocents. 123 Garofalo : Holy Family. 124 Basaiti : St. Sebastian. 127 Oarofalo : Marriage of St. Catharine. 128 Mazzolino : Expulsion of the Money-changers. Boom III. 142 Andrea del Sarto : Virgin and Children, signed with monogram. * Probably by a German painter, who copied St. John The City.] route 3. — palazzo doria. 29 with his fur-trimmed mantle from Diirer.' — M. 143 Giulio Ttomano : Copy of Raphael's ' Madonna del Passeggio.' 144 Garofalo : Holy Family, with Saints. 151 Bonifazio Veronese : Holy Family, with two Female Martyrs. 'Most attractive, but ruined by some ignorant picture-cleaner.' — M. 153 Young refined woman, in red velvet. 'Feeble Flemish imitation of Leonardo da Vinci.* — M. Supposed to represent Juana of Aragou, of whom there is a portrait by Raphael in the Louvre. 158 School of Michel Angelo : Holy Family. 159, 163 Rondinelli : Virgin and Child. 161 Garofalo : Visitation ; ' early and beautiful.'— Cic. 164 Andrea Solario : Christ bearing the Cross. Room IV. 176 BruegJiel : Garden of Eden. 189 Vandyck : ♦Portrait of a Widow. 191 Brueghel: Creation of Animals. 193 Quinten Matsys : Two Money Changers. 194 Mostaert : Girl reading. 197 Brueghel : Water. 206 Brueghel : Earth. 209 Brueghel : Air. Room V. 215 Tenters : ♦Village Feast. 231 Ruhens : His own Confessor (a friar) ; ' genuine and early, unusually warm in the flesh tints, with a peculiar cross and disdainful expression.' — Cic. Returning, on the left is the Third Gallery. 277 Paris Bordone : ♦Mars, Venus, and Cupid ; ' a fine decorative picture, splendidly coloured.' — M. 290 Lor. Lotto : *St. Jerome, in prayer. 291 Lievens : Sacrifice of Isaac. 299 Nicholas Poussin : Copy of the Nozze Aldobrandini (p. 348). 30(5 Annibale Caracci : St. Mary Magdalen, in a landscape. 315 G. B. Moroni : Man holding a large book. On the left a few steps descend to a large hall, containing good sculptures and some indifferent landscapes. On the rt., part of the table of a Triclinium with handsome arabesques. Three Sarcophagi, with procession of Bacchus, the hunt of Meleager, and the history of Marsyas. Archaic statue of a bearded Dionysus on a round altar with reliefs. Fragment of a Chimaera, found in the ruins of Lorium. Sarco- phagus, with reliefs of Diana and Endymion. In the middle of the room. Centaur in rosso and nero antico, discovered iu the ruins of Pompey's Villa at Albano (now the Villa Doria). Returning, on the left is the Fourth Gallery. 380 Caravaggio : ' A pretty girl, sitting sorrow- fully by some scattered jewels.' — K. 384 Saraceni: Repose on the Flight. 386 Titian : • Old Man with a white beard, his right hand resting on a table, whereon are a white rose and some jewels ; interesting and thoughtfully conceived ; not genuine.' — M. 387 Corregio : Virtue crowned by Fame (glazed). ' Unpleasing boy in the foreground to the right; girl in the foreground to the left. French, latter half of 17th cent.'— M. 388 Titian : ♦Daughter of Herodias. • Very beautiful, but over-cleaned ; an early work.' — K. 401 Bonifazio Vero)i€se : Young Man in a black cap (profile). Of great charm for its grace and simplicity, but almost entirely destroyed by cleaning. 403 Raphael : ♦Andrea Navagero (1528) and Agostino Beazzano (1539), two Venetian Scholars— half length semi-colossal figures in black ; generally known as the two lawyers, Baldo and Bartolo. 407 Parts Bord toll). It won built by Card. Fabio Chl^. m^w of Aliixanilct Vil., and purohaMMl by Prince OdMMlehi, Diik^ of Brucciuno, in 1745. Adjoining it in thv Pnl, SalviaHt foittBriy tk*Mat of tho French Academy. Tho narrow Vioolo del Plcoibo l^d^ horn iUt 8. (tido into tho Piu/./.a dt>gli Ax>oMtoli, on tho K. Hido of which if ihc* Church of tho SS. APOSTOLI. xald to bo ono of the Coniianimian h^uili^au, MMtoriKi by Pulugtux I. in tho Oth cont. Dottrojrod by the ^naU, earthquake of 1846» it lay in ruinn until Martin V. (CQlona*) wHo f j it in 1417. The portico, which in tho oldoiit pari o( thm «adalll^f Ktructuro, WHK addod by JuliuH TI, whon Curd. doUa lioN'ttr^ (l£00)^fmin tho dcfllgn}4 of Jiaccio Pontt'lU. Tho church (oxo«pi Ikia poctioo) waa mitiroly nibtiilL by (niummt XI. in 170ftd far the uuMt |«rt frtim U>a Mtt tburch, inclDaintf a rDCunb gy oi Michal Ax*mIo, who ditd in Uuk parish cm tbe I • lb F«K !«»♦. and who ira« buiicd bare b«loi« bla rfwiui wcm ttUMWoi elandestinaly to ti. Crooa ia ytoconeo. TUrv aro t¥N> to tke OMinof^ of Card. BcasHon (tlt«9-1478^, lk« omloeot Patriarch o( CooaUnlMiopK "wiio eooAitbattd to ■radi lo lk« IxitrodooOott ci Oracle litoratuxe ioio Wc^Aom Kocopa: bonk at Trt^biwiid, ba atlaclicd bioMtlf to tho Roomb Ctrarrb, aT>d btcMMt Mabop o( TuMwIuvn in liGS. He rabcd coa of iWMa m«aiK>rii)s dorin^^ M% lilttia«» ^litb a Qroek naA Utia inteflptiofn from bia cnnrn ]>*n ; ti^ other ima placed in Ibo ebitfieli, efler hte d^th at IU^iwium, vhcn ;i r«niaim wtro bcougbt bor«, Kurtbar oo is tho Kravo of CUmont XIV., whoM nwftainfi wai« r c mrrad bcro froooa St. PotAr** In 1«XI. Ib tka otolM of tbe devifr Ibwa was a lai^o aocivnt inarhlo y^sa, known In iMdiMnil nnriimwrtt M tbttfirlfr runrifrrir Th t curioub landmark. wbleh aiood in Ih^ atafufli of tb« friimMH^ba hia been remo%«d to Iha MttMO Sa^umuU geniti Dei, and is preserved within the altar of the isolated chapel in the 1. transept. The Church and Convent belonged to the Benedictines until 1250, when Innocent IV. transferred them to the Reformed Franciscans {Minori Osservanti). The Convent, formerly » palace of the popes, erected by Paul II., was destroyed in 1885-86, to make room for the monument of Victor Emanuel II. The Interior has a nave and aisles separated by 22 columns of The City.] route 4. — s. m. in ara coeli. 35 different sizes and materials, taken from various ancient buildings. Eighteen are of Egyptian granite, two of fluted white marble, and two of cipollino. Their bases and capitals are also dissimilar ; and some are so much shorter than the others that it has been necessary to raise them on plinths of unequal height. On the third column 1. is engraved, in letters of the Imperial period — a cvbicvlo avgvstorum, indicating that it was brought to Rome under the care of a servant of the Emperor. The Pavement is of Cosmatesque mosaic and white marble, con- taining some rare varieties of green or ophite porphyry. It has many slab-tombs, having barely legible inscriptions, but interesting from their mediaeval costumes. The Ara Coeli, like other Franciscan Churches, was a favourite place of inteiment for the local or Capitoline nobility. The rich coffered and gilded Ceiling (1575) was executed in comme- moration of the victory of Lepanto (1571). To the 1. of the central door is the Tomb of the astronomer, Lodovico Grato (1531), with a Statue of Christ, by Sansovino ; to the rt.,*Tomb of Card. Louis d' Albert (1465). Set up on end against a pier is the slab-tomb of Giov. Crivelli, Archdeacon of Aquileia, hy Donatello (1432). Right Aisle. — 1st Chapel, *frescoesby Pinturicchio, illustrating the life of his patron S. Bernardino of Siena, full of expression and indi- vidual life, restored by Camuccini. On the rt., the Saint assuming the habit; his Preaching; his Vision of Christ crucified. Left, in the lunette, his Penitence in the desert ; below, his Death. Over the altar, the Saint in glory, with SS. Louis and Anthony. On the roof the Evangelists, by Francesco da Cittd di Castello. * The backgrounds are of great beauty and variety.' - K. ' Here Pinturicchio shows himself a landscape painter of the first rank.' — M. Border of Roman battle scenes, and heads of Emperors, in relief. Beautiful pavement. In the aisle is a sitting statue of Gregory XIII. 5th Chapel : St. Matthew, by Muziano, 7th : two very rare columns of porfido verde. Within the side doorway, Tomb of the Marchese di Saluzzo (1529), a General of Francis I. ; monument to Pietro di Vicenza (1504). Outside the Church, over the doorway, is a mosaic of the 14th cent. (Virgin and Child with two angels). Rig^ht Transept — The floor of Cosmatesque Mosaic is very beautiful. Against the I. wall of the principal Chai)el is the ♦Gothic monument of Luca Savelli (1266), father of Pope Honor i us IV., and his son Pandolfo (1306), by Agostino and Agnolo da Siena, from the designs of Giotto; the base is formed by a pagan sarcophagus covered with Bacchanalian reliefs, flowers, fruit, and animals. Opposite is another tomb of the Savelli family, upon which lies the effigy of the Pontiff himself (1287), removed here by Paul III. from his monument which stood in the old basilica of St. Peter. Further on, in the corner Chapel, concealed behind a picture, is an old mosaic of the Madonna with SS. Francis and Nicholas, the former presenting a senator. The two Gothic ♦ambones, by Laurentius and Jacobus Cosmas, are covered with mosaic work of extraordinary beauty. On the pier above the Gospel Ambo (on the left) is the effigy of Catharine Queen of Bosnia, who died at Rome in 1478, having previously made over her kingdom, overrun by the Turks, to Sixtus V. D 2 36 ROUTE 4. — S. M. IN ARA COELI. [Sect. I. In the choir, 1. of the high altar, is the *Tomb of Card. Giambattista Savelli (1498), of the school of Sansovino. The celebrated Madonna da Foligno, which stood over the high altar in this Church, was removed to the Convent of the Contesse at Foligno in 1565. Its place is now occupied by a miraculous Virgin, attributed to St. Luke. The insulated Octagonal Chapel, dedicated to S. Helena, is supposed to Btand on the site of that raised by Augustus, and encloses the original Ara primogeniti Dei. The urn of red porphyry, beneath the altar, once contained her body. The present chapel was erected after 1798 and is adorned with eight handsome columns of broccatellonc. Left Transept — Cosmatesque *Monumcnt of Card. Matteo di Acquasparta, general of the Franciscans (1302), praised by Dante for the moderation with which he administered the rules of his order. Colossal sitting statue of Leo X. Sacristy. — Here is preserved a celebrated miracle-working figure of the infant Saviour, called the Santissimo Bambino, whose powers in curing the sick have given it extraordinary popularity. It was said at one time to receive more fees than any physician in Rome. The legend tells us that it was carved by a pilgrim out of a tree which grew on the Mount of Olives, and that it was painted by St. Luke while the pilgrim was sleeping over his work. In the early part of 1849 the Republican triumvirate made the monks a present of the Pope's state coach for the use of the Bambino ; but after the return of his Holiness the gorgeous vehicle was taken from them, and the Bambino again resumed the old brown coach in which for many years it had been accustomed to pay its visits to the sick. The Festival of the Bambino, which continues from Christmas-day to the Epiphany, is attended by crowds of peasantry. The 2nd Chapel in the 1. aisle is converted on this occasion into a kind of theatrical stage, on which the Nativity in the sacred Manger (Presepe) is represented by figures as large as life. A Stage is also erected in the nave opposite the Chapel, on which children recite verses, in dramatic commemoration of the Advent of our Saviour. Outside this Chapel is a sitting statue of Paul III. In the 5th Chapel left is the tomb of Filippo della Valle (1506), with those of other members of the same illustrious family. This Church has a peculiar interest from its connection with Gibbon. It was here, ' on the 15th of Oct., 1764,' as he ' sat musing amidst the ruins of the Capitol, while the friars were singing vespers, that the idea of writing the Decline and Fall of the City first started to his mind.' In the middle ages the Church was used as a place of meeting for political assemblies. It stands upon the site of the Temple of Juno Moneta (the Adviser), which afterwards became the mint of Rome {Officina monetae). Hence our word vwney. Rie 5.6.7. LondAii > Bdrtrwd StenfiirdL 12. 13 * 14!.Lon^ Act*. W.C. The City.] route 5. — the capitoline hill. 37 ROUTE 5. The Capitol, and its Museums. -Panoramic View of Rome from the Tower. [Oimi., p. [28], 20, 25 ; Tram to Piazza V'enezia.] The Capitoline Hill. With the exception of the Tabularium, a relic of antiquity which belongs equally to the Capitol and the Forum, the ancient remains of the Capitoline Hill are few and inconsiderable. The hill is divided naturally into two heights, of unequal size, and an intermediate depressed space (98 ft.), now occupied by the Piazza del Canipidoglio. The N. height or Arx (164 ft.) is crowned with the Church of the Ara Coeli ; the lesser height or Capitolium (156 ft.), on which stands the Pal. Caffarelli, extends S.W. in the direction of the Tiber. The entire hill was anciently called Mons Satimiius, and was believed to have been the site of a city of Saturnia, by Virgil, and the antiquaries and historians of the Augustan age. It was also called in poetical language Mons Tarpeius, in allusion to the story of Tarpeia. When attacked by the Sabines, Romulus fortified the top of the Capitoline, which he entrusted to the care of Tarpeius. But his daughter Tarpeia, dazzled by the golden bracelets of the Sabines, promised to betray the hill to them, ' if they would give her what they wore on their left arms.' Her offer was accepted. In the night-time she opened a gate and let in the enemy, but when she claimed her reward they threw upon her their shields, and thus crushed her to death. Thus was explained the later custom of hurling traitors from the Tarpeian rock. The hill formed a natural fortress, and became the citadel, or arx, ot Home, into which the garrison retired when the city was taken by the Gauls. The most sacred spot upon the Arx was the Auguracidum, where the Augurs observed the heavens for signs of the divine will ; and here probably was the termination of the Sacra Via. The name Cajntoliiim was originally applied especially to the S. eminence, the site of the great Capitoline Temple of Jupiter Optimus Maximus. The depression, now Piazza del Campidoglio, lying between the Capitolium and the Arx, is described by ancient writers as lying between two groves, and containing the traditional Asylum of Romulus, to which fugitives were invited, to people his new city. * The whole Capitoline Hill, including the Capitolium, the Arx, and the Asyluiti, was already, before the formation of the Servian circuit, surrounded with a complete wall of its own, and was incorporated as a link in the chain of forts which were united by the wall of Servius.' — M. Portions of this surrounding wall may be seen from the foot of the cliff at the end of the Vicolo della Rupc Tarpea, beside the carriage-road ascending to the Capitol, and above the Mamertine Prison. In the middle ages the Capitoline Hill, except for brief periods of resuscitation, was neglected. The N. eminence contained the Church and Convent of Ara Coeli, The S. eminence was called the Monte CaprinOt from the goats which browsed upon it. In the twelfth Section A M^-'S*'- ^O Rie.5.6.7. I r • Loiulon . Bd-WMHl SUuifbrdL 12, 13 «e 14, Loag Act*. W.C . The City.] route 5. — the capitoline hill. 37 ROUTE 5. The Capitol, and its Museums. -Panoramic View of Rome from the Tower. [Oiuu., i>. [28], 20, 25 ; Tram to Piazza Venezia.] The Capitoline Hill. With the exception of the Tabulaiium, a relic of antiquity which belongs equally to the Capitol and the Forum, the ancient remains of the Capitoline Hill are few and inconsiderable. The hill is divided naturally into two heights, of unequal size, and an intermediate depressed space (98 ft.), now occupied by the Piazza del Camjndotjlio. The N. height or Arx (1G4 ft.) is crowned with the Church of the Ara Coeli; the lesser height or Capitolium (15G ft.), on which stands the Pal. Caflarelli, extends S.W. in the direction of the Tiber. The entire hill was anciently called Mons Saturnit(s, and was believed to have been the site of a city of Saturnia, by Virgil, and the antiquaries and historians of the Augustan age. It was also called in poetical language ^lons Tarpeius, in allusion to the story of Tarpeia. When attacked by the Sabines, Romulus fortified the top of the Capitoline, which he entrusted to the care of Tarpeius. But his daughter Tarpeia, dazzled by the golden bracelets of the Sabines, promised to betray the hill to them, ' if they would give her what they wore on their left arms.' Her oifer was accepted. In the night-time she opened a gate and let in the enemy, but when she claimed her reward they threw upon her their shields, and thus crushed her to death. Thus was explained the later custom of hurling traitors from the Tarpeian rock. The hill formed a natural fortress, and became the citadel, or arx, ot Eome, into which the garrison retired when the city was taken by the Gauls. The most sacred spot upon the Arx was the Auguraciduvi, where the Augurs observed the heavens for signs of the divine will ; and here probably was the termination of the Sacra Via. The name Capitoliiun was originally applied especially to the S. eminence, the site of the great Capitoline Temple of Jupiter Optimus Maximus. The depression, now Piazza del Campidoglio, lying between the Capitolium and the Arx, is described by ancient writers as lying between two groves, and containing the traditional Asylum of Romulus, to which fugitives were invited, to people his new city. ' The whole Capitoline Hill, including the Capitolium, the Arx, and the Asylum, was already, before the formation of the Servian circuit, surrounded with a complete wall of its own, and was incorporated as a link in the chain of forts which were united by the wall of Servius.' — M. Portions of this surrounding wall may be seen from the foot of the cliff at the end of the Vicolo delta Rape Tarpca, beside the carriage-road ascending to the Capitol, and above the Mamertine Prison. In the middle ages the Capitoline Hill, except for brief periods of resuscitation, was neglected. The N. eminence contained the Church and Convent of Ara Coeli. The S. eminence was called the Monte Cajprino, from the goats which browsed upon it. In the twelfth 38 ROUTE 5.— PIAZZA DEL CAMPIDOGLIO. [Sect. I. century a house was built upon the central portion for the municipal benate. This was afterwards the home of the Senator, or chief magis- trate, and was used by Cola di Rienzo for that purpose. In 1341 Petrarch was crowned Poet Laureate in that house. That building having been injured by fire, Boniface IX. restored it in 1389 The Palaces which now cover on three sides the central part of the Capitoline Hill, or Piazza del Campidoglio, were reconstructed in the 16th and 17th cent, from the designs of Michel Angela. The effect as we approach from the Piazza d' Ara Coeli is imposing. The carriage assent on the rt., ornamented with flower-beds and shrubs, was finished in 1873 To make room for it, a fine old house, begun by Michel Angelo, was pulled down and its frescoes removed to the Pinacoteca Capitolina The colunans and architrave which formed the entrance to its court have been built up into the first floor of a house at the corner of the drive borne fragments of walls were then brought to light (visible on the 1 )* along with a few architectural remains supposed to belong to the Aedel Jovis Vejavis. The road winds past the gates of the Pal. CaffarellL built by Giorgio Canonica (1580), and now the residence of the German ambassador. The staircase {Cordonata) was opened in 1536, on the occasion of the entrance of the Emp. Charles V. At its foot are copies in grey marble of the two Egj-ptian lions that were brought here by Pius IV from the Temple of Isis, the originals of which are in the Museum (see below). Half-way up on the 1. is a Bronze Statue of Cola di Rienzo on a pedestal of architectural scraps, by Masini. Rienzo was killed by the mob near this spot. Near the top two wolves are kept in a caged den to commemorate the legendary origin of Rome. At the summit ri<'ht and left, are colossal Statues, in marble, of Castor and Pollux standing beside their horses : they were found in the Ghetto, close to the Theatre of Balbus, in 1556. Beside them, right and left, are the marble sculptures misnamed Trophies of Marius, which once stood in the Nymphaeum of Alexander Severus. They bear a quarry mark, showing that the block of Greek marble of which thev were formed was sent to Rome in the reign of Domitian.-A/. Next, Hght and left, are the Statues of Constantine and his son Constans, found in his bkths on the Quirinal. On the extreme rt. is the Milliarium, or milestone, which IS supposed to have marked the first mile on the Via Appia. It was found m 1584 in the Vigna Naro, a short distance beyond the Porta b. bebastiano, and bears the names of Vespasian and Nerva. On the extreme left is the 7th milestone on the same road, brought here from the Pal. Giustiniani. In the centre of the piazza is a ♦Bronze equestrian Statue of Marcus Aureuus. In the IMiddle Ages it was supposed to be a statue of Constantine. a fortunate error for the interests of art. since it was this belief which preserved it from destruction There is great uncertainty as to the spot where of bXTpI^^w^^V^^ '^" ^'^^}^ ^^^' '^ ^°""«^ P^rfc «f » Collection tb« h3 ILA ^yT^'l ^V^^ ^^^«'^^' ^^^^^^' ^it^ ^^^ Wolf, the Hand, the Globe, and other famous objects now in the Pal. dei ??fft ^"^T^"' "" r !r?^? *^ '^^ P'*^^^"* PO«iti«n by Paul III. in ti . ?^f f^^ plinth of the pedestal is formed of part of the archi- trave of the Temple of Castor, in the Forum. ' This is one of the few The City.] route 5. — palace of the conservators. 39 ancient equestrian statues in bronze which have been preserved, and though of a late date, when artistic genius was not to be expected in Rome, it is yet a bold and in some aspects an effective piece of sculpture.' — A. S. M. It was originally gilt, as may be seen from the traces of gold on the horse's head. The admiration of ^lichel Angelo for the statue is well known ; it is related that he said to the horse • Cammina ' (Go on), and declared that its action was full of life. While the statue stood in front of the Lateran, in 1347, it played an important part in the festivities on the elevation of Cola di Rienzo to the rank of tribune. On the W. (rt.) of the Piazza is the Palace of the Conservators (see below) ; on the E. (1.) the Capitoline Museum (p. 47) ; and the central building, on the S., is the Palace of the Senator (p. 56). THE palace of THE CONSERVATORS. (Adm., p. [34].) Court — Under the arcade, on the rt. is a colossal Statue of Julius Caesar ; on the 1. Augustus, with the rostrum of a galley on the pedestal, an allusion probably to the battle of Actium. In the court on the 1. are seven marble pedestals, sculptured with personifications of Roman provinces, and three slabs with trophies of arms, belonging originally to the Temple of Neptune. On one of them is a colossal marble head commonly called that of Domitian. On the right side of the Court is a massive marble pedestal on which had stood the cinerary urn of Agrippina, wife of Germanicus, discovered near the Mausoleum of Augustus, and inscribed — OsSA — Agrippinak M. AoKiPPAE F— Divi Aug. Neptis Vxohis— Germanici Caesaris— - Matris C. Caesaris Aug— Germanici Principis. The inscription is of the time of Caligula. A cavity cut in it served as the standard measure for groSw—Rugitella de Grmw, as it is styled in Gothic letters — in the Middle Ages, Helow is a punning allusion to the bread which Agrippina denied herself in her life, and for the measurement of which her tomb had been used.— I/. Close by are the feet and hands of a colossal statue. On the further (W.) side of the Court, a Statue of Roma ; on the pedestal is attached the keystone of an Arch of Trajan, with a relief of a captured province, probably Dacia. Right and left are two captive barbarian kings, in higio morato. Staircase. — Opposite the steps, before ascending, is Michel Angelo'a restoration of the Duilian Column, with a *Fragment of the ancient inscription on the pedestal, relative to the first naval victory over the Carthaginians, by Caius Duilius, a.u.c. 492. It was discovered in 1565 near the arch of Sept. Severus. At the window is a sitting Statue of Charles of Anjou, as Senator of Rome, in the 13th cent. The walls of the stairs have ancient inscriptions, mostly found on the Esquiline and Viminal. In the centre of the first landing-place is a draped torso in porjihyry surmounting a pedestal, inscribed in the front with a dedication to Hadrian by the Magistri Vicorum Urbis of the 14 regiones of Rome; on two sides are the names of the Ist, 10th, 12th, 13th and 14th regiones, with their respective streets. 40 KOUTE 5. — PALACE OF THE CONSERVATORS. [Sect. I. Of the four large *reliefs on the walls three represent events in the life of Marcus Aurelius, and are interesting as showing several monu- ments of Rome as they existed during his reign ; they were found near the Church of S. Martina. Of these, 42 shows Marcus Aurelius granting peace to barbarians. 43 His triumphal entry into Rome. 44 Sacri- ficing before a Temple of Jupiter. The fourth relief, 41, was found in 1594, irr the Piazza Sciarra, with other remains of the Arch of Claudius. It represents Claudius (the head wrongly restored as Marcus Aurelius) presented with the globe of power by Roma. On the 2nd flight (to the 1.) is an interesting small relief of Mettius Curtius leaping into the gulf, found near the spot where the event id supposed to have occurred. At the head of the stairs is a large *relief representing a harangue (adlocutio) by Marcus Aurelius, from the arch dedicated to that Emperor which once stood in the Corso. In the corners are four standard measures for oil and wine. They bear the arms of the Caetani family, and date from the 14th cent. Facing the top of the staircase is the entrance to Room I. Aula Grande, painted in fresco by Cav. d'Arpi7io. On the right wall over the windows, Rape of the Sabines ; left, Horatii and Curiatii ; opposite, Numa Pompilius sacrificing with the Vestals ; left. Battle between Tullus Hostilius and the army of Veii ; right, Founda- tion of Rome; exit wall, Finding of Romulus and Remus.' Marble statue of Urban VIII., by Bernini; bronze of Innocent X., by Algardi. Room II. In the centre, the celebrated *Wolp op the Capitol, one of the most interesting relics of the early art of Italy. And thou, the thunder-stricken nurse of Rome ! She-wolf ! whose brazen-imaged dugs impart The milk of coniiuest yet within the dome Where, as a moutmient of antique art, Thou standest :— Mother of the mighty heart, Which the great founder suck'd from thy wild teat, Scorch d by the Roman Jove's ethereal dart, And thy Iini)>s black with lightning— dost thou yet Guaid thine immortal cubs, nor thy fond charge forget ? —Childe Uardd. There is now no question that this is an example of early Roman sculpture of about 500 b.c. It was in the Bronze Collection at the Lateran in the 9th cent., and it was removed to the Capitol in 1471. This is the bronze which ancient writers saw on the Capitol: * Tactus est iUe etiam qui banc urbem condidit Romulus, quern inauratum in Capitolio parvum atquo lactentem, uberibus lupinis inhiantem fuisso meministis.'— (Cicero, Cat. iii. 8.) Compare also Virgil -.-r- Geminos huic ubera circum Ludere pendentes pueros, et himbere mutrem Impavidos : illam tereti cervice rettexam Mulcere alternos, et corpora tlngere lingua.— ^e»i«irf, viii. 631. The twins Romulus and Remus are a comparatively modern addition, for which there was no necessity, as the she-wolf alone was a familiar figure in Roman art. ^^Pi. PALACE OF THE CO NSERVATO RS FIRST FLOOR Fasti Consulares Aula Grande I I 1 Piazza del Campidogllo SCALE o L. 10 20 30 Yards 42 ROUTE 5. — PALACE OF THE CONSERVATORS. [Sect. I. Paintings by Lanreti : Mucius Scaevola burning his right hand before Porsenna; Battle of Lake Regillus; Brutus condemning his two sons to death ; Horatius Cocles on the Sublician bridge. Statues of celebrated Roman generals in modern times : Marcantonio Colonna, who fought the Turks at Lepanto ; Tommaso Rospigliosi ; Francesco Aldobrandini ; Carlo Barberini, brother of Urban VIII. ; and Alessandro Farnese, duke of Parma, distinguished as a commander in Flanders. Room III. Frescoes by Laureti, with subjects taken from the wars with the Cimbri. Front of a sarcophagus, representing the gate of Hades ajar with two genii on each side (4th cent.). S. Francesca Romana, by liomanelli ; Dead Christ, by Cosinio Piazza. Room IV. Saxa dei Fasti, containing the celebrated *Fasti Trium- phales et Cansiilares, found in 1547, and much mutilated. They give the names of the consuls and other public magistrates from B.C. 508 to A.D. 354. They have been edited by Mommsen, in the Corpus Inscriptionum Latinarum, I., p. 415, fol. The Fasti from Cffisar to Diocletian have been edited by J. Klein, 1891. Also by Bartolomeo Borghesi and Wilhelm Henzen, whose portrait busts ornament this hall. These interesting tablets were arranged by Panvinio, Michel Angelo having designed the architectural decorations in which they are framed ; some additional fragments were added between 1816 and 1828. *Mosaic pavement found below the Via Nazionale, at the S.E. angle of the Pal. Colonna, in 1879. 15th cent, frescoes of the Umbrian School. Room V. Further wall : marble head of Medusa, by Bernini. Left wall, bust of Michel Angelo, with head of bronze ; above, two bronze ducks (gardens of Sallust) ; small bronze head of Isis in the form of a jug; right wall, a Holy Family copied from Raphael by Qiulio Romano. Room VI. Sala Garibaldi, with several relics of the General, including a terra-cotta bust, various memorial wreaths, the shield he received from Sicily, the blanket on which he was carried wounded from the field of Aspromonte, and his telescope. Room VII. Frieze in fresco by Daniclc da Volterra, representing events in the life of Scipio Africanus. Thfe walls are hung with faded tapestry, made in the hospital of S. Michele from the designs of Rubens and Poussin. (Romulus and Remus, the Vestal Tuccia proving her innocence by collecting water from the Tiber in a sieve, and the Schoolmaster of Falerii.) Room VIII. Frescoes of subjects from the Punic wars, by Bonfigli. Inlaid cabinets. Room IX. Chapel. Fresco of the Virgin and Child, with adoring angels, perhaps by V Ingegno. Evangelists, by M. A. Caravaggio. SS. Cecilia, Alexis, Eustace, and B. Ludovica Albertoni, by Ronianelli. Room X. Porcelain, chiefly small figures in groups. We have now returned to the top of the stairs. On our rt. (left from the stairs) are Rooms XL, XII., XIII. Three small rooms, inscribed with the names of municipal dignitaries, frgm 1540 to the present time. On the The City.] route 5. — palace op the conservators. 43 rt., near the window of Room XIII. is a Tazza for a fountain, in the Greek style, as a pedestal supported by four greyhomids (Gardens of Maecenas). Room XIV. On the rt., Sala degli Orti Lamiani, with marbles found in the Lamian Gardens, on the Esquiline. In the corner on the 1., 2 *Sepulchral cipptis of Q. Sulpicius Maximus, a precocious scholar, under 12 years of age, who on Sept. 14, A.D. 95, won the prize for Greek poetry against 52 competitors, in the third celebration of the Agon Capitolinus, instituted by Domitian, in A.D. 86. His fine composition, the subject of which is ' How Jupiter reproached the Sun for entrusting his chariot to Phaeton,' is engraved in 43 lines on each side of his portrait Statue (Porta Salaria). !-t In the centre, ♦Venus Anadyomene. The attributes, e.g., the vase and drapery al her rt. side, justify the name of Venus, commonly given to this statue. The sculptor has, perhaps, followed too closely the living model who stood to him, instead of reproducing the type of the goddess handed down from Greek art ; but that was to be expected in the 1st cent. B.C., when this statue was executed, and when artists sought to freshen the old types by a direct study from living models. The result does not suggest a goddess, and that is the reason why such names as Rhodopis and Atalanta have been proposed. But the statue is interesting, most* of all, as an illustration of this style ef Greek sculpture in Rome. End wall, *Half-figure of Commodus, as Hercules. The bust was supported by two Amazons (one of them is lost), bearing an Amazonian shield {iK'lta) above a globe. On each side. Half-figures of Tritons. Two Portrait heads. Old woman carrying a lamb. Old fisherman. •Girl seated and looking down ; the ease of her attitude, the type of h^ad, and the rendering of the drapery, where it is not modern restoration, recall Greek work of the 4th cent. B.C. ; in any case it is a graceful statue. Returning into the corridor a door on the rt. leads into the Garden. On the further wall have been placed fragments of the Pianta Capitolina, the ground-plan of Rome engraved on marble by order of Septimius Severus and Caracalla, whose names are on one of the slabs. Most of these pieces were found in the time of Paul III., behind SS. Cosma e Damiano, on a wall which had formed part of the Forum Pacis. Other pieces have since been found in the wall of a stable in the Via Giulia, and elsewhere. As in all ancient maps, the South is at the top and North at the bottom. See p. 87. On the rt. (E.) is a dog in verde ranocchia, one of two which stood at the gate of the gardens of Maecenas. On grass plot wild boar and a panther. In a fountain basin is a •lion attacking a horse, bold in conception ; the restorations by Michel Angelo. Behind this, the West end of the garden is the limit of the platform of the great Capitoline temple of Jupiter ; some parts of its columns are visible in the East wall of the Palazzo Caffarelli, the residence of the German Embassy. Returning into the corridor, on the 1. is a Priest's boy bearing a pig for sacrifice, or perhaps an actor holding a " learned pig" ; further on, two statues of Roman magistrates represented as presiding at the 44 ROUTE 5. — PALACE OP THE CONSERVATORS. [Sect. I. games in the Circus, and giving the signal for the race to start by throwing the handkerchief. On the rt., Tombstone of Caius Julius Helius, a shoemaker, with portrait head; above are represented two boot lasts, one with the caligula attached. On the 1., three figures of athletes ra^cing. At the end of the corridor, large sarcophagus, with two reclining figures on the lid, unfinished, and reliefs representing the Calydonian hunt (Vicovaro). Leaving the corridor by a door on the left we enter Room XV., containing objects found in the gardens of the Villa of Maecenas. At the entrance, two Caryatids, or rather draped terms, very interesting examples of archaistic sculpture in Rome in the Ist cent. B.C., when the minute details of hair, features, and drapery were imitated from Archaic Greek sculpture of the 6th cent. B.C., but to such excess as to become almost a parody. On the 1., colossal bust of Maecenas. Marsyas, restored. Near the window, fountain in the form of a rhyton, or drinking horn, with Bacchanalian reliefs, an extremely elegant work by the Athenian sculptor Pontios, as appears from the inscription on the front. Head of an Amazon of Polycletus. Head with Phrygian cap. Relief of a Bacchante, an ancient copy from a Greek original, which is supposed to have been by Scopas, and to have been called a Bacche Chimaerophonos. There is a much smaller copy in the British Museum. In both copies the original seems to be closely followed. The drapery is rendered in a peculiarly decorative manner, and the marble retains its original high polish. Room XVI. Hall of Bronzes. At entrance door, bronze head of L. Junius Brutus, with the eyes in enamel, presented to the city by Cardinal Pio di Carpi in the IGth cent. Colossal bronze head. Colossal bronze foot. Colossal bronze hand. At exit door, on the 1., bronze statue of ♦Camillus, one of the young patricians who had the honour of assisting at the sacrifices; on the rt., beautiful 'Statue of A Boy picking a thorn from his foot. The formal rendering of the hair and the type of face suggest that this is a true piece of Greek sculp- ture of the end of the Archaic period, about 450 B.C., which had been carried off to Rome. But the bodily forms and the sensitive attitude of the boy are perhaps more like the work of those Greek sculptors in Rome in the 2nd and 1st cent. B.C., who sought to combine some of the features of Archaic Greek art with a new observation of the beauty of nude youthful forms. The question is difficult to decide ; but the refined beauty of the figure can be admired apart from its decision. Bronze horse, found in 1849 in the Trastevere district, together with the bronze Bull (headless). Large Vase of fluted bronze, found at the bottom of the sea at Porto d' Anzio, in the time of Benedict XIII. ; handles and foot restored. The Greek inscription on the rim states that it was presented by Mithradates, King of Pontus, to a gymnasium of the Eupatorians. Diana of Ephesus, marble, with the head and hands in bronze. In glass case, ^Bisellium, or magistrate's chair, found at S. Vittorino (Amiternum) and presented by Sig. A. Castellani in 1873; the bronze platings are enriched with designs incised and inlaid in silver ; below are the panels and two feet for a footstool. Two bronze gilt globes. Room XVII. Glass cases and shelves with Etruscan vases and The City.] route 5. — palace of the conservators. 45 bronze objects. In the centre of the room. Group of Etruscan and Italo-Greek vases. On a pedestal, a small silver *Situla or pail, decorated with figures of animals incised in the archaic manner of the 7th cent. B.C., found at Praeneste. Near window, glass case containing I'hensa, or sacred chariot used in religious processions, ornamented with bronze plates in relief, illustrative of scenes from the life of Achilles. Glass case containing *interesting specimen of an ancient litter (Viminal). Under the window, three archaic reliefs in pcperhto repre- senting a stag and two dogs. Weights inscribed with ancient Etruscan characters. Right and left of door, terra-cotta sarcophagi, with female figures. Room XVIII. Protometica, a collection of busts of eminent Italians, with a few foreigners long resident in Rome — Nicolas Poussin, Raphael Mengs, Winckeknann, Canova. Room XIX. In the centre, two ♦Marble Sarcophagi, each con- taining a skeleton, and found in 1889 on the site of the new Palace of Justice. The one on the rt. is inscribed with the name Crepereius Euhodus. The other contains the remains of a girl, Crepereia Try- phaena, as appeared from inscriptions found on the site, dating from the first half of the 3rd cent. a.d. She was buried bearing a gold wreath, earrings, necklace with pendants, set with an intaglio of a gr>'phon attacking a horse, and finger rings, one of them inscribed FILETV8 ; a number of articles of toilet were also found in her sarco- phagus, including a wooden doll, which reposes by her side. At further end of room, a singular kind of shaft or well staircase for entering a tomb, composed of several earthenware cylinders large enough to admit a man, superposed on each other and with holes for the feet and hands of the person going up or down. It was found on the Esquiline, and on the cover is scratched Eoo C. Antonios. It probably dates from the 6th cent, of Rome. Room XX. Headless statuette of Penelope, similar in attitude to the two in the Vatican, but of a considerably later date than either of them (Esquiline). Archaic statue of Victory, headless. Above, small tablet with bas-relief of a nude youth. He appears to be washing his hands in a basin ; the work is archaistic. Torso of a youth with right leg raised, as if stepping into a chariot ; coarse Roman work, but probably founded on a Greek original of about the cud of the archaic period. On either side, two archaic Greek reliefs of the 6th cent. B.C. The one is almost entire, and represents a youthful female figure holding a dove in the rt. hand. The fine, delicately executed folds of her drapery indicate nearly the last stage of the archaic period, previous to the great age of Pheidias. The other relief is a fragment, and represents also a draped female figure, but of a considerably earlier stage of the archaic period, as may be seen from the heavy sleeve and the hair falling down the back. It is instructive to compare these two true archaic Greek reliefs with the archaistic torso of a draped female figure on the other side of the column, where the drapery is alto- gether formal and spiritless. In the window, fragment of colossal foot in marble, on a short column, with relief of dolphins and cupids on the plinth. In a corner, graceful statuette of girl leaning on her knee. We now return towards the entrance and ascend the great staircase. 46 ROUTE 5. — PALACE OF THE CONSERVATORS. [Sect. I. On the landing is a relief, the Apotheosis of Faustina the elder ; and two large slabs, showing tigers attacking bulls, inlaid with variegated marbles, from the basilica of Junius Bassus on the Esquiline. From the top of the stairs a door on the rt. leads into two Ante Rooms. Mosaic of a Roman Galley, with a port and lighthouse. ♦Mosaic of minute tesserae, representing a" lion surrounded by Cupids, with Hercules dressed as Omphale in the background (Porto d' Anzio' 1745) Mosaic of Pluto carrying off Proserpine as she was gathering flowers in Sicily ; at the head of the horses is Mercury, inscribed with Greek names of Pluto's horses (Chthonios, Erebeus, &c.). Mosaic, Rising of the Nile. Corridor. On the rt., First glass cases: Bronze objects; *scales ; triple statuette of the Furies ; standard lamps ; ♦slave's collar, with name on it. Second glass cases: Funeral and sepulchral vessels. Cinerary urn in the form of a hut, with an attempt at ornamentation • on the door, and a bar across, to close it. On the 1., First glass cases : Terra-cottas— lamps, tablets, friezes ; archaic and Italo-Greek funereal supellex from the earliest Roman cemeteries; bas-relief with hippo- potamus, crocodile and pigmies; bas-relief with two female figures pouring out water; votive offerings from the shrine of Hercules, Campo Verano; bowls with a collection of colours used in fresco painting. Second glass cases: Terra-cotta figures from the pediment of an unknown temple, discovered in 1878, 34 ft. below the level of the Arch of Constantino. Third glass case : Glass jars, bottles, vessels for drinking, toilet utensils, beautiful blue smalt tear bottle. At the end of the corridor, Bronze-gilt statue of Hercules (Forum Boarium). • A door on the 1. leads into the Picture Gallery. Room I. Above the pictures are ten frescoes, by Spcujna, representing Apollo and the Muses, removed from Leo X.'s palace of Magliana; SS. Stephen and Benedict, by the same painter; and other subjects* including Cupid and Psyche, by Ann. Caracci, from a garden house attached to the Casino Rospiglioso, demolished during the opening of the Via Nazionale. Tintoretto : Baptism of Christ. Dosso Dossi : Holy Family ('spoilt by unskilful cleammg '—Morclli). Rubens: ♦Romulus and Remus. Room II. (or passage). Vmivitelli : Views of Rome in the first half of the 18th cent. On the rt. is Room III. Right of entrance, A. Nucci : Virgin and Child, with SS. Peter and Paul. Carava{igio : Fortune teller. Between windows on the 1., Guido Reni : Soul rising to heaven (unfinished). At the end wall, Ouercino : ♦S. Petronilla. The lower part of this large composi- tion represents the grave of the martyr, where her body is shown to the Roman Senator Flaccus, to whom she had been betrothed. The Saint's ascent to heaven forms the upper part. The picture suffered much on being removed to France, but has been restored. Returning to Room II. a door on the rt. leads to Room IV. On the rt., Titian: ♦Baptism of Christ (*an early work, ruined by restoration '—Morelli). School of Caravaggio : St. Sebastian. Guido Reni : St. Sebastian. Marcello Veniisti : Portrait of Michel Angelo. Vandyck : ♦Portraits of the brothers de Wael. Velasquez : The City.] route 5. — museo capitolino. 47 I His own portrait (' if genuine, it must be a work of his first period ' — Morelli). Room V. On the rt., Domenichino : Cumaean Sibyl. On the 1., Panola Veronese : The Rape of Europa, Tintoi-etto : Magdalen (signed). Paolo Veronese : Hope. Paolo Veronese : Peace. F. Francia : Pre- sentation, (* Genuine; but unfinished. Some Bolognese artist of the 17th cent, probably completed it, adding several figures and the dog and other accessories. It may have been Francia's last work.' — Morelli.) Room VI. On the rt., Garofah : Holy Family. Garofalo : Virgin and Child in glory, with SS. Francis and Anthony, and view of a sea- coast below. Two portraits attributed to Bellini : not genuine. Cola delV Amatrice : Death and Assumption of the Virgin. School of Botticelli : Virgin and Child, with SS. Nicholas and Martin. MUSEUM OF THE CAPITOL. On the E. side of the Piazza is the MUSEO CAPITOLINO, or Gallery of Sculpture, begun by Clement XII., and augmented by Benedict XIV., Clement XIII., Pius VI., Pius VII., and Leo XII. Ground Floor. — In the Court is a colossal recumbeut Statue op the Ocean, known by the popular name of Marforio, because it stood in the Salita di Marforio {Forum Martis), opposite S. Giuseppe. Upon it were pasted the replies to the satirical witticisms of Pasquino (Rte. 17). Rt. and 1., two Statues of Pan, discovered about 1662 in the Piazzetta dei Satiri, near the Theatre of Pompey. In the Court, Fluted Sarcophagus of Aurelia Extricata, found in the catacombs of St. Sebastian in 1744. On the walls are consular fasces in relief, and many inscriptions, mostly relating to the Praetorian cohorts, discovered in 1751, outside the Porta Salaria, in the Vigna del Cinque. In this Court and the rt. portion of the corridor are arranged the very interesting ♦ Sculptures from the Iseum, near the apse of S. M. sopra Minerva. They comprise two Egyptian Lions in black granite, once at the foot of the cordonata ; two columns of the temple, in grey granite, with reliefs of an Isiac procession ; two kynokephaloi ; a sphinx, with the portrait-head and the cartouche of King Amasis, a masterpiece of Saitic art ; a crocodile, in red granite ; the pedestal of a candelabrum ; fragments of capitals in the shape of lotus flowers ; and other ornamental marbles. Within the portico, on the 1. of the entrance, colossal Statue of Minerva, beside it a fine torso, probably of Bacchus. Sarcophagus, with Bacchanalian reliefs, much mutilated, from the monastery of Campo Marzio. At its further end, a raven, goat, wolf, and panther. Opposite is the lower part of a relief with the Laurentian sow and pigs. By the window, 21 Lower part of a good Phrygian Statue in pavonaz- zctto, from the Arch of Constantine. On the 1. are three rooms containing Christian inscriptions. In the centre of the third is the base of a Monument to Cornelia, mother of the Gracchi, bearing the name of the sculptor, Tisicrates. Returning along the Corridor, just beyond the entrance on the 1., is ^^ KOUTE 5.— MUSEO CAPiTOLiNO. [Sect. I. 33 a large Vase (crater) of black granite, with reliefs in the Egyptian style Further 1., 35 Polyphemus, with a companion of Ulysses wrongly restored as Pan. On the rt., 40 Colossal Pyrrhus, or Mars (so-called), badly restored and disfigured in the 18th cent. It was found i^ TT A^i^ ^^ Domitian, and probably represents a Roman Emperor. 38 Under the wmdow of the end wall, Hercules killing the Hydra discovered at S Agnese, and restored by Algardi', before the discovery! of the origmal left leg (19) with the Hydra, now placed beside the statue for comparison. t .^'^v ^! ^'* i'^^®'' P*^^ °^ * ^^^^^^ Female Statue in porphyry-one of the best and most ancient known. t^ v j j Room rv. In the centre a Square Altar of Greek marble found at Albano, MUSEUM OF THE CAPITOL — GROUND FLOOR. with reliefs of the Labours of Hercules. On the 1., 9, Good Bust of Hadrian, found at Tivoli. Room V. 4 Sarcophagus, discovered, in 1829, in the Vigna Ammendola at the 2nd milestone on the Appian Way; the reliefs represent a combat of Gauls and Romans, the former with torques round their necks like the Dying Gladiator. The Gaulish chief in the centre of the front puts a sword to his breast rather than fall by an enemy. The narrow band of the front of the lid has been skilfully utilised for the bent-up figures of Gaulish captives. The types of the Gauls are well character- ised, with their short beards, moustaches, and long rough hair The action of the chief slaying himself, and of the figure in back view near him, as also that of the Gaul on the extreme left in a nearly sitting posture, IS conceived in an artistic spirit. But the rest of the com* position 18 wanting in artistic style. 11 Sepulchral Cippus of T. Statibus Aper, measurer of the public buildings, with a boar at his feet. On the sides, reliefs of compasses, plummet, a measure of length 16 digits = 4 palms = one Roman foot. In a corner, the 7th Milk- The City.] KOUTE 5.— museo capitolino. 49 STONE on the Appian Way, originally a memorial column to Annia Regilla, put up by her husband, Herodes Atticus (Rte. 42), but turned into a milestone by Maxentius, when he repaired the road. It was afterwards removed to S. Eusebio, and bought bark bv Card. Aless. Albani. Room VI. Large Sarcophagus, found in the tumulus of the Monte del Grano. The Portland Vase, now in the British Museum, was found inside it. On the lid are two recumbent portrait figures. The subject of the reliefs is the story of Achilles when he was recognised by Ulysses and Diomedes among the daughters of King Lycomedes in the island of Scyros, where his mother Thetis had placed him in disguise as a girl. Near the centre of the front he is seizing a sword and shield, ready to join the Greeks ; the drapery falling over his 1. leg and the girl's shoe on his 1. foot are remains of his disguise. One of the daughters of museum of THE CAPITOL— UPPER FLOOR. Lycomedes seeks to restrain him with her hands on his shoulders. On the back is sculptured, in an unfinished manner, Priam bringing gifts to Achilles, and imploring him to give him back the body of Hector. Returning, and ascending the stairs, at the top are finely-preserved Busts (63 and 62) of Marcus Aurelius (rt.) and Septimus Severus (1.), discovered, the first at Civita Lavinia, in 1701, the second at Porto d' Anzio. The room opposite the top of the stairs is the Hall of the Dying Gladiator.— Nearly all the sculptures in this hall were carried to Paris in 1796, and brought back in 1816. 1 * Dying Gladiator. 'There is little doubt that this wonderful figure is a Gaul, as the torque round his neck would indicate. The date of the sculpture is 2nd or let cent. B.C., when designs representing victories over the Gauls became frequent in Greek and Graeco-Roman art. On the Acropolis of Athens was a group of the kind presented to [Rcme.] J I 50 ROUTE 5. — MUSEO CAPITOLINO. [Sect. I. the Athenians by Attalus, the king of Pergamos. Some have thought that the Dying Gladiator may have belonged to that group, but the figures of Gauls, with their strong expressions of the emotions, lent themselves so readily to the artistic taste of the times that there is no necessity for connecting this particular statue with the group of Attains.' — A. S. M. The rt. arm and the toes of both feet have been restored. The arm is attributed to Michel Angelo. I see before me the gladiator lie : Ue leans upon his hand — his manly Inovv Consents to death, but contiuers a^ony, And his droop'd head sinks sjratlually low — And throujjfh his side the last drops, ebbing sluw Yrom the red gash, (all heavy, one by one. Like the tlrst of a thunder-shower ; and now The arena swims around him — he is gone, Ere ceased the inhuman shout which hail'd the wretch who won. He heard it, but he heeded not— his eyes Were with his heart, and that was far away. He reck'd not of the life he lost nor prize. But where his rude hut by the Danube lay, There were his young l)arbarians all at play, There was their Dacian mother — he, their sire, Butcher'd U) make a Roman holiday. All this rush'd with his blood — shall he expire, And unavenged y Arise, ye Goths, and glut your ire I —Childe Ilai'old. John Bell thus describes the anatomy of the Dying Gladiator. * The forms are full, round, and manly ; the visage mournful ; the lip yielding to the effect of pain ; the eye deepened by despair ; the skin 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 ; the shoulders square ; the balance well preserved by the hand on which he rests; the limbs finely rounded; the joints alone are slender and fine.' It was found among the ruins in the gardens of Sallust, and is supposed to belong to a large composition, other parts of which are in the Museo Nazionale delle Terme. On the rt. of the entrance, 5 *Dionysus, misnamed Ariadne, a fine bust. 4 Amazon, rt. arm restored : otherwise one of the best of the existing ancient copies from the original of Polycletus, or his rival in this case, Cresilas (Hadrian's Villa). 3 Head of Alexander the Great. Left of the entrance : 8 Statue of Zeno (Civita Lavinia, in the ruins of the villa of Antoninus Pius). 9 Graceful Figure of a Girl, protecting a dove ; the serpent at her side is a modern restoration. 10 *Faun ; probably the best of the ancient copies of the Faun of Praxiteles to be seen in Rome, arms and feet restored ; found in 1701, near Civita Lavinia, on the site of a Roman villa. 11 Column of Oriental alabaster (Marmorata). 12 *Antinous (Hadrian's Villa) ; a very good example of Graeco- Boman sculpture in the 1st cent. B.C., when there was a prevalent taste for youthful figures with their bodily forms softened down and attitudes more or less sentimentalised. Left of entrance to next room : 16 Marcus Brutus. The City.] route 5. — museo capitolino. 51 Hall of the Faun. — In the centre, 1 Faun in rosso antico (Hadrian's Villa in 1736), more remarkable for its material than for its sculpture. It stands on an altar dedicated to Jupiter. 18 Sarcophagus, with reliefs of the battle of Greeks and Amazons : on the lid, groups of mourning Amazons. Found near Torre Salona, on the Via Collatina. Above, on the rt. waU, is the celebrated Table of Bronze, inscribed with part of the Lex Regia, or the Decree of the Senate conferring the imperial power on Vespasian. From this table Cola di Rienzo ex- pounded to his followers the power and rights of the Roman people. It was in the Bronze Collection at the Lateran. Roman inscriptions, with an interesting series of the Signa Tegularia, or private marks of brick-makers. 16 Boy and Goose, found in 1741 between the Lateran and S. Croce ; in a fine, large stylo of sculpture, the figures of the boy and the goose being kept closely united to avoid masses of shadow, and the realistic effect which is to be seen in the other copies of this subject in Rome {e.g. Vatican), where the figure of the goose is kept well apart from the boy. Probably this group approaches more nearly than any of the others to the original of the sculptor, Boethus, from which they appear to be derived. 8 Boy with Comic Mask, in broad, simple style; lower part of legs restored. 3 Sarcophagus, with reliefs representing the story of Diana and Endymion (S. Eustachio). Over the entrance door. Relief of cars drawn by elephants, leopards, deer, and sheep, led by Cupids, with the attributes of Apollo, Bacchus, and Mercury. Opposite, over the exit wall, front of a Christian Sarcophagus, representing Cupids employed in the vintage. On the 1., 23, 26, 27 Altars, with a rostrum on their front, dedicated to Nep- tune, Tranquillitas, and. the Winds, found in clearing the harbour of Porto d'Anzio, and supposed to have been votive offerings from sailors. Saloon : a fine room, with a heavy painted and gilt roof, in sunk panels, of the time of Innocent X. On the rt., 28 Harpocrates, with his finger on his mouth (Hadrian's Villa in 1744). 20 Apollo, lower part of legs, both forearms, and nose restored : a good copy from a Greek original of the early part of the 5th cent. B.C., probably by the sculptor Kalamis ; another copy is in the Museum at Athens ; and a third in the British Museum. As each of these three ancient copies agree among themselves with extraordinary exactness, it is to be supposed that the original has been reproduced with considerable faithfulness in them all, and that it was a work much prized in antiquity. In all the copies the bodily forms are softened down in detail, but the proportions of a long massive body with comparatively short legs, as also the type of face and treatment of the hair, are always studiously preserved. 19 Amazon, arms modern, head ancient, but not belonging to this figure. Two fluted columns of porta sania marble found near the tomb of Caecilia Metella. The Victories which support the arms of Clement XII. above are said to have belonged to the Arch of Marcus Aurelius in the Corso. 14 A Roman in his toga, called Marius, from which Chantrey copied his statue of Canning in Palace Yard. E 2 52 ROUTE 5. — MUSEO CAPITOLINO. [Sect. I. Down the centre of the hall are statues of 1 Jupiter, in black marble, on a circular altar of white marble (Porto d' Anzio), sculptured with archaistic reliefs of Mercury approach- ing an altar, followed by Apollo and Diana. 2, 4 Two elaborately worked Centaurs, in bwio nwrato (Hadrian's Villa in 1736). On the base arc the names of tne sculptors, Aristoas and Papias of Aphrodisium. No. 4 has his hands tied behind his back ; the original idea must have been to place a Cupid on the back of the Centaur as in other instances. Between them, in contrast with their excess of elaboration, is 3 A figure of the Infant Hercules, in green basalt (Aventine), sculptured with great simplicity, for which, however, some of the credit may be due to the extraordinary hardness of this material. This statue is placed on a square pedestal of white marble, with reliefs representing, on the front, the infant Jupiter suckled by the she-goat Amalthea, in Crete, while the two Curetes dance and make a noise to prevent his cries reaching the ear of his father Saturn ; on the rt, Rhea presenting to Saturn a stone wrapped in swaddling clothes like a child ; on the back, Rhea lying on the ground ; on the 1. Jupiter on his throne. Fragmentarj\ and restored. 5 Aesculapius, in black marble, on a circular aU«r, with re-lief* roprcKcnting a aoorifioo (Porto (V An/io). At A win««e, ko fix Mtoo*. prol)ul)ly fi'uiii >i liwiiplo of Noptuno, rcffoietttiny tMriiiml xnUfftt- montH, with trident prow« of gkllcv« ^nd ockcr Xihxid csnbloxnf^ Omar the entrance door, 110 I^tb of MtJiMir, ibo front ol m MJtooflhBfpu. 110 On rt. waU, Relief of CttUkM TlMdnKCla^ Orphflfai. 115 Aa interment. 114 Conveying a diMd body lollbtfosMnl plW. Ill Sftcri- Hco to Hygieia, in roMMo antioo. 110 FlljpMlkt of «n «n}b«iiiie rtUtf of Hercuk«« followed by thr«o fpMtmm, Tbo ttiitd whon «Us ^ntl hlstotkat:— L^t WBlk. 1 Akoumdor tb« Of«ai. 4, ^ 6 Soemte*. 9 Cammdoi. 10 HolknlKic Pool. 13 Atliw Axlitldos. 17 Uo^ vilb vTMOh sod rfbboM on hn wcl, of tbo tm ol SeopM or PniKitQs; imcribcd miih namo oi Hicco (ICPQN> ^l Dio^iptno*. SS PUto, ifiaerib^d irHb tho nkma oi Axchiekm, m A»€i«pi»di«t. 25 Tbtoa oi Sa^ina, with a Qth^ laKripiion^ dt»oo««r«d At SmyniA in Um iMt otf Uif y. 87 FttUgorM. M B Vltcttlna. 31 V#ifiutan. 33 Tiin*. 28 Juba. bi» dai^btef. foa&a with No. 25 in tbe Villa Caoali. 24 Dootnltiaa. 2& DomSita Longing hh i>nfc. 26 Kcrva (modcra). 27 Tralaiu SH Plntina, bis wife. » Hia siMor Marcriana. 80 Hi» ntec^ MaUdia. 8U »2 Hadrian (Poorto d'Anuo). 88 Julia 8abiAa. bu wlte, w¥lh badly t*aom\ t\omna, with a win^ Maoaa* Ut ^madmotbor 60 Maxixnua. bia aco. 64 GoHian Hu* older. ":4dia& tlMTOUtf^r. 66 PtipivntiH. €9 Philip tho vouxuor ia.portraiti, and appcarix^p Co bcof att «acUisr ttOM. 80 Unknovm be«a ol tho 1st eont. 81 CoiMdanlkit Gbloffva. tt Jnliaa Ibe ApotUto. 88 VaknUniaaoi III., a ifeeiiiiaii «l Iba dit|*ra%\^ ooi»ditioa oT Roman >KulptiirT> in tho 5tb oeet. Corridor.— Tho 6no 3lAua«s Vaak al tho window wm fboai Dcar tho tomb of OMcilia Mct^lloy in lOdO. It ttands om a circular aliar, with rtUiii ol 12 dlvinitlai, kmnd at N y y 8t«afc*d. U. U * M. Lmi^ An*. W O . '«AI$OlO0 viii < O o n o o JO ' — ■ The City.] route 6. — forum romanum. 59 great bend round the populous quarter of the Trastevere, whose most conspicuous churches are S. Maria and S. Crisogono. On the 1. bank, as the stream turns W., are the cliffs of the Aventine, crowned with the churches of S. Sabina, S. Alessio, and the Priorato. Beyond these may be faintly discerned the wooden cross on Monte Testaccio. To the 1. is the Pyramid of Cestius and the linglish Cemetery, backed by. the Church and Campanile of S. Paolo fuori le Mura. In the foreground our circuit is completed by the tower of S. M. in Cosmedin, the Janus, and the round Church of S. Teodoro, at the foot of the Palatine. No mention has been made of the Seven Hills as a feature in the panorama, because since the extensive building operations of late years, and the levelling process of the Piano Regolatorc, their formation is no longer discernible. It is only while traversing the streets which descend to cross the depressions between these classical eminences that the traveller becomes conscious of any perceptible rise and fall. The Capitoline Hill is undermined with extensive artificial caverns — apparently ancient quarries — one of which is accessible. Some of these caverns may be identified with the sacred favissae mentioned by Gellius, by which Catulus was impeded in his design of lowering the area surrounding the Capitoline temple, but they are mostly the work of mediaeval quarry-men. The largest crypts are to be seen in the substructions of the unfinished national monument to Victor Emanuel. During the senatorship of Brancaleone (1251), who destroyed 140 private castles in Rome, the Capitol was besieged and taken by the partisans of the Pope and the nobility. In 1346 Petrarch was crowned with laurel on the Capitol ; which was also the scene of the triumph and of the death of Cola di Rienzo, Tribune in 1347, killed in 1854. ROUTE 6. The Forum Romanum, with the Churches built upon its ruins. The entrance is in Via delle Grazie, on the S.W. ; on week days 1 lira, Sundays free ; from 9 a.m. to sunset. For the feast days, when the Forum is closed to the public, see p. [36]. The FORUM ROMANUM was a parallelogram or oblong space, ex- tending N.W. and S.E., with its longest measurement (about 230 yds.) from the Rostra at the foot of the Capitoline hill, to the Regia at the foot of the Sacra Via, opposite the temple of Antoninus and Faustina. The breadth of the open area is about 80 yds. ; but the whole space was so limited by the monuments placed around and within it that the impression produced upon the visitor is that of surprise at the small- ness of the area in which so important and so varied affairs were 60 KOUTE 6. — TEMPLE OF SATURN. [Sect. I. transacted. The plot of ground which it occupies was originally a marsh, drained and made available for building purposes by means of the Cloaca Maxima. Besides being much encumbered with public buildings, the Forum was surrounded with shops (tabemae), having projecting galleries over them; in such open space as remained was held one of the first gladiatorial fights, in B.C. 216. The statues which crowded the thoroughfares were also at one time so numerous that Rome was said to have two equal populations— one in flesh and blood, the other in bronze and marble. In the middle ages the Forum acquired the name of Campo Vaccina, from the cattle sold in the market. Foot passengers usually approach the Forum from the Capitoline Hill, descending the paved Via del Campidoglio, on the W. of the Palace of the Senator, or else the steps on its E. side. From either side there is a fine ♦view of the Forum. Proceeding on the W. side until this view is obtained, on the 1. we see the three fluted columns of the Temple of Vespasian, the Arch of Septimius Severus, and the eight unfluted columns of the Temple of Saturn. Beyond is the Column of Diocletian, and below, in front, the Basilica Julia, backed by the three beautiful columns of the Temple of Castor. To the rt. are the bare brick walls of the Temple of Augustus, above which rises the Palatine. Below the Palatifte are the scattered ruins of the Temples of Vesta and Julius Caesar ; more to the 1. on the further side of the excavated area are the Temple of Faustina (S. Lorenzo in Miranda), and the round Temple of Romulus (SS. Cosma e Damiano). Beyond these are seen two arches of the Basilica of Constantino, the Church of S. Francesca Romana, the Arch of Titus, at the summit of the Sacra Via, and in the distance the Colosseum. Having passed down the path from the entrance in the Via delle Grazie, we return along the excavated area until the foot of the Capitol is reached. On the 1. (S.) is the ♦Temple of Saturn, conspicuous by its Ionic portico, the construc- tion of which indicates a late restoration carelessly carried out with old materials. The columns, six in front and one in addition on each side, are of granite, the capitals being of white marble. The architrave bears the inscription : senatvs . popvlvsqve . romanvs incendio . con- SVMPTVM . RESTiTviT. The Temple of Saturn was of early origin, and was used as the treasury of the Roman people. It was restored by Munatius Plancus under Augustus. Julius Caesar broke into it in order to possess himself of the treasure of the state. Tristi spoliantur tenipla rapina Pauperiorque fuit tunc prinium Caesare Roma. (LUCAN, Phars. ili. 107.) Some much-worn steps of white marble, resting on massive blocks of travertine, facing the end of the Sacra Via, may have led to the door of the treasure chamber. The Saturnalia, or Dedication Feast of this Temple, is the origin of the modern Carnival. A little to the rt. (N.) of the Temple of Saturn, under the protection of a wooden cover, tufa blocks with a red coating are to be seen — remains, brought to light in 1898, of the Volcanal, the most venerated The City.] route 6. — temple of vespasian. 61 monument in the Roman world, the altar which Romulus consecrated and adorned with a bronze quadriga, a war trophy, and his own crowned statue. Deep was the worship given in Rome at this primi- tive altar, on which none but fresh water fish were sacrificed, a certain proof that the early Latins had never lived on the sea shore. But gradually the new buildings on this side of the Forum caused the once vast Area Vulcani to become constantly narrower, and with the erection of the Temple of Concord and of later monuments, the sacred site was almost entirely concealed. Nothing was to be seen, in the time of the Empire, of this roughly-worked archaic rock, which reminds us of the deity who accumulated solar heat in public granaries, or in metallurgic fire, and was so deeply revered by those who began the era of the metal-civilisation. But the worship of Volcan was still held on this very spot, and is testified by the inscription on a large marble slab dedicated by Augustus to the fire-divinity in the year 9 B.C., brought to light in 1548, near the recently discovered primitive altar. At the S. side of the Tabularium is a series of celiac, with a Corinthian portico, which has been repaired since its excavation, with an inscription recording the restoration by Vettius Praetextatus (pro- consul of Achaia under the Emp. Julian), of the images of the Dli Consentes, a.d. 367. These gods were twelve, and it is thought that the intercolumniations, some of which are still concealed under the modern road, were originally of the same number. Next is the ♦Temple of Vespasian, erected about a.d. 94 in honour of the deified Emperor, with whom Titus was afterwards associated. The ruin consists of the substruction, from which the facing of stone and marble has for the most part been removed, and of three Corinthian columns of Carrara marble, which supported the E. corner of the portico. The fragment of the entablature bears the letters (r)estitve- r(vnt), the end of an inscription which recorded a restoration by Septimius Severus and Caracalla; and sculptmed on the frieze are sacrificial devices, the knife, axe, hammer, patera, horse-tail for sprinkling, and flamen's mitre. This all belongs to the original temple, the work being far too well executed for the time of Severus. These columns were formerly buried nearly to their capitals; they were cleared by the French in 1807, and the basement rebuilt. It may be observed that the steps of the temple were continued in the intercolumniations, on account of the want of space between the road and the Tabularium. Bbhind the temple is seen the fine late Republican masonry of the Tabularium. An ancient arched doorway in this part of the wall, leading to a staircase, was closed by the erection of the temple, the wall of which is built against it. Between the Temple of Vespasian and that of Concord is a passage about 8 ft. wide, at the end of which was found, in 1829, a small brick Sacelldm, possibly dedicated to Titus. A marble pedestal, erected in honour of the deified Empress Faustina, by the bailiff of her treasure, found near this spot, has led to the error that this little shrine was dedicated to Faustina. Against the Tabularium stood also the Temple of Concord, originally built by Camillus to commemorate the reconciliation of the patricians and the plebeians upon the concession of one of the consulships to the 62 ROUTE 6. — THE ROSTRA. [Sect. I. latter (b.c. 367), and rebuilt by Opimius (b.c. 121) after the triumph of the oligarchic party over C. Gracchus. The existing ruins date from the restoration by Tiberius during the life of Augustus (a.d. G-12). What remains is the substructure of a large cella of greater width than depth, and of a wide projecting portico, from which a lofty flight of steps led down to the Rostra. Pait of the coloured marble pavement of the cella, its threshold of marble, some of the marble lining of the interior walls, and the remains of the pedestals of several statues may be seen. The unusual form of this temple is to be explained by the restricted space available for its construction. The cella was apparently made exceptionally wide on account of the meetinp of the Senate, which were occasionally held in the greater temples, but especially in that of Concord. It was in the older temple, that of Opimius, that Cicero convoked the Senate to hear his exposure of the Catilinian conspiracv, after the arrest of the conspirators left in Rome, the principarof whom, Lentulus, was led into the temple by the consul himself. Some fine fragments of the frieze of this temple, as well as that of Vespasian, were restored by Canina, and are to be seen in the corridor of the Tabularium. The Rostra.— Excavation has caused a great change of opinion as to the orator's tribune, adorned with a balustrade, numerous statues, and the beaks of ships captured in war. The large blocks of tufa near the arch of Severus, having along the walls fronting the Forum grooves for metal pilasters, and deep holes indicating the position and number of the rostra inserted therein, were believed to be the remains of the celebrated platform on which Cicero spoke against Antony, and to which his own head and hands were afterwards .fixed at Antony's com- mand. This is not the case. Nearer to the Temple of Concord and the Temple of Saturn the Rostra Julia were brought to light in 1898 ; eight perfectly preserved small tufa arcades, evidently the suggestum of the tribune as represented on the coin of Lollius Pulikanus. The building, of opus incertum, is of great value for the study of Roman con- structions, and the coating of opus signinum causes us to believe that water flowed not far away. Tlie Bostra Vetera, the primitive tribune erected on the Coinitiutn, whoso use had been under the control of the Curia, had come to be the platform for aggressive demagogues. In the year 45 B.C. Julius Caesar moved the tribune nearer to the Volcanal and the Temple of Concord, two monmnents with which he desired specially to associate himself and his policy. On those rostra, adorned by the rich statues of himself, of Sulla and of Pompey, where twice he refused the royal crown, subsequently lay his own bleeding body. The simple construction of Julius did not satisfy his adopted son, the splendid adorner of Rome and of the Forum. The awful memories those rostra called forth could not please Augustus, who desired the platform to dominate, by its central position, the whole of the Forum. No word about the Rostra did Augustus leave us in the Monumentum Ancyranum, but surely a second removal of the tribune must have taken place in his time, and the remains, nearer to the Arch of Severus, are, no doubt, those of the building he caused to be erected. Especially worthy of notice is the herring-bone flooring {opus spicatum), and the whole construction is evidently the work of Augustan artificers. A relief on the Arch of The City.] route 6. — arch ob' tiberius. 63 Constantino shows these Rostra with their balustrade, a statue at each end, and the emperor haranguing the people below. Nearer still to the arch of Severus a prolongation of the tribune is now to be seen. Until recently, a modern coating partially concealed the conjunction, and also the holes for the beaks of ships captured in war, from which the word rostra is derived. The work seems to belong to the 6th cent. A fragmentary inscription reminds us of Ulpius Junius Valentinus, praefect of Rome in 468. Probably the new edifice was meant to be adorned by the naval trophies; taken in the beginning of the adventurous war against Gensericus. This later part of the Forum tribune may be called the Rostra Vandalica. Near the Temple of Saturn was the Milliarium Aureum, a mile- stone sheathed in gilded bronze (u.c. 2*J), on which were written the distances of the principal provincial towns from the gates of Rome. A curved plinth and floriated frieze, supposed to have belonged to the pedestal of the pillar, have been placed conjecturally upon the spot on which they were found, but the sculpture is inferior to that of the .\ugustan age, and probably Ixilongs to a restoration by Severas. The pillar is studded with holes and stumps of the pins which fastened on the sheathing. Here Otho met the band of soldiers who proclaimed him emperor. To the 1., where the road pauses immediately in fi'ont of the Temple, is a remarkable piece of basalt paving —the finest and most carefully fitted in the Forum. Close by was the Umbilicus Romae, a concrete structure of the 3rd cent., faced with brick, consisting of three superimposed cylinders, the highest one being broken off. Fragments of lain marble lining are still to be seen. The lowest is ft. high and 17 ft. in diameter ; the second, 4^ and 15. Both, being built up against the Graecostasis, show but half their circumference. The top one was 3 ft, high. The Umbilicus denoted the central point of the city, as the Omphalos did at Delphi. The "^Graecostasis is a curved platform of concrete, faced -towards the R'jstra with beautiful slabs of porta santa, portions of which remain, divided by pilasters of affricaiio. At its base is a white marble plinth. The floor of the terrace was of travertine. It was u.sed as a platform for ambassadors waiting to be admitted into the adjacent Curia, and was restored by Antoninus Pius and Diocletian. These remains occupy a different site to that of the earlier Graecostasis mentioned by Varro and Cicero. The Arch of Tiberius. — Beside the Rostra Julia, and so near that two of the cells have been cut away to make space at the southern end, is a concrete foundation, 30 ft. long by 20 ft. wide. It belongs to the small decorative arch erected by Tiberius to record the recovery, in 16 A.D., of the standards taken from Varus ; as Tacitus says : ' ductu Germanici, auspiciis Tiberii.' Near by are collected several archi- tectural fragments, some of them discovered years ago, others during the recent excavations. They also belong to this arch, which stood exactly in a line with the Arch of Augustus, consisted of one opening only and did not span a street. The road running in front of the Basilica Julia did not pass under the arch of Tiberius. Adjoining this arch, near its front, cloie to the Rostra Julia, a little 64 ROUTE 6. — MAKBLE WALLS. [Sect. L chamber is to be seen. There are traces of a bench along the wall and o Llt'r^^ ?''• ^\^ :V,^°^ *^" ^^^^1« pavement exhibits evidences ?i ?r f co°*a»ifd tables or statues upon pedestals. This mav be Identified with the Schola Xanthi, aA office of the scribTr Ud found in the 16th cent. ; it records the restoration, and the erection of Beven silver statues of gods, by A. Fabius Xanthus and others Nearer the centre of the Forum, discovered in 1872, are two ♦marble ^ol^ Z ^I'h ^^^lP*^^«d oji both sides in relief, and surmounted with a richly moulded cornice. There are no indications to show what the use fn^l^rrif'^' walls was, or even their original position. On the two fh« r!^ f .f \^^n ®' appear the three sacrificial animals-the boar the ram, and the buU-adorned with fillets and wreaths. Their joint sacrifice, called the Suovetaicrilia (sus, ovis, taurus), was performed in specia connection with the Census. On the out^r sides the back grounds display an interesting view of the monuments of the Forum The rehefs towards the S. represent the burning of some tablets befoTe a personage seated on the Rostra to the rt., whole figure has been lost fh« t'T'^' the remission by Trajan of certain arrears of taxes due to Tn J«To J' ^^^^'^i^u^T Z^ ^^^ ^^^^' ^^i^g ^^'^ publicly burned. V JnaL^'^.f ''''''^ ^^^'^^ ^^? ^'''^''' '^ *^« Corinthian portico of Vespasian; then an arch, probably that of Tiberius, across the Sacm ^i«i,-^^°r^' -r". P^'*'"^ °^ ^**^^"J <^b«" the long line of tl^ Basilica Julia with its Tuscan half-columns. In the 1. foreground s the statue of Marsyas, a naked figure with a wine-skin (Horace. SaL, I In^^'^''^ * ^In^'^^A.P'^^^^y tbe self-sown tree mentioned by PI ny t^^h J""^- ''''• ^^^' ^^^ '^^'^^ ^^^°8 *^« Capitol displays two^oupl^ S.f^! a personage surrounded by lictors addresses a crowd from the w,i^5\- ^^^..'^t. a figure is seated on a curulc chair, with attendants behind him. while in front is a female holding an infint. This group resembl^ some coins representing the Emp. Trajan, with Italia and her children and commemorating his institution for the relief and education of the children of poor or deceased citizens {pueri alimenfarii) The statue of Marsyas and fig-tree on the 1. of the other reliefs are frr'?h«*^.K^' •'.• This probably indicates that the view is taken from the other side of the Rostra; in which case the monuments represented would be those on the opposite side of the Forum, i,e. the Basilica Aemiha, the Curia, and an arch, of which nothing is kiown. Some yards further S. is a ruined pedestal suitable for an equestrian ^^w; 5^^%'T^^"' ^""^^^ * l^te date, and may belong to the CabaUus Constantim, mentioned in the Itinerary of Einsiedeln. In front of the Basilica Julia are seven brick pedestals for honorary columns like that of Diocletian. They are represented in one of the reliefs of Constantine s Arch. Some of the huge columns are lying on the pavement close by. ^ ^ The site of the Tabernae Veteres is still a matter of discussion. These were shops, with a portico towards the open space, surmounted by galleries (moenmrm) for viewing the games and gladiatorial combats, which, as late as the time of Augustus, took place in the Forum A wmilar row of shops in front of the Basilica Aemilia was called* the «KRS^ The City.] route 6.— arch op septimius severus. 65 Tabernae Novae. At the end of the paved area are some remains, apparently of a late time. The site was probably that of the Tribunal Aurelium mentioned by Cicero. We now reach the *Arch of Septimius Severus, dedicated, as the inscription shows, in a.d. 203, to that Emperor and his sons Caracalla and Gota, Caesars, in memory of their Parthian victories. The words in the fourth line, optimis . fortissimisqve . pbincipibvs, were substituted for the name of Geta, after the murder of that prince by his brother Caracalla, in a.d. 212. The original letters have been traced as follows: p . septimio . getae . nobiliss . caesari. The material of the arch is Pentelic, that of the columns Hymettian marble. Standing on a higher level than the Forum, the central archway is approached by a slop- ing road, and the two side arch- ways have steps cut in the base of travertine ; but it is clear that neither the roadway nor the steps belong to the original condition of the monument, which stood on a higher level, and may have been approached from the Forum by an independent flight of steps. On the pedestals of the eight columns, four on each face, are reliefs of barbarian captives led by Roman soldiers. Over the side arches are reliefs executed in a style showing the decline of art. The narrow compartment, running immediately over the archas, represents Roma receiving the homage and spoils o'f the East. The four larger compartments represent on the side towards the Capitol, rt. the entry of Severus into Babylon, and the second siege of Atrae (a.d. 199) ; 1. the passage of the Euphrates, and the capture of Ctesiphon ; the flight of Artabanus, the Parthian king, and the surrender of the Arabians (a.d. 201, 202). On the face towards the Forum, 1. the raising of the siege of Nisibis (a.d. 195), and the taking of Carrhae, in Mesopotamia; rt. the siege of Atrae in Arabia (lettering- ram in use), and the surrender of Abgarus, king of Osrhoene. Over the principal arch on each side are winged Victories, and beneath them the genii of the four seasons. It appears, from coins of Severus, that the arch was surmounted by a chariot with six horses, and equestrian statues at the four corners. The entablature is badly pro- portioned, and the projections over the columns of the arches are too heavy. About 775 the Church of SS. Sergins and Bacchus, which hariB6v — was found in situ, its whole superior part having been violently broken. The ruinous state of the cippus, and of the whole simple and yet vigorous Etruscan stone- work, speaks only too plainly of injuries by barbarian tribes. The venerable remains were embedded in a layer of different strata ; the third one a mixture of cinders, humus, and plentiful and various votive offerings. Of the Niger Lapis Festus spoke in his compilation of Verrius Flaccus, but his words have not reached us intact, and'Paulus Diaconus does not afford any help. It seems as if an allusion to the grand rectangular bases were contained in the words of Varro and Dionysius. But nothing is clearly said about the truncated column, or about the inscribed tufa cippus, which has been so violently damaged as to render still more difficult the interpretation of this most obscure relic of Latin epigraphy — the oldest in Rome. The de- stroyers worked deliberately, and their sacrilegious profanation had to be subsequently expiated by the sacrifice of the young of various animals, and the offering of numberless funereal objects. The profana- tion and the expiation are evidenced by the precious votive offerings. Buccaro vases of every shape, bronze figurines of Archaic type, half- charred jaws of animals, numerous pieces of vases and of small terra- cotta statues of exquisite Graeco-Etruscan workmanship ; a fictile tablet, fusarolae, pieces of copper, weights, dice, pearls, remains of personal ornaments and of iron weapons, with many other ex-votos, have been found. We are not in a position to speak positively concerning the inscribed F 2 . 68 liOUTE 6.— COLtMN OP DIOCLETIAN. [Sect. L eippiis. Much has yet to be learned. The most profound knowledge of early Latin history, glottology and archaeology is required. The final decisive word may never be spoken ; the only indisputable light will be derived from new topographical investigations and the analysis of adjacent strata. Column of Diocletian. — The beautiful white marble column, with its Corinthian capital, was for long the only visible relic of the Forum. In 1813 the pedestal and inscription were brought to light, and three years later the whole monument was excavated, at the expense of the Duchess of Devonshire. According to the inscription the column was erected in honour of the Eastern Emperor Phocas by the Exarch Smaragdus. But a closer inspection, undertaken in 1903, showed traces of much older writing. The Exarch merely placed a statue of Phocas on the top of the column. Now the pure original lines of this graceful Corinthian pillar can fully be admired, having been freed, on the northern and western side, from the unsightly base, which was altogether out of proportion. !Most likely the column was a memorial of Diocletian's important works of reparation after a very destructive fire. The original base, belonging, no doubt, to the be- ginning of the 4th cent., is very handsomely worked. The inscription to Phocas had been several years discovered when Byron spoke of the pillar as ' the nameless column with a buried base.' Subterranean Passages. — Caesar was too perfect a politician not to wish to captivate the powerful democracy by every means in his power. The rich buildings which Suetonius mentions, the handsome basilica ^ inter aedem Castaris et aedevi Saturni,' were not sufficient for the populace, who demanded amusements. Julius fulfilled their desire by making the Forum the theatre of various scenes much richer than had ever been seen there before. This has been proved by recent excava- tions, A system of underground passages, having the Caesarian orientation, was cleared in 1902. The passages (cuniculi), 7 ft. high and 4 wide, occupy the whole central area, and a passage, running under the longer axis, is cut at right angles by four transverse corridors. Square spaces are to be seen showing traces of pine and elm wood settings, of windlasses, and of tracks left by ropes. The complicated subterranean work was, no doubt, of great help during the gladiatorial spectacles, or other performances granted by Julius to the populace. Not far from the Niger Lapis, near the line of division between the Comitium and the Forum, are many irregularly-shaped pits, of rectangular or polygonal form, having the old solar orientation. The bottom is of natural ground, while the sides are lined with tufa slabs and have at the top a groove for a lid. Many similar ones, having the new orientation, have been recently discovered in front of the Rostra and the Basilica Julia. They were full of earth without any ritual remains, having, no doubt, been expressly cleared of such many centuries ago. The pits were probably used for ritual libations during the ceremonies of inauguration ; very likely those near the rostra are connected with the great changes made in the Forum by Julius Caesar, when he moved the liostra from the old site and also abandoned the old orientation. The Republican buildings made an angle of some thirty degrees with the richer Imperial structures. The City.] boute 6. — the curtian lake. 69 Another series of pits has later been found running beneath the Temple of Julius Caesar. The Curtian Lake. — Livy relates that a gulf opened in the Forum, and that earth, being poured in, did not fill it. The augurs being con- sulted, demanded a sacrifice. Marcus Curtius, a valiant young soldier, offered himself. Armed on his charger he precipitated himself into the abyss, and was followed by the innumerable offerings of grateful Romans. Then the earth closed. This legend, which spoke to Roman hearts of supreme devotion, and passed un- forgotten from the Kingly period, through the whole span of the Republic, to the Imperial Age, must have had an historical basis. Near the elegant Corinthian column of Diocletian a vast trapezoidal keel, 20 Roman feet broad and 30 long, was recently unearthed. A travertine bank encloses the whole sacred spot, near which Galba met with an ignominious death. The solid foundation is formed of many superposed tufa strata, and has quite a peculiar orientation, so as to oblige the flanien to turn always southward. Small ritual pits are also to be noticed, and traces of square pedestals and of altars. The crowned statue of Marsyas was erected near the altar of Curtius, and the precious fig-tree and other plants were religiously cultivated not far away. New light will certainly be thrown on this, the noblest of Roman symbols, by future explorations revealing the innumerable offerings concealed in the abyss, and showing when first the sacred lake fell into oblivion. Colossal equestrian statue of Domitian. — Many are the verses consecrated by Statius to the huge equestrian statue which Domitian caused to be erected in his own honour in the centre of Roman life. The poet beautifies, adulates, magnifies — he always does — but certainly his description is not quite untruthful. He lived in Rome at the time when the Forum was adorned with this bronze colossus, and wrote immediately after its erection. The gigantic figure of Domitian looks over the tops of the temples. His right arm is extended, while the left hand supports the Tritonian virgin. In front of him is the heroon of Caesar; the temples of Vespasian and Concord are behind, the Basilica Julia on his right, the Basilica Aemilia on his left. The valiant charger suits his imperial cavalier. Not far away from the celebrated CurtUacus, at 3 ft. below the present Forum plat- form, a vast substruction was recently discovered ; and somewhat higher three travertine slabs, which appear to have supported, by means of metallic poles, the powerful legs of a horse six times the natural size. The horse must have stood with the right fore foot raised. Statius says that, with head thrown back, the fiery animal, pressing with his bronze hoof the current of the conquered Rhine, threatened to rush forward. The poet prophesied eternal life to the imposing monument, which time alone could surely never have destroyed : . . . stabit dum terra, polusque, Dum roinana dies. The poet could not foresee that in the very year of his own end the dagger would prostrate his protector, and that the Senate would hasten to decree the destruction of every statue, and the erasure of everj^ inscription, to \,k^ hate^ emperor, , 70 ROUTE 6. — TEMPLE OP JULIUS CAESAR. [Sect. I. When the poor fragmentary remains of the colossus were excavated, a most interesting discovery was made of a document proving that the rites followed by the flamines were quite as ancient as Rome itself. Very deep in the huge substruction, under a travertine slab, a square space was brought to light. Five perfectly preserved vases were found therein, not differing from those unearthed in the Forum tombs. The largest of them contained a piece of native gold. A similar offering was made during the reign of Vespasian to the temple of Jupiter Capitolinus. ' Iniectae fundamentis argenti aurique stipes et metallorum primitiae nullis fornacihus victae sed ut gignantur.' Equestrian statue of Q. M. Tremulus.— It is known that a monu- ment was erected in honour of Q. Marcus Tremulus, the valiant consul who defeated the Hernicans in 306 B.C. Cicero and Livy say that the statue was * ante Castoris ' ; Pliny writes that it was an equestrian statue ' togata ' (with toga) but * sine tunica ' (without tunic). Not far from the temple of the divine brothers and just in front of the altar of Julius Caesar, a vast substruction, and remains of the traver- tine plinth, and of the grand marble pedestal, were recently exposed. Temple of Julius Caesar. — Conspicuous remains are here to be noticed of the Temple built by Augustus, in the year 42 B.C., where the body of his adoptive father was burnt: ' aedem divi ivli . . . feci.' The heroon had a unique plan, and was erected upon a lofty sub- struction facing towards the Forum and the Capitol. rt semper Capitolia nostra Forurnqtie Divus ab excelsa prospectet Julius aede. (Ovid, Met. xv. 841.) A coin of Octavian shows the Temple with the foreboding comet on the tympanum and the cella with Caesar fixing his eagle eye on the Arx, the augur's wand (lituus) in his right hand. The Temple was burned in the time of Septimius Severus, and promptly rebuilt. Until 1898 no traces were to be seen of the altar sacred to the memory of the murdered dictator. Near the column of Numidian marble marking the site of the funereal pyre, an altar was raised at which grateful Romans offered rich sacrifices and heartfelt worship. Owing, however, to the internecine struggles which tormented Rome this altar was soon destroyed. Long raged the tumultuous populace until the triumviri decreed a new altar to their idol ; the same altar on which, by an Augustan order, 300 rebels, taken prisoners at the siege of Perugia, in 41 B.C., were immolated. A poor block of concrete is all that is left to us of the precious monu- ment, the base of the strong empire created by Julius, so barbarously damaged by mediaeval ravagers. Here also are the remains of the Rostra of Julius Caesar, the platform built in front of the heroon, at a somewhat lower level, and having steps on each side and a concave hemicycle in the centre. Its front was ornamented with the prows taken in the battle of Actium. Their holes are still to be seen. Some coins of Hadrian show the emperor addressing the crowd from these Rostra, which were often used for public orations, especially at the funerals of members of the Imperial family. The Arch of Augustus. — Very few remains are left of the Arch which was erected to Augustus in 19 b.c, to commemorate the recovery The City.] route 6. — temple of vesta. 71 of the military ensigns which had been lost in 55 B.C. during the Parthian war ; it was represented on some coins adorned by a quadriga. A marble inscribed block from its attic was found in the 16th cent. The foundations, consisting of great travertine blocks, showing that the arch was a triple one, with the central opening 14 ft. wide, were discovered in 1888. During recent excavations large portions of the marble bases, exactly fitting the foundations, have been brought to light. They were identified by the character of their mouldings and, supported by modern brickwork, have been replaced in their original position. The Regia. — Over and over again had explorations troubled the remains of the Regia, that most venerated spot, where kings lived in splendid dwellings and the college of pontificcs and jlamines officiated, where ritual instruments were carefully kept, and mysterious ceremonies reverently performed; but almost in every case the attempt proved totally fruitless. Nothing but a' few blocks of marble had been found of this precious monument. Much has now come to light of the sacred edifice so splendidly reconstructed by Domitius Calvinus in Julius Caesar's lifetime : on the northern side of the building a trapezoid and its steps, forming the curbstone of the Sacra via, and also a part of the marble pavement of the vestibule, and numerous wells lined with tufa slabs. In the second hall facing the entrance, the yellowish blocks of the floor surround a truncated circular structure of grey tufa, whose segments rest on a stratum composed of earth and fragments of rough pottery. This is, no doubt, what remains of the sanctuary of Mars, where two wooden rods with metal points were religiously kept, the sacred spears dedicated to the Latin and Sabine Mars, frequently referred to in classical literature as signalling seismic disturbances and foreboding impending disasters : * hastae Martis in Regia sua sponte inotae,* The western travertine wall of the place, where the sacred spears were suspended, rises from the lower level of the handsomely paved adjacent space, the office occupied by the Kalatores pontificum and flaminum. Against the western wall of the building a small square tufa construction has been discovered, most likely the basis of an altar ; and close to it a storepit in the form of a dome, with neatly worked grey tufa walls and a bottom of well-laid earthenware concrete {opus signinum), which contained earth mixed with the bones of animals, fragments of vases and pens {stili), and an oaken tablet. Both altar and storepit are precious remains of Ops Consiva, the primitive deity to whose shrine only Vestals and the Pontifex Maximus had access. Most likely the storepit was a subterranean granary, protected from heat and damp, a well- adapted place for the sacred far, the grain so frequently alluded to in Roman ritual laws. Further on are the remains of the round Temple of Vesta, fre- quently destroyed and restored in the same form. The entrance faced the S.E., opposite to the House of.the Vestals. Horace speaks of an inundation of the Tiber having threatened these buildings. Vidimus flavum Tiberim, retortis Littore Etnisco violenter undis. Ire dejectum monunieuta regis Teniplaque Vestae.— <0(/. I. ii. 13.) 72 RUUTE 6. — TEMPLE OF VESTA. [Sect. I. The flood of 1870 also reached to this part of the Forum. The Temple, according to tradition, was built byNuma Pompilius a.u.c. 39, and dedicated to Vesta, the goddess of fire. Past excavations had not told us much of the Aedes Vestae, the most sacred of all Roman shrines, where the virgin priestesses care- fully guarded the ever-burning fire which symbolized the family hearth. It was especially precious to the Romans, who believed the worship of Vesta to be the basis of their religion, which regarded the State as one household. The building, originally round in shape, and with a dome in imitation of the early Italian hut of wattle with a thatched roof, has lately revealed many of its secrets. The masonry core, fifty Roman feet across, consisting of concrete strata covered by enormous tufa blocks, had been pierced through by mediaeval destroyers. The cclla stercoraria has been brought to light, in which were probably kept the ashes of the sacred fire, removed once a year to the altar of Ops on the Capitol. What had come from fruitful earth had to return to her again. The trapezoidal shape of the central vault, having the acute angle to the S.W., recalls the form of Roma Quadraia and of all very ancient Roman sacred buildings. It was found filled with earth mixed with fragments of marble and pottery. Hie locus est Vestae qui Pallada servat et iguem. (Oviu, Tntft. III. i. 28.) The State relics, the sacred documents, and the precious pledges of empire, were most carefully preserved in the sanctuary of Vesta, which was not an inaugurated temple but a sacred edifice. The white-robed maidens guarded also the fateful Palladium, and the Penates, saved by Aeneas from burning Troy. During the excavations the round platform of the podium was brought to light, with a quadrangular pit showing no traces of decoration or plaster, and having no masonry at the bottom, so that the fire might burn in uninterrupted connection with mother earth. The limits of the teinenos were also unearthed, and the tufa walls, once covered with delicate opus alharium. The various restorations of different ages could easily be recognised. Traces can be seen of the Flavian opiis incertiim, of the restoration due to Lucilla Augusta, the daughter of Marcus Aurelius, and of the late Imperial work ordered perhaps by Julia Domna. The symbolic building imderwent many changes, and was several times a prey both to fire and flood. Many sacrificial remains have also been discovered : cinders mixed with charred pieces of wood, extinguished by libations, and therefore not the remains of the ever-burning fire, and traces of sacrifices of the boar, ram, and bull {suovetaurilia), and of sacrificed dogs of the same breed as the shaggy animals of the Roman campagna, and numerous pot- sherds. On one of these the profile of a woman has been roughly outlined, possibly three or four centuries before the Christian era, by the unskilful hand of a maiden consecrated to Vesta. Some parallelopipedons have also been found, probably loom weights, and a curious piece of a concave perforated terra-cotta disc which may have borne the burning embers of the annual ceremony when the Pontifex Maximus rekindled the extinguished flames, and The City.] route 6. — house of the vestal virgins. 73 the daughters of Rome carried the fire to the sacred hearth by means of a vessel. Graceful hellenistic statuettes, and undecipherable coins have also been found. When removing the bank of earth under the church of S. Maria Liberatrice, many architectural fragments of white Luna marble were brought to light. Among them were remains of the cornice and of the capitals, of the wedge-shaped segments forming the roof of the colonnade, and of the panels of the cornice ; all of them most valuable in showing how the circular shrine really appeared in the days of its glory, A few steps beyond this is a Shrine (10 x 7 ft.), whose white marble entablature is placed near and bears the following inscription : — SENATUS . POPULUSQUE . ROMANUS . PECCNIA . Pl'BLICA . FACIENDAM . CUBAVIT. From its position it should probably be assigned to Vesta. The discovery of the ♦House of the Vestal Virgins in 1883-4 is chiefly due to Guido Baccelli, then Minister of Public instruction. This building extends for some distance S.E. of the Temple of Vesta, whose vicissitudes, as regards burning and restoration, it seems to have closely shared. The Vestals, at first four in number, were afterwards increased to six, and selected from girls of patrician families between 6 and 10 years of age, who were required to be free from every defect. The duration of the vestalhood was 30 years, after which the Vestals were allowed to marry, but there is no instance on record of any of them having done so. Their essential duty was to watch by night and by day the sacred fire in the Temple, and to guard the Palladium, saved by Aeneas, from the burning of Troy, and other relics. If the fire were permitted to go out it was considered a bad omen for the city, and the Vestal allowing it was flagellated ; if one broke her vows she was buried alive. The fire was, however, solemnly extinguished on New Year's Day (March 1st), and rekindled by the Pontifex Maximus. When Augustus gave the Vestals (b.c. 12) the residence of the Pontifex Maximus which adjoined their house, preferring himself to live on the Palatine, they rebuilt the premises on an enlarged scale. The Atrium was a large open court, 71 by 221 ft., surrounded by marble columns of great bqauty, such as breccia corallina, of which two are in situ, and by rooms in two stories. In the central pavement are the outlines of a circle within an octagon of brick, the intervening space having eight divisions. In the Atrium are also a weU and a fountain. Here are placed portrait statues of the Vestals, and pedestals with inscriptions, but it is not known to which statues they respectively belong. The statues are mostly of Parian marble and of the 3rd or 4th cent, but not remarkable as specimens of art. The most perfect among them have been removed to the Musco delle Terms (Rte. 21). The pedestals are fifteen in number, all bearing inscriptions stating to whom and by whom they were dedicated ; one to the chief Vestal Terentia Flavola by her brother Quintus Lollianus, his wife and daughter ; another to the chief Vestal Praetextata by Julius Creticus, a religious attendant of Vesta ; and a third to Numisia Maximilla. The one dedicated to Coelia Claudiaua is in honour of her having attained 74 ROUTE 6.--H0USE OF THE VESTAL VIRGINS. [Sect. I. the twentieth year of her rank, and expresses a wish that she may n^^l L%T^ ^^T>*H!r ^ y^^"^.- .^^^ pedestals are inscribed with the name of Flavia Pubhcia, and bear eulogies of her piety and careful guardianship.of the eternal fire. On the latest (a.d. 364)-the central iw^i w ' M'''^ ^""T^ ^. Christian, as Prudentius asserts some did 1 D 367 ^ ^^ worship of Vesta was finally abolished by Gratian, cf.iV*^^ ^•^- ®r^ °^ the Atrium is the Tablinum, approached by four steps between columns. Portions of the beautiful marbles forming the on?n '/ZTk ^°t ?r°' ^'' tl!^ ^^'^^^"- ^^^ ^^'°«' ^hree on each side, r£!^c t^ Tablmum. The number suggests that these were the rooms of che six Vestals. The middle room on the right, being in a f^FJJ u''''' ^l' 'l^ ^^^'. '''''^^ ^'^ amphorae cut in half, and on the side walls are the depressions where the hot-air flues were situated hnnf ' ^fr' 'A T"J^T^ *^^ ®^®^* ^^ ^*"^P «^i«*^ i^ the double wall built on the side of the house towards the Palatine, the interval being ?"!^ '""r^^ t^'T^- At the back of the last-named rooms is a bath room with niches for statues over the bath and a vaulted space, appar- wl^N "fr^^'^l.^-^ *^' ''"*'"^ ^"^^^"^ apparatus, with flues. Leading nfhi ffi t}^»s room is a passage, out of which open kitchens and other offices. In the second are the remains of a mill with the sur- rounding space for the slave who worked it. At the end of the passage nf ^V,±r''''' l^t"^^".?*^ the still existing upper story, which cons^ts of chambers, each with its adjoining bath-room .f ^V^^%^' ^"^^ll''^*^^ ^"""^^ ""^ *h« V^sta^s were found the remains of a building of the 8th or 9th cent., in which was an earthen v^s^l CrlT'9^%%l'^A "T,h«^«^ English silver coins-S of Alfred the Great ; 217 of Eadward I. ; 393 of Athelstan ; 195 of Eadmund I and fih^r Th^'"'^- ^r"? -^^^ '° ?'^ ^•^- I^ *h« '^^^ vase was a bVonze fibula with an inlaid inscription : + DOMINO . MARINO . PAPA -f- This refers to Marinus II., who was Pope from 942 to 946 a.d. Amonc these was.a gold coin of Theophilus (829-842). They are now in the Museo delcTerme (Re. 21). It was in this building, and serving as Tn^lT4 ^V ' ^'^' r"' ^>^ *^" ^'""^ ^^"^ P«^^«^^^^ h^^ring inscriptions to the Vestals were found m 1883, before the rest of the Atrium Vestae was uncovered. They had been evidently removed from the sacred precincts when the site and materials of the Vestals' house became public property on the final suppression of their order in 394 The origin of the worship of Vesta is very simple. In pre-historic times, when fire could be obtained only from the friction of two sticks of dry wood, or from sparks of flint, every village kept a public fire f«r^w^ tI^ ^""^ night, in a central hut, at the disji^sition of each family. The care of watching the precious element was entrusted to young girls, because girls as a rule did not follow their parents and fK fu .°.- ^a/;away pasture-grounds, and did not share with them the fatigues of hunting or fishing expeditions. In course of time however, this simple practice became a kind of sacred institution' especially at Alba Longa, the mother-country of Rome ; and when a large party of Alban shepherds fled from the volcanic eruptions of the The City.] route 6. — the fons juturnae. 75 Alban craters into the plain below, and settled on the marshy banks of the Tiber, they followed naturally the institution of the mother-country, and the worship of Vesta— represented by the public fire and the girl attending to it — was duly organised at the foot of the Palatine hill, on the borders of the market-place.' — Lanciani. In addition to the small tank at the E. end of the great court-yard, two large shallow ones, once lined with Luna marble, have recently been discovered. As of old, the water comes now to them through a conduit made of perforated amphorae. It did not serve for any ritual purposes, for no water brought through pipes could be used for them. At the S.W. comer a group of rooms has been found. In the largest of them, having an apsidal W. wall, a saucepan and two wine jars were dis- covered in situ embedded in a floor of white mosaic. The vessels can hardly have come there casually. Hence these secluded rooms call to mind the penetralia, the strictly private part of every abode. Drains have also been unearthed, and staircases leading to the upper rooms ; on the splay of a window a delicate painting of graceful birds, and pavements of beautifully coloured marble. Behind the rooms, near a very steep staircase, many gold coins of Byzantine art belonging to the second half of the 5th century have been found. Very likely they had been hidden there at the time of Ricimer's march against Rome in 472 a.d., about eighty years after the worship of Vesta had been abandoned ; probably court officials resided in the consecrated atrium. In the W. side an oven was found, perhaps a primitive ritual one used by the Vestals for baking the grain which was brought yearly to them in the beginning of May, and was the principal ingredient of the salted grains eaten during the patrician wedding cere- mony. Ashes of the last fire were there, with fragments of the coarse antique vasa Nuniae and small sacrificial bowls {cupediinculae) vf'ith crescent-shaped handle, helpful to the knowledge of ancient sacrificial laws. Shells of oysters were found. Macrobius mentions oysters as forming part of a ceremonial repast of which the young priestesses partook with the flamines. Among the ashes was also what may be judged a useless find, but is precious for its recondite meaning : a liha, a carbonized cake baked out of dough, parallel strips joined together in the shape of a raft ; the Htmes, the sacrificial offering which Festus illustrates, and Ovid mentions as dedicated to Janus. The Fons Juturnae.— Fire and Water and their worship were so intimately connected in early Rome that the shrine of the goddess of water could not be far from the house of the Vestals. Near the primitive hut, within which lived continually the sacred fire, must have been the ever-flowing spring sacred to Juturna. Recent excavations have brought to light this shrine, which had been buried for centuries. Republican arcuations have been discovered, with the traces of an inclined way, which calls to mind the steep path used by the women of the Palatine when they came down to draw the salubrious water, and to fetch burning embers for the family hearth. A large brick- work arch covered the pool. Its shape is quadrilateral, as in the Forma Urbis, the marble plan of Rome. It measures a little over 5 metres each way and is 2J metres deep. The walls are oV ojms retiadatum covered by white Luna marble. The never.failing spring was peculiarly clear and pure, and was believed 76 KOUTE 6. — TEMPLE OF CASTOR AND POLLUX. [Sect. I. to possess medicinal and divinatory qualities. It was used in the adjoining temple of Castor and Pollux for the verification of weights and measures. A beautiful group stood here of the twin gods, represented, as on the coins of the gens Postumia, watering their steeds after the momen- tous battle of Lake Kegillus. But these and other statues standing near had been smashed by barbarians, and the fragments were heaped on one another till the sacred site had become entirely concealed. A fine horse's head was found, almost uninjured, with nostrils distended and archaic mane ; also two human torsoes, a bust of Aesculapius, the remains of an Ephesian Diana, and amphorae^ fusarolaCy lamps, and other vessels. The white marble altar found at the bottom of the tank, sculptured on all four sides, deserves careful notice. The artificer represented Jove wearing the himation, Leda with the swan, Diana Lucifera holding the symbolic torch, and the Dioscuri in their conical caps with spears in their hands, and stars overhead. During the explorations many evidences were found of the worship given in Rome to the con- secrated site, and also of its subsequent subjection to the worst possible profanation. The graceful marble piitcal of the 1st century, bearing the name of the aedile who restored it, was found full of various fragments. The ropes have worn deep grooves on its edge. A leaden i)ipe supplied it with water direct from the springs of Juturna. It was very likely used by the virgin Vestals for expiations and other rites. Hard by stood a large block of marble, and on it an altar of the Srd cent., adorned by vessels and libation saucers; it has a relief of Juturna taking eternal leave of her brother Turnus. Close behind the puteal stands the shrine of brickwork, with frag- ments of frieze and architrave, showing traces of a bronze inscriptiou : ' luturnai sacrum.' Near the pool some small arched cells were brought to light. They were probably used by those who came to drink the waters. Various broken statues of health-divinities were discovered in them ; Apollo the healer, Aesculapius with the serpent and the cock, Botiia Saliis^ and an erect figure, perhaps the nymph of the water herself. There were also found many sculptured fragments of marble, of the early coarse vasa Ntimae, of glass cups and bottles, showing that it was customary to drink the water and carry it away as a medicinal charm, of lamps, greenish glazed jugs used for carrying the liquid for private as well as for public lustrations, and stone mortars such as were used in the Middle Ages for the compounding of drugs. *The Temple of Castor and Pollux was erected to the Dioscuri in memory of their aid to the Romans at the battle of Lake Regillus. It was originally dedicated by the son of the victorious dictator, Aulus Postumius, B.C. 484. It was rebuilt by L. Metellus Dalmaticus, B.C. 119, and again in the time of Augustus, a.d. G, by Tiberius, in his own name and that of his brother Drusus. The temple, which was octa- style, with eleven columns on each side, stood on a lofty podium, 22 ft. high, formed of concrete enclosed in tufa masonry covered with Pentelic marble. A flat pilaster with finely moulded cornice and base wjw Mnd^x Qft— t Strenia was the goddess of New Year's Gifts— still called in Italy strenne, and in France /trennes. _ G 2 84 ROUTE 6.— THE SACRA VIA. [Sect. I. was the road by which Horace sauntered into the Forum from the house of Maecenas on the Esquiline : Ibam forte via Sacra, sicut raeus est mew, Nesclo quid meditaus nugarum et totus in illi:}. (HOR., Sat. i. 6.) It was ennobled by its associations with the triumphs which passed over its pavement towards the Capitol. Hence Horace imagines the unconquered Briton descending it in chains : Intactus aut Britannus ut descenderet Sacra catenatus via. (HoR., Epoii. vii. 7.) The name is derived from the sacred league entered into between Romulus and Tatius on the spot where the union took place between the Sabine and Roman communities. On the left near the House of the Vestals are the remains of some earlier buildings. They consist of blocks of the soft tufa used in the kingly period, walls of hard tufa, walls of concrete faced with brick, and columns of travertine of the 1st cent. B.C. The brick facing is of special interest, as being one of the earliest existing examples of the use of brick in Rome. These foundations are at a different angle and on a lower level than the walls of the Vestals' House, under which they appear to have extended. These ruins may very probably belong to the DoMUS PuBLiCA, or House of the Pontifex Maximus, the official residence of Julius Caesar during the latter years of his life. Parts of the Consular Fasti, now in the Conservatori Museum, were found at this spot in 1646. The Sacred Way, the symbol of brotherly union among different races, entered the Forum not far from the Regia. At the entrance was the triumphal arch erected in 121 b.c. in honour of the victory of Q. Fabius Maximus over the Allobroges. Almost the whole of the vault has been found and lies near by, but the bases have not yet been dis- covered. The cliviis sacer, which Festus describes in his abridgment of Verrius Flaccus, wound in an ascending curve across the slope, the Siimma Sacra Via mentioned by Cicero. This Clivus Sacer has recently been found at a depth of two metres, beneath a mediaeval road. Sculptured and inscribed marbles, architectural fragments, traces of bronze letters, mediaeval coloured and glazed potsherds, and 16th century coins were brought to light. The lava polygonal blocks vary in shape and size, but they were so carefully laid, the small interstices joined so perfectly together, that their union was almost invisible, and the road must originally have looked like a single huge flinty block. Scattered groups of polygonal blocks are yet to be seen in situ showing traces of oxidization. The trmmphal road, 12 ft. wide and with a gradient of 1:10, ascends gradually, and where it is covered by the enormous platform of Hadrian's Temple of Venus and Roma, it meets the clivus Palatinus, cut by the foundations of the Arch of Titus. A deep well, sunk after the Empire, has been found under the wide mediaeval road, lined with pieces of marble and stone. Another close by, very likely a Republican well, had a lining of tufa segments. The most miscellaneous objects were found in these wells, e.g., large frag- The City.] route 6. — basilica of maxentius. 85 ments of porphyry columns, a graceful Greek marble head, cups and jugs, a wooden flute, stone weights, and the tools of a butcher's shop. Quite as rich are the contends of the numerous similar wells found in the Forum. The earlier are merely dug in earth, but all have rows of sunken steps down from the top. There is no need to point out the importance of such receptacles, sealed for centuries, and ready now to reveal their secrets, throwing light upon Roman domestic life, upon the flora and the fauna of the ages to which they belong : and precious, above all, for the knowledge of the Forum layers, of those archaeological strata so helpful to the patient explorer. The Church of SS. Cosma e Damiano has been formed by joining together the Heroon of Romulus and the Aedes Sacrae Urbis, and by boring an arch through the wall which separated them. This arch can be seen in the cryp*^^ of the modern church. Two so-called Martyrs' Stones are built into the wall at the end of the Cella. The *Mosaics (526-530) are among the finest in Rome, but were over-restored in 1660. Above the Arch of the Apse appear on each side of the Lamb four angels, of excellent but severe style, with the Seven Candlesticks, and two Evangelistic emblems ; the hands with wreaths below formed part of a series of the 24 Elders, destroyed during the mutilation of the chancel by Urban VIII. in 1630. In the Apse is a colossal figure of Christ, to whom SS. Peter and Paul, in white togas, are presenting SS. Cosmas and Damianus ; behind are Pope Felix (a figure of 1660), holding his Church, and S. Theodorus, much restored. The figure of Christ may be regarded as one of the most marvellous specimens of the art. Beneath are the Lamb and 12 sheep, emblem- atical of our Saviour and the Apostles. In the Sacristy is a beautiful Cosmatesque receptacle for Holy Oil, and a small figure of St. Anthony of Padua in painted marble, curiously inlaid, on the altar front. This Church, which has a small Cloister on its N. side, belongs to the Third Order of the Minor Conventuals. Festa 27th Sept. The crypt, which has a fine Cosmatesque pavement, contains the altar-tombs of the patron-saints and of S. Felix, and an altar at which the latter celebrated mass. In the circular atrium (now closed) is a well, into which it is said Christians were thrown in the time of JSero. Close to the building, on the S. side, an ancient street branches off to the 1. Here, protruding on the Sacra Via, is a mediaeval portico of brickwork, enclosing on three sides a small court. The fourth side is formed by the wall of the ♦Basilica of Maxentius, which, though begun and nearly finished by Maxentius, was called the Basilica of Constantine after the defeat and death of Maxentius and the succession of Constantine. Its form was somewhat like that of a great church, with nave, aisles, and apse, measuring about 100 yds. by 88. The three arches on each side betwaen the nave and aisles were each about 68 ft. in span, and the vault of the nave covered about 80 ft. (The width of the nave of St. Peter's is 93 ft.) To the piers were attached eight Corinthian columns of marble 62 ft. high, the last of which was removed by Paul V. to the Piazza di S. M. Maggiore. The original entrance was from the front of the building, facing the Colosseum and the Temple of Venus and Rome. At a later period another entrance was made in the 1. or W. side facing the Sacra Via. This approach was adorned with porphyry columns, 86 ROUTE 6. — BASILICA OF MAXENTIUS. [Sect. T. fragments of which, discovered at the foot of the steps, have lately been replaced ui situ. The apse in the middle of the E. aisle is contemporary with this side entrance. Some remains^ of the horrea piperataria^ or government stores for oriental drugs, have been found under the ruin. A winding brick staircase leading to the roof (112 ft.) is nearly entire. The ascent to the summit can bo made through the garden of the Ospizio delle ]Mendicanti (entrance No. 61, Via del Colosseo), and a fine ♦view of this part of Rome may be thus obtained. Opposite the mediaeval portico, mentioned above, is a hemicycle or curved seat of brickwork, probably of the 4th century, with marble pavement on a level 4^ ft. al)Ove the street. 80 yds. further on is the basement of a circular fountain of brick, faced with marble, found in 1879. 'J'he remains of the vast basilica are fairly plentiful, and lie about ftiera Vi* BASIUCA OP MAXENTIfS. in confusion. Brick walls, the remains of tho Aimva pipertaaria of Domitian, were brought to light in l^XXS ; and the bMM<4 cWtl|^ftg|rOi4 colunms which once spaced out the nave. Recutit int«t|i^piliiMii oiiv^ also shown to what height the pilasters, based on iho ff wip i ql nind^ soil, used to reach. This, the grandest and l*t«X cA thtt Imperial buildings, still shows some remains of its former •fkndour. of tbo rich many-coloured marble pavement, whose fractured mrnfttf wtstm miatd up in the ruins, and of the stucco decorations ami hkgg^ bdok ai|llMreen set up in the garden of the Coiiservalori Museum. A little above the Temple of Faustina is the Church of SS. Cosmaa and Damian, the vestibule of which is formed of a round temple, aO ft. in diameter. This has l)een identified as the Temple of Romulus, built by the Emp. Maxentius (a.d. 306-12) in bo»oor iTl hi- o«:f»Mi ♦001, ttho died At ihtf «k^ <.f kmr. It irMO0«»%vrt*d liUo » ohttrch hv Felix IV. in 6*7. by tbo c^xtion of n crow w§U with an *pM At tbf N.K. uMd ci tW Adiio(o4 Anir* SairM tV*i», to wbSeft the nrcuW X«iii|ile o4 Romuliu Mrvtd m « wti of utriuin. De tUtm imbtkbcd. horn a nuiMMriH »» *** Valiowa LiU»ry, n drmwboi; of ihiM raltt, mode in tbn 16lh cent. Wy LhiuHo, in wlikh the c who«» mt€iu, Aoeordlnf to Aurriiu« ViHor. aU tbo Midlmfi «4 to rival, Mftxentiu«. iw« eonMOvaltd by tlut t}«D*t«. Tb« »ni* MSw coniUiMi * Pnt« doorway, with piirpbyry coluiiMi».-Tr*H nt ibaMOM tixno tu>c ottly railed Vat mvttd a liiil« to Ibo U im oidcc to pUoi U oafoaite tbo ontraJNO to tha in»er chvrelk. It KniipoHa % f%th Soften aoMbUture. with bttuHifullv wnrlctd eornleo. tbo wall o« tbm sMe to^vardM the banlic* of 3Uiciitm» i« Vnilt »rtitt«i ; %hu at tbe Upt Uol littek. Tbe Chunh «i S. Lorenzo in Mir wuU i» fUU montlouod in 1377. I*ope MartiaV. granted tbo tito in UdO to tbo eorposmtioa <'f Romatt AjMmmpm, who Mlt chapeU lulw— tlM ooiumitt Mid ciUt4i«b^ ^ hoqdUl kn Ihu aoor of Iboif guiJd. Th^ impedl»«rt« vftm cUaiod »way bv ordor ol Sb RcoAu Siinate. U> thow tbe ancxot teinplt, wh«ii tho t-ajp. CbacteA V. xMtad Boofce. tud tbv Church was robaiU m l€08. On tbe chMwei iMlb tro UPMtrio* of th# Baam Sorpeiitw •od th« Fall ol Mamm. Tba»MtytdomolS.Loe«iMO.owtWiilur>*ttnbuMt6 Pktro da Cvfimw. At No. 1. Via in Miramla, l-« the Gu^ht fc* oot^cinu tbe Ctiono 88 ROUTE G. — THE FORUM PRISON. [Sect. I. Palatine, the roof of the Basilica of Maxentius, and the column of Trajan. The Forum Prison. There must have been a prison in close proximity to the entrance to the Forum. Plato, writing of the ideal constitution of a town, explains how errors and crimes could bo punished in a career, placed at the entrance of the agora. It is not probable that every Roman prison was quite so awful or so much to be dreaded as the icy Tidliannm (p. 92), where Rome put her enemies to death. Those who could expiate by the sacrifice of their freedom, the punishment they had deserved — insolvent debtors, for instance, were condemned to undergo terms of imprisonment prescribed by the law. The Forum Prison, therefore, could not be far from the Imperial guard house, close to the Arch of Fabius. Here, close to the Sepulcretum, is a peculiar edifice, of a kind nowhere else to be seen in the Forum area. It was cleared with great care, in 1902, of the flint concrete accumulated during the construction of the herooii of Romulus. Six very small cells of a most irregular trapezoidal shape, and with a vaulted ceiling, open out of a central tufa corridor which runs parallel to the Sacred Way and by a door is joined to another similar passage. Other cells have been found not far away. The brick wall was given a high parapet at the part close to the neighbouring drain, which might otherwise have afforded the prisoners some hope of escape. Below the floor, paved with herring-bone tiles, another pavement can be seen made of a similar opus spicatnm, under which are heavy traver- tine slabs. So that this unique specimen of the Roman cellular system of imprisonment was proof against all attempts at escape. The *Temple of Antoninus and Faustina was probably erected by the Emp. Antoninus Pius himself, in honour of his deified wife, A.D. 141, and inscribed with his own name after his death, a.d. 161. The dedication, in two lines, the upper line being an addition of the latter date — DIVO . ANTONINO . ET DIVAE . FAUSTINAE . EX . 8. C. — may still be read on the frieze and architrave of the porticus. In the cella of the temple, extending also into the front, is the Church of S. Lorenzo in Miranda. The porticus has six columns in front, and two at each side, with Corinthian capitals and Attic bases. Each shaft, about 50 ft. high, is a single block of cipollino, the bases, capitals, and entablature being of white marble. The lower portion of the colmnns is covered with grflj^/i, scratched by idle hands in Imperial times. The cornice has no dentils. The frieze at the side is adorned with griffins, vases, and candelabra. The sides of the cella and the substructions of the porticus are constructed of peperino, in large blocks, once cased with marble. Fragments of the statue of the Empress Faustina were found during the latest explorations, when clearing the rubbish which had accumulated on the site of the staircase leading up to the porticus. The Sepulcretum. Ages before the Palatine became the hill of Romulus and the Quirinal that of Tatius, the narrow marshy site which afterwards was named the Forum was trodden by men of a different race. Many paths led down into the valley from the surrounding hill villages, whose populations must have had a burial The City.] route 6. — the sepulcretum. 89 place outside their walls. A prehistoric sepulcretum was long searched for during recent explorations, but without success, until near the temple of Antoninus and Faustina, ten feet below the pavement of the Forum, the spade at last began to work in a funereal soil, and brought to light the resting-places of our prehistoric forefathers. The concrete foundations of the splendid temple descend beside the primitive cemetery, but the Imperial builders, thus acquainted with our early ancestral story, did not leave us any record of their discovery. This pre-Romulean Sepulcretum has, up to the present, given us 23 tombs of different kinds, some as yet unexplored. I. Cremation graves, consisting of a round pit, about three feet deep, shut down by a thick conical tufa slab, fairly smooth above, but rough underneath, and containing a large jar {dolium) such as was used for storing provisions. Inside this the ashes were in a jar (olla), or else in a peculiar hut-urn, a perfect clay model of a house, an aeterna domus quite similar to primitive Latin dwellings, with a roof projecting all round and holes to admit air and let out smoke, and a movable door. The early Romans desired to rest, after death, in the same huts they inhabited when living. Near the ossuary were many vessels of various kinds, either empty or with traces of victuals: river fishes, whiting and barbel; small grapestones, smaller than those which are grown now in the Campagna Eomana ; soft corn &nd puis, the Roman buck-wheat mixture. The empty vases had certainly contained honey, salt, water, wine and milk. So that in each tomb was thus placed everything which formed, in each funereal Latin repast, the customary offerings to the INIanes, the kindly spirits of dead ancestors. II. Inhumation tombs, consisting of a rectangular grave, with a coffin made of a hollowed-out oak trunk, in which the skeletons, mostly of infants, lay supine and at full length. Small vessels were found beside these pre-Romulean bones. Also ornaments: bronze fibulae with spiral discs, ivory bracelets, glass beads, probably originally sewn to some garment, a broad metal girdle, enamel pearls and other remains of an infantine bead necklace; a small iron spear, and a variety of other objects. Some tombs were covered by a single tufa flagstone; one by three heavy blocks inclined as a roof ; others still by an oblong or round pile of variously shaped splinters, each one probably placed there by one of those persons who piously attended the obsequies of a relative or friend. The vessels found in the tombs are of every kind, of every shape and size, of every shade, with various decorations and ornaments, of tine or coarse material, of delicate or rough workmanship, peculiarly shaped or like others found elsewhere. Ancient Latin potters did not go far for their materials. Vases were shaped out of the clay soil in which the tombs were dug. By a careful baking with an open wood tire, imitations have been produced similar, in every respect, to the originals buried centuries ago. It is important to study the magnetic inclination as fixed in the clay of these vessels at the moment of baking. It may be possible to determine the law of the change of inclination, as registered by the coercive force of these terra-cottas, and even perhaps toidiscover the age of each tomb of the Sepulcretum. Terra-cotta jars (doliola) were found in which the non-cremated skeletons of pre-Romulean babes were crookedly placed ; one of them was closed by tiles which seem to belong to the ^ 90 ROUTE 6. — THE BASILICA AEMILIA. [Sect. I. 5th cent. B.C. — a remembrance of the custom according to children a supreme refuge in the area limited by rain-water. There were also found : — A number of ritual pits, recognisable by the soft nature of the soil and the ashes, into which offerings were perhaps placed and libations of milk poured. Numerous wells, of inestimable value in the study of all Forum strata. Traces of the floors, and the rough outlines of primi- tive habitations, with a court-yard and a curved circular surface blackened by fire, and a quantity of light ashes as if of wattle or of primitive brick walls. The bones of a colt, carefully arranged in a circular pile, with the skull in the centre, recalling the October horse of the Campus Martins and suggesting a propitiatory sacrifice, not mentioned by any classic author, but perhaps connected with an offering intended to obtain the fertility of the crops. Just above the tombs, but without any sacrificial character, were found mounds of earth and cinders, containing loom weights, fragments of copper, and coarse pottery. The importance of this primitive burial-ground, which offers such remarkable illustrations of the funeral customs, the food, the orna- ments and weapons of the dwellers upon the Septimontium, is obvious. It testifies to the presence of various peoples, and exhibits a variety of funeral rites. The two modes of burial, cremation and inhumation, suggest different races and different times. The oak coffins are of about the 8th cent. B.C. The other tombs are certainly earlier. Evidently the pyre was for individuals having large square vigorous heads. Interment in wooden coffins, or imder vaults of splinters, was for corpses with narrow flattened skulls, such as were peculiar to the indigenous Mediterranean race, the substratum of the iioma.n plebs. The Basilica Aemilia. It seemed as though no new light could be thrown by modern excavations on the handsome edifice which the gens Aemilia honoured with such religious care, and which, having suffered severely in ancient times, had also lately fallen a prey to cruel depredations. Thanks to English munificence, the building was partly released in 1899 from the houses which covered it. It shows a long Doric portions approached by a majestic flight of steps from the sacred Augustan way. The columns have an Attic base and high capital, and the trabeation is simply and yet vigorously adorned with saucers and bulls' heads. Most likely the portico was meant as a permanent shelter from the weather, as a sulxttitute in stone of the awning placed by Caesar over the Forum. Five white marble fragments were unearthed with a fine Augustan inscription speaking of Lucius Caesar. Behind the portico sixteen small chambers, shops or offices {tabemae), sustaining the walls of a great hall, and divided by a large central passage. Very noticeable is the floor of some shops, an opus sectile of hand- some coloured marbles. The pavement of the third and fourth taberna^ seems an Imperial work ; and that of the fifth a mediaeval one. Small granite columns have been found with ungraceful monolithic bases and exquisitely worked capitals. The haU is divided by two rows of Corinthian marble columns of The City.] route 6. — basilica julia. 91 beautiful workmanship. On fragments of the entablature pavl . . . RE8TI ... is inscribed, and these few letters are precious as a proof that this is indeed that basilica post argentarias novas which appears on the coins of the Aemilia gens as a two-storied building, with a gabled roof. This is the temple which, built in 179 by M. Fulvius Nobilior and M. Aemilius Lepidus, was restored by L. Aemilius Paulus, and further ornamented under Tiberius. The trabeation is exquisitely worked, and shows what can be attained by the artificer who forgets he is working on hard marble. The floor of the magnificent hall was found scattered all over with bronze coins, molten on to it. Broken statues and fragments of beautifully carved columns were also discovered. The Cloaca Maxima. Under the western end of the Basilica Aemilia pass two very large drains. The earlier, of tufa blocks, is pro- bably the Cloaca Maxima of the Tarquins. The second, a Republican drain, finer than any yet found, may belong to the time of Cato. Its magnificent blocks of travertine, the largest used in any preserved Roman structure, are worked with the axe instead of the chisel. It is very remarkable that such work should have been lavished upon a drain. Many fragments of archaic vessels and of charred bones were found, evidently the remains of sacrificial offerings. The shrine of Venus Cloacina. Near the Cloacae a small round marble basement of a shrine {aedicola), in diameter 2 metres, with a door-sill much worn down on the western side, projects from the steps of the Basilica Aemilia into the road. As it is situated at the junction of the great drains it appears to be the shrine of Venus Cloacina, the purifier. There, as Pliny tells, Romans and Sabines purged themselves of their enmity with branches of myrtle trees. The sacred building, mentioned by Plautus and by Livy, appears on coins of L. Mussidius Longus. The only certain details seem to be a parapet and some steps. On the round base may have been a low pilaster with a small bird on the top, and the statues of two women, one of them with a flower in her hand. Birds and flowers are the symbols of Venus. On the other side of the Forum is the platform of the Basilica Julia, mentioned in the famous Ancyran inscription [res gestae divi Augusti). This building, begun by Julius and finished by Augustus, and more than once restored, stood on part of the site of the Basilica Sempronia, which was itself built (b.c. 169) partly on the site of the House of Scipio Africanus. The Basilica Julia was principally used as a law court, in which were held four separate tribunals. It serveel in the Middle Ages as a marble quarry, and has been much falsified by conjectural restoration. Its plan was that of a large oblong court, probably open in the middle, and surrounded by a double colon- nade of pilasters, each in two tiers. There was no apse. Fragments of the rich marble pavement of the central court may still be seen. On the white marble paving of the aisles are several slabs incised with gaming-tables. One of the piers of its facade, with a Doric half-column, has been built up from fragments, and several piers of its W. corner remain standing. Traces of a staircase leading to some upper rooms, in tufa and travertine, still exist near the corner under the hill ; and fragments of the low screen (cancello), which shut off the space appro- priated to the advocates and judges, may be found at the N. end. 92 ROUTE 7.— CARCER MAMERTINUS. [Sect. I. F^r^^!fJ^'^ roof Stretched the Bridge of Caligula, from which the fp^^L^'i*?^^'^"''.^^^'"^^ ^y tl^rowinl down money to be scrambled for by the crowds below. j ^ Tivlr^''^^- ^W' *^^ r/^'"* Jtigarius f ran in the direction of the nidor' flT\fi ^fu'T *^' ^'"^P^*^ °^ ^^^""^ ^^d tlie Basilica, and under the cliff of the Tarpeian rock. ROUTE 7. From the Capitol to the Column of Trajan, by the Mamertine Prison, the Academy of St. Luke, and the Imperial Fora. [For plan of this Route, see p. 37.] [Gran. p. [28], 20 ; Tramway, p. [27], 4, 14, 16.] PV,,!iV^1 ^u^'^^'^'^'n ^v ^' between the Palace of the Senator and the Church of the Ara Coeli, steps lead down to the Forum. On the 1. at the foot of the descent, is the little Church of S. Giuseppe de' Falegnami (1539), belonging to the Confraternity ?iL .f "^^fv: ^\}^'^ ^'* ^^^^"^ 1- ^« * Nativity, by Carlo Marattl Beneath is the subterranean Chapel of S. Pietro in Carcere, with a curious ancient crucifix behind glass above the altar From within the porch of the lower Church a flight of steps descends to the traditional Prison of St. Peter, the ancient Tullianum, or _ Career Mamertinus, which, as Livy tells us, overhung the Forum— tmminejis faro. The sacristan will show it (30 to 50 c ). Above the steps IS a part of the ancient facade, and of an inscription recording its restoration in tiie reign of Tiberius. The prison consists of two chambers the upper being an irregular quadrangle of squared tufa roofed with an ordinary round arch in the same material, dating ?fr'.lp^i% f?"? Tn 1f'^^ period of the Republic. The lower is a half Ka?rJ^ !i • / ^^ ^^ '? ^ u^ "^'^^^^ P*'*' the walls on the straight .side ^nrv!/^?^^ ^2-T^ "^ ^^^ '^"^ *"^^ ^°^k- The stones forming the cur%ed side, which is placed towards the hill and probably built against the rock, are laid honzontally, overlapping each other in such a mtnner as to slope forward towards the top, where they originally formed a conical roof. The wall now terminates at the height of about Sift w«1?''''ti!? ^^ ?/u^^ ''^^^* ^^ ^ ^^*^"y *^i««^ent construction and Smi5 • T .V*!5^^ .^f ^ ^°i^ '" ^^^ ^"^^^^« by ^bich prisoners were dropped into the dark damp dungeon beneath. In the rock floor is a !Son^' J i? .' according to the legend, burst forth miraculously, to enable St. Peter to baptize his gaolers. In Early Latin tullius signified by the road!*" '''"'''^"^ *''*'"" ^"^ '^"'"' '^''^"' ^^^ I^atroness of marriage, wliich stood The City.] ROUTE 7. — S. MARTINA. 93 a spring ; and the well still existing in the rock is believed to have given the name of Tullianum to the building, originally constructed as a well- house. ' The Tullianum is the earliest specimen of building, other than simple well-construction, in Rome.' — B. The name of Mamertinus is not classical, but mediaeval, and refers to a statue of Mars {Mamers) which stood close by. The Tullianum was a state prison and place of execution for political offenders or captives of importance. It was here that Lentulus, Cethegus, and the other accomplices of Catiline, were strangled by order of Cicero, who announced their death to the assembled people by the single word vixerunt. Here Sejanus, the minister of Tiberius, perished; here Jugurtha was starved to death ; and here, Vercingetorix, having graced the triumphal procession of Julius Caesar, was slain. The Scalae Gemoniae (Stairs of Sighs), which led past the prison down to the Forum, and on which the bodies of criminals were exposed, are buried beneath the modern road, and may probably be hereafter discovered by excavation. The underground passages, accessible from the prison, are ancient drains for carrying off the water from the spring. The passage is tortuous and troublesome, about 100 yds. in length, and the exit lies beneath a house in the Via Marnwrelle. At intervals are vaulted chambers, with a hole by which a man could descend for the purpose of inspecting or cleansing the drain ; and the whole system is connected with the Cloaca Maxima. Opposite stands the Church of S. Martina, bearing the name of a very ancient building which was raised on the site of the Secretarium Senatus (offices of the Senate House), restored in the 8th cent, by Adrian I., and rebuilt by Alexander IV. in 1256. In 1588 Sixtus V. gave it to the Academy of Painters, who joined to its dedication the name of their patron, St. Luke. During the pontificate of Urban VIII., the body of S. Martina was discovered beneath the Church ; whereupon Card. Francesco Barberini, nephew of the Pope, caused it to be rebuilt from the foundations on a slightly different site by Pietra da Cortona, who was so much pleased with his work that he called it his daughter. On the 1. is the original model of the Statue of Christ, by Thorvaldsen ; on the rt., one of Religion, by Canova. The very handsome Subterranean Church of S. Luca, adorned with columns of Serravezza and bardiglio, and containing the alabaster urn of S. Martina, was erected by Pietro da Cortona at his own cost. This artist bequeathed to the Church his whole fortune, amounting to 100,000 scudi (20,000^), and painted the altarpiece, representing the saint in triumph over idols. At the foot at the stairs on the 1. is a forged inscription, stating that a Christian named Gaudentius was the architect of the Colosseum. Opposite is the painter's tomb. Behind the altar is an ancient marble seat, called the Chair of Urban VIII. From this Church started the Procession of the Candalora, instituted by Pope Gelasius about 495 as a substitute for the pagan Lupercalia, and conjectured by Baronius to be the origin of our Candlemas Day. On the 2nd Feb. the Pope distributed candles to the people from the porch of S. ^Martina, and to the Cardinals from the high altar of 94 ROUTE 7. — ACADEMIA DI S. LUCIA. [Sect. I. S. Adriano, after which he proceeded to S. M. Maggiore, which ho entered barefoot, a Cardinal afterwards celebrating Mass. Festa, 30th Jan. [A few paces to the rt., facing the Forum, is S. Adriano. Beyond it are seen the columns in front of S. Lorenzo in Miranda^ behind which Church is that of SS. Cosma e Damiano (Rte. 6).] Behind the Church of S. Martina, at No. 44, Via Bonella, is the ACCADEMIA DI S. LUCA, the Roman Academy of Fine Arts, founded in 1588 by Sixtus V., who endowed the confraternity of painters with the adjoining Church. (Adm., p. [34], 50 c. ; catalogue, 1 fr.) On the staircase is a bust of Canova, and several casts from Trajan's column. The Academic rooms on the first floor are only opened on application to the custode. They contain some casts from Canova, Thorvaldsen, and Gibson, besides a fine colossal head of Napoleon, modelled by Canova, and a valuable collection of original drawings. The Picture Gallery is on the 2nd floor, reached through an ante-room with engravings. Gallery. — 1 Early Flemish, Deposition. 2 Carlo Maratto, Wrgin at prayer; on the back a ♦print of Raphael's original design for the Transfiguration, with nude figures. 8 Palamedes, Bivouac of Gipsies. 3 Rubens, Three Graces (sketch). 10 Vandijck, Virgin and child with two Angels. 14 Baciccio, Innocent XI. 15 Salvator Rosa, Brigands' Heads. 21 and 24 Joseph Veryiet, Sea-pieces, 31 Berchem, Ruins in the Campagna. 36 Mytens, Portrait of an Admiral (1638). 39 Paolo Veronese, Toilet of Venus. 153 Giulio Romano, Copy of Raphael's Galatea. 49 Claude Lorrain, View of a Sea-port. 52 J. Vernet, Sea-piece. On the 1. opens the Hall of Raphael.— 57 Early Flemish, Virgin and Child, with SS. Catharine, Barbara, Agnes, Dorothy, and Lucia. 61 After Titian, Sketch of St. Jerome. 194 Salvator Rosa, Concert of Cats. 66 Bassano, Angel announcing Christ's birth to the Shepherds. 68 Vanvitelli, Tivoli. 72 St. Luke painting the Virgin, wrongly attributed to Raphael. 77 Guercino, Venus and Cupid— a fresco transferred to canvas. 78 *Fresco of a boy, attributed to Raphael. 79 After Titian, Calisto and Nymphs. Hall of Fortune. — 91 Voussin, Copy of Titian's Bacchus and Ariadne. 102 Rosa da Tivoli, Shepherd and animals. 103 Guido Cagrmcci, Tarquin and Lucretia. 109 Palma Vecchio, Susanna (not genuine). 107 Paolo Veronese (School of), Susanna. 116 Guido Rent, Bacchus and Ariadne. 131 Sassoferrato, Madonna and Child. 133 Guido Reni, Fortune. 136 Spanish School, Portrait of Claude Lorraine. 142 Harlowe, Wolsey receiving the Cardinal's hat. The Modem Section, leading out of the Gallery on the rt., contains pictures by young students which have obtained prizes. In the small room 1. is 197 Greuze, Contemplation. In this room are also portraits of members of the Academy, amongst whom are Gibson, the Sculptor, by Lowenthal (full length), and another by Penry Williams (with a fez) ; Federigo Zticcliero, by himself ; the Duke of Sussex, by Lawrence ; I The City.] route 7. — the imperial for a. 95 Bvron, Virginia, Lebrmi, and Angelica Kauffmann. In a case on the wall are some fine Medals, presented to the Academy by popes and sovereigns ; one of them on the rt. bears the portrait of Queen Victoria, presented by the Prince Consort, hon. member of the Academy. To the rt. is the Biblioteca Sarti, a library of 15,000 vols., chiefly on art, bequeathed by the architect, Antonio Sarti. This part of the Via Bonella covers part of the site of the Forum Julium, the earliest of THE IMPERIAL FORA. The Roman Forum, in the later days of the Republic, was found insufficient for the multitudinous affairs which were transacted there. The first contrivance to meet this deficiency was the foundation of Basilicas in substitution for the private houses upon the sides of the Forum. The Atria of Maenius and Titus were converted into the Basilica Porcia ; the house of Scipio was replaced by the Sempronia. By these means not only a considerable additional space was devoted to public uses ; but places were provided in which the judges and tribunes could pursue their business without interruption from the weather. The first design for increasing the public accommodation by an additional open area was due to Julius Caesar, who, while himself pursuing his conquests in Gaul and Britain, commissioned his friends in Rome to purchase the ground necessary for * widening the Forum and laying it open as far as the Atrium of Liberty ' (Cic. Epist. ad Att. iv. 16). The example of the first of the Caesars was followed by his successors, until five additional Fora, surrounded by the most magnificent monuments of Rome, and filled with the choicest works of Greek and Roman art, occupied the entire space between the old Forum, the Carinae, and the foot of the Quirinal hill. The Forum Julium, as ultimately arranged, formed a grand temenos, or close, around a Temple erected by Caesar, in fulfilment of a vow made before the battle of Pharsalus, in honour of Venus Genetrix, the ancestress of his race. The Forum was begun about B.C. 54, and completed after the death of Julius, by Augustus ; the Temple was dedicated by Julius himself, B.C. 45. The cost of the ground alone is said to have exceeded 100,000,000 sesterces (about one million sterling). Here Caesar placed a statue of Cleopatra by the side of the goddess ; and it was in front of this Temple that he received the senate without rising frorn his chair, an offence that was never forgiven. Beneath the houses in an alley leading out of No. 29, Via Marmorelle, are five chambers built with squared tufa stones, and in front of them a wall with three arches in peperino and travertine visible from the public passage, which are thought to have been some of the buildings on the W. side of the Forum Julium. From these chambers some Cloacae run towards the Mamertine Prison. The Forum Julium had as its N.E. side the Forum of Augustus, designed to supply further space for judicial business. It formed the enclosure around the Temple of Mars Ultor, or Mars the Avenger, raised bv Augustus to the god of war, with whose assistance he had defeated Brutus and Cassius at Philippi, and thus avenged the murder of 96 ROUTE 7.— THE IMPERIAL FORA. [Sect. I. his groat-unclo Julius Caesar. The clearing of the area required was a slow process, and the Temple was not dedicated till B.C. 2. I'ltor ad ipse suos coelo descendlt honores, Templaciue in Augusto conspicienda foro. Et dens est ingens et opus : debebat in urbe Non aliter nati Mars habitare sui. (Ovid, Fast. v. 551.) At the end of the Via Bonella are some fine remains of the *Temple of Mars Ultor, consisting of a fragment of the wall of the cella, with three Corinthian columns, and a pilaster forming part of the peristyle. Until 1820 they supported the tower of the Church of S. Basiho. Above is a handsome architrave, and a ceiling with richly moulded FORA OP AUGUSTUS AND KEBVA. sunken coffers. The cella was once covered with slabs of white marble, grooved with sham joints to give an effect of size— of which three bands and a basement remain. The lofty circuit ♦Wall of the Forum, against which the back of the Temple was placed, has been preserved for a length of 166 yds. The upper part is built of peperino, the lowef of sperone, and its height exceeds 100 ft. The hard grey blocks of sperone are as fresh as ever, while the softer greenish peperino has weathered badly. On the top is a massive and effective travertine cornice 4 ft. deep, with large simple consoles.— M. Its chief purpose was not so much to protect the Forum from the street fires, which were so frequent in Rome, as to screen the view of the ugly houses which overhung the Forum from the slope of the Quirinal hill. The City.] ROUTE 7. — COLONNACCE. 97 Within this wall on the rt. are the fine ruins of the ♦Southern Hemicycle, excavated in 1889. Many pedestals of statues bearing the names of C. Marius, Q. Fabius Maximus, Sulla, and other victorious generals, were thus brought to light, and the inlaid pavement of coloured marbles exposed to view. At the same time was cleared out about 150 yds. of the Cloaca ^Maxima, which runs beneath the Imperial Fora. Here stood the old Church of S. Basilio, mentioned as one of the principal Abbeys of Rome in 995. Its gable can be easily made out against the wall. The street is closed by the Arco dei Pantani, which formed one of the entrances of the Forum. To the N. of the Arch stands the Church of the Annunziata, built in 1576 by some Dominican Nuns, to whom Pius V. had assigned the Convent of S. Basilio. It was built out of the materials of the Temple about a.d. 505. To the rt. of its entrance are four well-jointed doorways in the ancient wall, buried nearly to the spring of the arch. To the N. rises the Torre del Grillo, with a handsome marble cornice. Turning to the rt., outside the Arch, we soon reach on the 1. the very ancient Church of SS. Quirico e Giulitta, which gives a title to a Cardinal Priest. In the 6th cent, it occupied a much lower level, and faced in the other direction, with its apse towards the Forum Wall. It was rebuilt by Paul v., in 1606, and given to the Dominicans in 1622. Crossing the street a few yards further, we reach on the rt., at the corner of the wide Via Cavour, the Tor de* Conti, a huge brick tower, erected by Nicholas I. in 858, and rebuilt in 1216 by Innocent III., both Popes of the Conti family. It is founded on the remains of a square Temple, supposed to be that of Tellus, Its walls are cased with brick and strengthened with but- tresses. The tower consisted of three stories of great altitude, and is referred to by Petrarch, in one of his letters, as ' Turris ilia toto urbe unica quae comitum dicebatur.' It formed, like other towers of the same kind, a fortress during the troubled middle ages. The battle- mented summit was injured by the earthquake of 1348; the tower itself was partly pulled down by Urban VIII,, and reduced to its present form by Alexander VII. in 1655. It probably occupied the centre of the Area Telluris, in the region of the Carinae, and stood near the house of Spurius Cassius, the Consul, who in B.C. 485 was hurled from the Tarpeian rock. Following the tramway for a few yards to the bottom of the Via Cavour, and turning to the rt., we reach at the corner of the Via della Croce Bianca the two half -buried" columns known as the ♦Colonnacce. This ruin formed part of the ornamental enclosure of the Forum of Nerva, A comparatively narrow space, between the Forum of Vespasian and that of Augustus, was chiefly occupied by the Argiletutn, a great thoroughfare leading from the Roman Foruni to the Subura, one of the most crowded parts of Rome. Here Domitiaii built another Forum, in which he placed a Temple of Minerva, and a Shrine of Janus Quadrifpons ; the erection of the latter is celebrated by Martial (x. 28). The temple was completed by the Emperor Nerva, whose name was given to the Forum ; which was also called the Forum [Home.] H 98 ROUTE 7. — FORUM OF PEACE. [Sect. I. Transitorium, from the thoroughfare passing through it. A consider- able part of the hexastyle portico of the Temple of ^linerva was still standing at the beginning of the 17th cent., and views of it are given in the rare works of Du Perac and Gammucci. It was pulled down by Paul V. in 1606, its Corinthian columns cut up to decorate his fountain on the Janiculum and its architrave turned into the high altar of St. Peter's. Some of its material was also used in che construction of the Cappella Borghese at S. M. Maggiore. The remaining columns support an entablature with sculptured frieze and cornice, and an attic in which is a figure of Minerva in high relief. The frieze repre- sents the attributes of Minerva as patroness of household industry; young women are weaving or spinning, weighing out money, and drawing water. All this ornamentation is attached to a wall built of large blocks of peperino, once cased with marble. The ' entablature projects and returns round the columns, which are placed in front— a peculiarity of Roman taste, never seen in Greek work. The attic also projects, and formed a pedestal for colossal statues.'— M. [At the opposite corner of the Via Alessandrina and Via Croce n^^\^^ *^® ancient Church of S. M. in Macello Martyrum, so called because it encloses a well into which numerous Christians are supposed to have been thrown, after their condemnation at the office of the Praefect annexed to the neighbouring Aedes Sacrae Urbis (see below). The water of this well, which in reality is simply a shaft communicatmg with the Cloaca Maxima, was drunk during the middle ages for the sake of its healing qualities. Previous to the 12th cent, the Church bore the title of S. Marco, but in the 16th it was given to the weavers, and changed its name to S. Agata del Tessitori It now belongs to the Third Order of Penitence. Festa, 5th Feb.] ' Forum of Peace.— After the completion of the Forum of Augustus no further work of the kind was projected until the time of Vespasian who surrounded his magnificent Tetnple of Peace, dedicated ad 77 with an enclosure of a similar character. It stood S.E. of the Forum' of Augustus, near the point where the Via Alessandrina joins the wide Via Cavour No certain relics of these monuments remain, except portions of the pavement at the foot of the back wall of SS. Cosma c Damiano where the fragments of the marble plan of Rome were discovered by Antonio Dosio. The Aedes Sacrae Urbis, represented by the Church of SS. Cosma e Damiano, was entered from this Forum and formed, as it were, part of its enclosure. The existing ruins date partly from the time of Vespasian, partly from that of Severus. Out- side the apse of the Basilica of Constantine is a fine fragment of wall in mixed blocks of peperino and tufa, with a square-headed travertine doorway, having a round relieving arch over it The Temple of Peace included a Public Library and a perfect treasury of antiquities and works of art. It contained the golden table of shew-bread, and the golden candlestick from the Temple at Jerusalem. The building lay in ruins, having been struck by lightning between A.D. 522 and 534, though there still existed a large number of Its Greek sculptures in the adjoining Forum, among which was a Bull standing over a fountain, and the celebrated Cow and Calf bv Myron which once adorned the great square at Athens. f The City.] route 7. — trajan's forum. The Via Alessandrina leads to the 99 ♦Forum of Trajan. — The excavated area may be visited by descending a staircase at the S.E. corner, where there is a custode in attendance. It was begun by Trajan after his return from the Dacian war, and completed a.d. 114. A triumphal arch gave entrance to the Forum. This was a large square with colonnades on three sides, and the Basilica Ulpia, so called from Trajan's family name, on the N. side. Beyond the Basilica, to the N., rose the memorial column, having on its 1. the Greek, on its rt. the Latin librarj'. Beyond these buildings RESTOKED PLAN OF TKAJAN S EOKUM. the Temple erected to Trajan by Hadrian occupied the area on which now stands the Pal. Valentini (Prefettura). On the E. and W. of the Forum two semicircular wings, with a double tier of shops and public ofiBces, supported the slopes of the Quirinal and Capitoline hills, partially cut away to make room for this magnificent suite of buildings. The architect employed by Trajan for this work was a Greek, ApolU)- dorus of Damascus. About one-third of the extent of the Fonim was disclosed in 1812, when the French prefect of Rome, Comte de Tournon, caused two convents and several houses to be pulled down to lay open the present H 2 100 ROUTE 7. — COLUMN OF TRAJAN. [Sect. I. area. The marble pavement has almost entirely disappeared, but many fragments of marble capitals, entablatures, reliefs, and votive or honorary inscriptions, are inserted in the modern enclosure wall. Among these inscriptions, one fragment placed in the semicircular wall at the N. end of the enclosure contains the record of the liberality of Trajan when he caused the registers of taxes due to the State to be burnt in his Forum (see p. 64). The sum of the debts was not less than SESTERTIVM NO VIES MILLIES CENTENA MILLIA, Or about 8 millions sterling. There are also some pedestals with long inscriptions in praise of Flavins Merobaudes, Nicomachus Flavianus, and other eminent statesmen of the 4th and the 5th cent., but no remains of the basement which supported the great bronze equestrian statue of the Emperor, renowned throughout the Roman world. Of the two double rows of granite columns, on which stood the bronze roof of the Basilica Ulpia, nothing remains but the lower portions with their restored bases. * The pavement of the Basilica, with its fine slabs of white marble, is raised about 3 ft. above the level of the Forum. Some of the pedestals of the statues which flanked the steps leading down to the Forum, are still visible.' — M. The pillars which decorated the main entrance, facing the Forum, as well as the steps leading to it, were of costly giallo antico marble ; and some fragments of them, as well as of the frieze and cornice, are now placed under an arch of the modern enclosure wall. The "^Column of Trajan, the base of which was excavated by Paul III. in the 16th cent., is the finest existing monument of this class. (For the ascent, apply at the Ministero dell' Istruzione Pubblica, near S. M. Sopra Minerva.) The Column was dedicated in honour of the Emperor by the Senate and Roman people while Trajan held the Tribunitian power for the 17th time, and in his 6th Consulate. It is composed of 34 blocks of white marble, nine of which form the basement, and 23 the shaft ; the remaining two, the torus and capital. The pedestal is covered with reliefs of warlike instruments, shields, and helmets ; and bears the following inscription supported by two winged figures : senatvs . popvlvsque . romanvs— imp . caesabi . divi nervae F . NERVAE— TRAJANO . AVG . GERM . DACICO PONTIF— MAXIMO . TRIB. POT. XVII. IMP. VI. . COS . VI . P . P.— AD . DECLARANDVM QVANTAE . AliTITVDINIS — MONS ET LOCVS . TANTIS . opeRIBVS . SIT . KGESTVS. This fixes the date about the commencement of the Parthian war (a.d. 114), from which the Emperor did not live to return, so that he never saw this remarkable monument of his reign. A series of reliefs ascend in a spiral band round the shaft, representing a continuous history of the military achievements of the Emperor. These sculptures are well preserved and in a good realistic style of art. They constitute a perfect study of military antiquities, and, as a record of costumes, perhaps no ancient monument which has been preserved is so valuable. They were originally covered with brilliant colours and gold. The reliefs are 2 ft. high in the lower part, increasing to nearly four as they approach the summit. They begin with a representation of the passage of the Danube on a bridge of boats, and are carried on through the successive events of the Dacian wars, representing the construction of fortresses, attacks on the enemy, the Emperor addressing his troops, the reception of ambassadors of Decebalus who sue for peace, and other incidents of the ( t'orn (li Au;;u>to b 20 40 — 1— 60 80 100 120 Yds. »* REMAINS OP TRAJAN'S FORUM. With surrounding modern buildings. 102 ROUTE 7. — COLUMN OF TRAJAN. [Sect. I. campaign. All these details may be bettor studied from the casts in the French Academy (Villa Medici), or from those in the Lateran Museum. f The sculptures contain no less than 2500 human figures, besides a great number of horses, ships, fortresses and other objects. In the interior is a spiral staircase of 184 marble steps, lighted by 42 openings, leading to the summit, on which stood a colossal gilt bronze statue of Trajan holding a gilded globe, which was erroneously supposed to have contained his ashes. The statue was probably carried off by the Byzantine Emperor in 66.S ; the globe is now in the Museum of the Capitol. A statue of St. Peter in gilt bronze, 11 ft. high, was placed upon the column by Sixtus V. in- 1588, when the feet of Trajan's statue are said to have been still fixed on the block of marble that supported it. The height of the shaft is 100 Roman feet (97| English), and that of the entire column from its base, exclusive of the statue and its pedestal, 127J feet. The diameter is 12 ft. at the base and 10 ft. beneath the capital. The latter • is of no definite Order, but resembles the Doric, the echinus of which has been cut into egg and dart enrichments.' — M. The base consists of a large torus, carved with laurel leaves in relief, forming a colossal wreath. The Column of Marcus Aurelius, omitting the pedestal in both cases, is of precisely the same height, but looks lower, because it has 20 spiral bands instead of 23, and larger figures in higher relief. The ashes of Trajan, originally placed in a golden urn, are said to have been deposited by his successor Hadrian in a vault under the column. The chamber, which had been opened and walled up again, was reopened by Com. Boni in 1906, when traces of the old doors and window were found, and of the marble table of the sarcophagus. . In a grotto or cavern excavated in the early middle ages, under the pedestal, were found fifteen human skeletons ; also several fragments of the base of the column. A Roman road, older than the Ulpian Forum, and cut through by the foundations of the column, was also discovered at a depth of 5 feet. It should be borne in mind that the Column was originally sur- rounded by buildings almost to its summit, and stood practically in a narrow Court measuring only 13 or 14 yds. each way, from the various floors of which it was intended that the reliefs should be examined. The Greeks never raised Columns, as such, for the mere purpose of supporting a statue ; and the object in this case was simply to exhibit a series of sculptured panels within the least possible space and in the most convenient form. The history of his successive triumphs naturally culminates in a Statue of the Emperor himself ; but this, and the upper portion of the shaft, were all that could be seen above the roof of the Basilica. The Column as a whole could not be viewed, and was never meant to be viewei, from any external point whatever. — B. A leaden pipe upwards of a mile long conveyed water to the Forum of Trajan from a reservoir near the site of the Rly. Stat. It must have weighed altogether nearly 283 tons, and ' of these conduits there were many thousands in Rome and its vicinity.' — L. [Of the two semicircular wings, which supported the slopes of the Capitol and the Quirinal, the one to the W. is entirely concealed by modern houses in the Piazza delle Chiavi d' Oro; but that at the foot of the Quirinal is well preserved, and may be entered from No. 6, Via di t The South Kensington Museum has also a set of casts, not well arranged. The City.] route 8.— the colosseum. 103 Campo Carleo (50 c). A considerable portion of it forms the boundary of an adjacent garden. (For admission apply to the custode of Trajan's Forvun.) It consists of corridors, in two, originally perhaps three stories, partly intended to support the lofty bank of earth behind them. The square recesses, with travertine doorways, were used as shops or public offices. The pavement in polygonal blocks of lava was laid open in 1812 by the French, and is one of the best in Rome. The brickwork is also extremely beautiful. An old staircase, connecting the corridors with the Forum, descends from the garden.] Two Churches stand on the N. side of the Piazza. On the left, S. M. di Loreto, a handsome octagonal building, erected by Antonio da Sangallo in 1507, with a double dome, in eight compartments. The fanciful lantern was added by (iiov. del Diica in 1580. In the 1st chapel rt. are very poor mosaics of SS. Barbara, John Evan., and Francis, by Rosetti (1594) ; at the high altar. Virgin and Child, with SS. Sebastian and Roch (School of Perugino). This Church belongs to the corpora- tion of bakers, whose hospice is behind it. Festa, 10 Dec. On the rt. is the Church of the Nome di Maria, originally dedicated to St. Bernard — a Greek cross, with a cupola rebuilt in 1736. Innocent XI. changed the dedication in honour of the deliverance of Vienna by Sobieski in 1683. ROUTE 8. The Colosseum. [Onin. p. (28J, 25.1 History. — This amphitheatre was begun by Vespasian, a.d. 72, on the site of the Stagnum Neronls, a lake in the grounds of Nero's Golden House. This extravagant erection had swallowed up a whole district of Rome, and extended from the slopes of the Palatine to a point beyond the Sette Sale (p. 161). * The destruction of this gigantic palace, and the restoration to the Romans of its site in the form of public buildings, such as the Thermae of Titus and the great Amphi- theatre, were among the most politic acts of the first Flavian Emperors.' — M. The *Colosseum was commenced by Vespasian, dedicated in a.d. 80 by Titus, and completed by Domitian. It received successive additions from the later Emperors, and was altered and repaired at various times until the beginning of the 6th cent. The upper story, with its rows of wooden seats, was set on fire by lightning in the reign of the Emp. Macrinu^, a.d. 217. It was replaced by the existing stone structure, opened by^ordianus III. in a.d. 244. The Arena and Podium were 104 ROUTE 8. — THE COLOSSEUM. [Sect. I. destroyed by an earthquake in 442 and 580 (see Inscription on a square pedestal to the rt. near the entrance from the Forum). The building was originally called the Amphitheatrum Flavium, in honour of the family name of the Emperors engaged in its construction ; and the first mention of the name Colosseum, derived from its stupendously colossal dimensions, occurs in fragments attributed on very doubtful grounds to our Venerable Bade, recording the famous prophecy of the Anglo-Saxon pilgrims :— While stands the Coloaseuui, Ronu' shall stand ; When falls the rcdossenin, Konie shall tall ; And when Home lulls, the world. Krt)in onr own land Thus speak the plljfrinis o'er the mighty wall In Saxon times, which we are wont to eall Ancient. — ChiUie Ilamld. Public exhibitions of combats between trained gladiators were given in the Forum Romanum, never a convenient place for the purpose, when this building was specially erected for such shows. At its dedica- tion by Titus, 5000 wild beasts were slaughtered in the arena, and the games in honour of the event lasted for nearly 100 days. During the persecution of the Christians the amphitheatre was the scene of fearful barbarities; but the number of those exposed here has been greatly exaggerated. In the reign of Trajan, St. Ignatius was brought fn»m Antloch purposely to be devoured by wild beasts in the Colosseum. In 403 a Greek monk, Telemachus, rushed into the midst of one of the scenes of butchery, and fell a victim to the rage of the people at having their favourite amusement interrupted. His self-sacrifice produced a reaction against the fighting of men with men, which was stopped by Honorius, though only for a time. It was not till the reign of Justinian in the 6th cent, that the shedding of human blood in the arena was finally terminated. In 1332 a great bull fight took place here. Two-thirds of the original building have disappeared. It supplied the Roman popes and princes for nearly 200 years with building materials; the Pal. di Venezia, Cancellaria, Farnese, and Barberini having been in great part built from its ruins. Sixtus V. endeavoured to transform the building into a woollen manufactory, and employed Fontana to design a plan for converting the arcades into shops ; but the scheme was abandoned. In the 17th cent, the Amphitheatre was used for the exhibition of Passion Plays. Clement XI., in 1700, enclosed the lower arcades, and established a manufactory of saltpetre for the supply of his neighbouring powder mills. To prevent further indignities, Benedict XIV., in 1750, consecrated the building to the memory of the Christian martyrs who had perished in it, and at the request of St. Leonard of Porto Maurizio (1676-1751) established the Via Crucis, or 14 Stations of the Cross, at the foot of the ascending rows of seats. The French cleared the porticoes and removed from the arena the rubbish which had accumulated for centuries. Pius VII. built the wall which now supports the S. W. angle, a fine specimen of inodern masonry ; and extensive repairs were carried on during the reign of Pius IX., directed by Canina. The Cross which stood in the middle of the arena, and the 14 Stations of the Passion ranged in a circle around it, were removed in 1874, in order to re-excavate more completely^he subter- J Section 5 Rtfe 8.10. I i LoaA»b > Ba.w»rd SUnfiBrd. 12. 13 A 14. Long Acre. W. C . 104 ROUTE 8. — THE COLOSSEUM. [Sect. I. uestroyod by an earthquake in 442 and 580 (see Inscription on a square pedestal to the rt. near the entrance from the Forum). The building was originally called the Amphitheatrum Flavium, in honour of the family name of the Emperors engaged in its construction ; and the first mention of the name Colosseum, derived from its stupendously colossal dimensions, occurs in fragments attributed on very doubtful grounds to oar Venerable Bade, recording the famous prophecy cf the Anelo-baxon pilgrim- : — Wliilf stjiutis the Colosscnin, R<»iiif shall sUuhI ; W'htu talis the «olossriiin, Koiiic slmil lull : Ami when Home lulls, Ihc vvoiM. From our own Ian* I Thus speak the i»il';iims o'er the niiuhty wall III Siixon times, which we nie wont to eall AiicieUt. — t'hihit Hit mill. Public exhibitions of combats between trained gladiators were given in the Forum Romanum, never a convenient place for the purpose, when this building was specially erected for such shows. At its dedica- tion by Titus, 5000 wild beasts 'were slaughtered in the arena, and the games in honour of the event lasted for nearly lOO days. During the persecution of the Christians the amphitheatre was the scene of fearful barbarities; but tlie number of those exposed hertj lias been greatly exaggerated. In the reign of Trajan, St. Ignatius was brought from Antioch purposely to be devoured by wild beasts in the Colosseum. In 403 a Greek monk, Telemachus, rushed into the midst of one of the scenes of butchery, and fell a victim to the rage of the people at having their favourite amusement interrupted. His self-sacritice produced a reaction against the fighting of men with men, which was stopped by Honorius, though only for a time. It was not till the reign of Justinian in the Gth cent, that"^ the shedding of human blood in the arena was finally terminated. In 1382 a great bull fight took place here. Two-thirds of the original building have disappeared. It supplied the Roman popes and princes for nearly 200 years with building materials; the Pal. di Venezia, Cancellaria, Faruese, and Barberini having been in great part built from its ruins. Sixtus V. endeavoured to transform the building into a woollen manufactory, and employed Fontana to design a plan for converting the arcades into shops; but the scheme was abandoned. In the 17th cent, the Amphitheatre was used for the exhibition of Passion Plays. Clement XI., in 1700, enclosed the lower arcades, and established a maimfactory of saltpetre for the supply of his neighbouring powder mills. To prevent further indignities, Benedict XIV., in 1750, consecrated the building to the memory of the Christian martyrs who had perished in it, and at the request of St. Leonard of Porto Maurizio (1676-1751) established the Via Crucis, or 14 Stations of the Cross, at the foot of the ascending rows of seats. The French cleared the porticoes and removed from the arena the rubbish which had accumulated for centuries. Pius VII. built the wall which now supports the S. W. angle, a fine specimen of modern masonry ; and extensive repairs were carried on during the reign of Pius IX., directed by Canina. The Cross which stood in the middle of the arena, and the 14 Stations of the Passion ranged in a circle around it, were removed in 1874, in order to re-excavate more completely the subter- I hooAoik . Bd.w»rA Stanford. 12, 13 & 14, Lon^ Acre. W. C. The City.] route 8.— the colosseum. 105 ranean corridors and vaults which were partially uncovered by the French between 1811 and 1814. IklATERiAL. — Travertine of the finest quality is employed for the external face of the building, the ambulacra, or two outer corridors, -P^ O O u o o M o Q O M H > Story added by Gordiauus III. Part built by the FJ avian Emperors. and the arches of the inner'corridors and the stairs. The intermediate parts are of tufa and brick, and the vaults of concrete. The forni of the amphitheatre is, as usual, elliptical, the major axis of the building, including the thickness of the waUs, is 195 yds., the minor axis, v 106 ROUTE 8. — THE COLOSSEUM. [Sect. I. The City.] route 8. — the colosseum. 107 156 yds. The length of the arena is 93 yds., the width 50 yds. The superficial area is nearly 6 acres, and the walking distance round the building just one-third of a mile. Exterior. — This is best seen from the slope of the Esquiline, above the N. face of the building. The outer elevation consists of four stories: the three lower are composed of arches supported by piers faced with half-columns ; the fourth is a solid wall faced with pilasters, and pierced in the alternate compartments with 40 square opening^-;. In each of the lower tiers there were 80 arches. The lowest, of the Tuscan order, is nearly 30 ft. high ; the second, Ionic, about 38 ft. ; the third, Corinthian, of the same height ; the fourth, Composite, 44 ft. Al)ove the last is an entablature. The height of the outer wall is 157 ft. It should be noticed that the details of the architecture in the several orders are excessively meagre, the spiral lines on the Ionic volutes being omitted entirely, as well as the characteristic ornaments of the entabla- be still seen on the N. side, and every fourth arch was furnished with a staircase. Between those numbered xxxviii and xxxix is one with a tablet over it placed by Pius IX., which has neither number nor cornice; it is about one-sixth wider than the others, land formed an QUARTER-PLAN OP THE SEATS AND QUARTER-PLAN OP THE BASEMENT. PLAN OP THE EXCAVATIONS IN THE COLOSSEUM. ture. The acanthus foliage of the Corinthian capitals is also very roughly worked. It is, however, possible that those portions of the building were once covered with stucco, and the usual enrich- ments modelled in that material. At the base of the columns in the two upper tiers runs a low thin parapet wall, as a protection for persons walking along the corridors. ' The Colosseum would have been much more dignified and noble had its designers omitted the unmeaning half-columns and capitals which are stuck on its sides, and left the noble rows of arches in their unadorned grandeur to tell their own tale. The Amphitheatre of Verona has no columns, and exhibits a purer taste.' — B. The holes which disfigure the walls of the building were made during the middle ages in search for the metal clamps which bound the travertine blocks together, when the value of this material was considerable, or labour cheap. 47 of the 80 bays of arches have been destroyed by Popes and Roman nobles for the sake of their building materials. They were numbered progressively, as may A. Podium. B. Stairs from the lower level of the Arena to the Caelian Cryptoporticus. C. Imperial boxes. D. Imperial entrance from the Caelian. E. Do. from the Esquiline. F. Marble platforms for the seals of digni- tariv8. 0. Cryptoporticus. H. Ambulacra and cells for wild beasts. 1. Cr>'pto portions leading to the Es^iuiline and Caelian. K, M. N. 0. P. Q. R. S. T Cryptopi»rticua leadinfj towards the Laterau. Corridors containing each six stone blocks, with brotize sockets. Winding stairs. i Inclined passage. Drain. Well. Central Ambulacrum, with wooden Brick arches. (framework. Well. Drains. Imperial* entrance. A fragment of a fluted pavonazzetto column here indicates the start of a colonnade, which led to the Baths of Titus. On the opposite side there was a corresponding entrance with a subterra- nean passage, still visible. The entrances for processions of gladiators were at the extremities of the major axis. 108 BOUTE 8. — THE COLOSSEUM. [Sect. I. Interior.— Having surveyod the building from this point, the traveller is recommended to return to the rt. along the low wall, and descend to the foot of the imnumbered archway which formed the Imperial entrance. Walking thence towards the centre of the Colosseum , he will observe on the barrel vaults and beneath the arches some panels delicately moulded with foliage and figures in stucco, once painted and gilded— the only remains of this beautiful form of decoration, with whirh ever>' vault and arch was originally covered. He should also notice the awkwanl treatment of the imposts which cap the s({uare piers within the outside corridor. The shallow pilasters which run down from the roof do not project enough to stop the imposts, and the latter are therefore cut away to make way for them. — M. The fragments of columns and capitals which lie scattered on the ground nearer the Arena have rolled down the tiers of seats from the highest story. They are of various dates, several having been taken from older buildings ; but they were not set up in the Amphitheatre until the restorations of 222-244. We now reach the Arena, so called because it was covered with sand to prevent the gladiators from slipping, and to absorb the blood. It originally measured about 28 yds. by 17. but is now much larger, on •ceouAi ot tho rainavAl of thn v^-.iU iii fnna M«to lor too tpectAton. Tbe four cLun o( utiu corrfiipoiid vithibc four oolor Uortoft. Atch« lau^Nnr- • ^ng tb«iroiiA vnuUid PodiDin^ * kind of imsMd pUlfonn» fmnd r>.... ..ir.rhir. 4T)d about IS tt, bigh^co whioh iht En)pc«x)r. the Scnfttom, and tin \ . ..tjU Virgin* hml Uieir plAcei. Ibmt dignitarlM ao, not on •Uivliko vmU^ bat on utfikOkU xnktlAt tbron«M. m«oj ol wbioh ircffto pQibibbty f tokn ttom lb» t b<» to # o( •omo HoUcnic oty. vthtn tbty bad Mctiid * tiaibir Mnpoto. SooM ol Umm tktOKitt wono aftonntrdt oo a t mU d bribe CbiMkni into opboop*! daint foe thnir BuMbcttt (mo S. Stf/ano JioUmdo^ Tbo Kmperor'i throne v^s nisod ftbovt iboo«lMes tjid pbced undor » oADopj tapioctod on 1iinMM, Abov^t thU, tj»d tqpanktcd ttom l(v vtM tbopto ffKmM<>i9mH fonnuw th« €4ir>tft, nnd an ottlo or RMted ^lUtrv. oa mnv Dt ptca on ■Mvnil ooixks oil which tbo buOdlittg t« rx.«pr«4cnt«d. Tbo OMttndiQg t&M« of umu vara dninhuicd in froofa i^mong t^ eUisMM, ocoocdiog lo Ibc4r rank »mI weolib. tbe kwoa row* boing Ibo bm^I boaounblo. Abov« tbom TiuM a ftoltj brfcft-loe^ will« OMe Knoi wUb ttorlte, pitcv^ with doocK viAdowi, and niobM tor otfttUM. * Ai Ibit point Domitian'^ Trnrk «ad». ood Ibe ^B^cciii obova oro ol tbo drd ecot.*— Jl. Tb«y wwro oedian), in the ibiokni of ibo wmll. %f arcbcd ec^t, oxttt^iagoil around tbo oral, and intoaektad at c««c« tor wild b««*t«. A rowifj not olmr^ out tMxA bobind thnm» nftnnwtntmatlng with a kioci of tnp ttUl Tiiibto^ by wbtoh tbo koepcr POdd Ut down food to tbe 4nlnui; and In noot wnt a cbanact of rsnning wotor for them to drink. It probahly oonaw froin tho ipriTiipi wbleb tOfnUod tbo Loko ol KWo, anil the v»ton(i J i-n • *';i> ^flfn vil *iTOH oJ irtiiio-i ,. ■«?fr?o^j Ir I ■ •v»V. » X'M- '^U n' .^Kkf^iy-., K I ~ Mf^ . :';'<1'»?I tkiltrnti ^.ii %tUUi\ ^ uTfoia^ •nft tr. L fir. I . .::J TORIIM ROMxVNTTM Arckof Canstnrtme Site of the S eptiz onunu. INDEX TO THE PLAN OP THE PALATINE. 1. Entrance. 8. Fountain and Casino. 8. Clivu» Vietonm. 4. StairH from Forum to Porta Romanula. 5. Reservoir. 6. Remnants of Roma Quadrata (wiUls of Romulus). 7. Altar of G. 8. Calvinus. 8. Remnants of Roma Quadrata. 9. House of Geiotius (Domus Oelotians). 10. Palatine Stadium. 11. Exbedra of the Stadium. 12. Baths adjoining the Stadium, 18. Terraces of 8. Severus. 14. Imi>erial balcony overlooking the Ciretu Uaximut. 15. House of Augustus (now inaccessible). 16. Academic hall (?) 17. Triclinium. \ 18. Nymphoeum. 19. Peristyle. 20 Minor Halls. 21. Basilica. 22. Royal hall. 23. Lararium. 24. Atrium. 35. Remnants of Roma Quadrata. 26. Palatine Clivut. 27. Site of the Porta Mugonia. 28. Temple of Jupiter Stator. 29. Substructions of the Palace of Galiffula. 30. Crypto portions. 81. Subterranean passage. 32. House of Gtermanicus. 33. Well. 84. Temple of Jupiter Victor (?) 85. Ruins in OpuM quadratum. 36. Temple of Cybele (?) 37. Palace of Tiberius. 88. Belvedere. SO. Stairs of Caligula's Palace. 40. Substructions of the Palace of Caligula. 41. Excavations along the Via Sacra. Ruins of baths of the fourth century. In the Palace of Domitian. A. Ruins of the medieval Torre Cortukuia. B. Neronian Substructions. C. Cells of Opu» ineertum, under the garden of 8. Bona- Ventura. D. Shops of Oput retieuUUum along the Via Tr im m p ha H t. E. Street and shops of very ancient constroetion, under the Church of S. Anastasia. F. Temple of Augostns. L«A^a • Bd^rwd StufM4.ia. IS a 14, Uoag Act*. WC The Ciiy.] route 9. — the palatine. HI vegetation was destroyed by Sig. Rosa in 1871, and the walls are now periodically scraped clean, lest the growth of plants should accelerate the gradual decomposition of the ancient structure. The * Illumination of the Colosseum with white, green, and red lights, takes place several times during the spring, and is duly advertised for the benefit of strangers. A visit to the Colosseum by moonlight, which may be made without difficulty on any suitable evening, is more highly recommended. Between the Colosseum and the Arch of Constantine is the ruin of the Meta Sudans (sweating), so called from its resemblance to the Meta of a Circus, and from its tricljling water. It appears to have been a simple jet issuing from a cone placed in the centre of a brick basin, 25 yds. in diameter, and about 30 ft. high. It stood probably in Nero's pleasure grounds, and was subsequently destroyed ; but it was rebuilt by Domitian in 95, and is represented on several medals of the amphi- theatre. The fountain was of concrete and brick, once faced with marble, in the best style ; the central cavity and the channels for carrying off the water are still visible. It was repaired a few years since, but these modern restorations may easily be distinguished from the ancient work. Opposite the Meta Sudans, at the S.E. corner of the substructions of the Temple of Venus and Roma, are the remains of a huge quad- rangular pedestal upon which stood the Colossus of Nero, after its removal from the adjoining height on the N.W. by Hadrian, to make room for his Temple of Venus and Roma. Commodus turned it into an image of himself as Hercules, with a club, and couching lions. It is represented on medals of the Colosseum in the time of Gordianus III. and Severus Alexander, when it had been changed into a statue of the Sun, and its head adorned with rays 22 ft. long. It was probablv destroyed by the Goths under Totila in 546. It was of bronze, with gold and silver ornamentation, 120 ft. high, and stood originally in the vestibule of Nero's Palace. On the other side of the Meta Sudans, spanning the Via Triumphalis, is the Arch of Constantine (Rte. 10). THE RUINS ON ^ Scale aCYmx'Ha y 12© i5o_ coo ROUTE 9. The Palatine. (Open from 9 a.m. to sunset. Entrance in the Via S. Teodoro, E. of the Forum, 1 fr. Free on Sunday. For the feast days when the Palatine is closed to the public, see p. [36].) The PALATINE HILL has the form of an irregular square, and rises to a height of 167 ft. above the sea, and 117 ft. above the surrounding quarters of the city. Its circumference is 1918 yds. A narrow deep valley, running from the Arch of Titus to the middle of the Circus Maximus, formerly divided the hill in two summits; facing the 112 ROUTE 9. — THE PALATINE. [Sect. I. The City.] Capitol was the Germalus, wmle that towards the Caelian was called t^alatium and was connected with the slopes of the Esquiline bv the ridge of the Veha, on which still stands the Arch of Titus. The name is derived from Pales, the goddess of flocks and shepherds whose festival, the 21st of April, is still observed as the Birthday of Rome. History.— The discovery in 1870 of the walls of the primitive town under the Villa Mills, show that they included both the^GTrmlLsTnd tne Palatium ; and agrees perfectly with the statement of Tacitus who describes the four corners of Primitive Rome as corresponding respectively with the Forum Romanum, the Forum Boarium the Altar of Consus, and the Curiae Veteres. Of the three gates which gave access to the town, the Porta I^Iugonia and the Porta Romanula have been already discovered. The world-wide renown of this hill, as the residence of the Roman ^.mperors, began under Augustus, who was born in a street called da Capita Bubula (near the Meta Sudans). The victory of Actium having made him master of the world, he bought a large plot of ground on the Palatium, on the site of the houses of Hortensius and (^ataline, and buUt the Domvs Avgvstana, together with a Temple and Porticus of Apollo, a Shrine of Vesta, and extensive libraries. After his death, Tiberius enlarged the Imperial residence on the b. section of the Germalus, including in it the house of the family of Germamcus This new palace, separated from the Domus Augustana by the valley already mentioned, and connected at the same time with It by an underground passage, is the Domvs Tiberiana of the catalogues Caligula extended the building over the remaining part of the Germalus' as far as the Temple of Castor and PoUux, and converted this temple into a vestibule for the new portion he had added. Nero, after the fire T^l""^ t^ Vt^ more than half the city, began his Golden House, at .r.A f AA^^^ Palatium, overlooking the valley of the Colosseum, and extended it as far as the Gardens of Maecenas on the Esquili^ Vespasian reduced this overgrown edifice within more reasonable limits* giving back to the people that part of Nero's grounds which was not included in the Palatine. The same Emperor filled up with lo^ty anT;^""?^' *^t •:^^l^^>7'hi«l^ divided the Palatium from the Germalus, and on this artificial base commenced the Domus Flavia, a magnificent Palace the ruins of which are the most conspicuous amona those STlmuM^n A''k ^^' rff 'T^''''"^ "^y ^^^i^i^-' who added the A^t?i!> ' A c ^- ^'^® ""i ^^'® ^°"^"^ Augustana and the Temple of itti*^ cT^ ^^P*'""^^^ Severus raised the Septizonium, another splendid series of buildings at the S.W. corner of the hUl, the only part which had been left unoccupied. The Imperial residence was repeatedly rebuilt and altered by succeeding Emperors, and the greater part of it 18 supposed to have fallen into decay in the time of Theodoric, in spite of his extensive works of repair. In the 7th cent, the central portion, and particularly the Domus Flavia, was sufficiently perfect to b^ inhabited by Heraclius ; but since that period the Palatine has become gradually a shapeless mass of ruins. Cypress aud ivy, weed und wallflower grown Matted and niass'd together, hillocks heupd On what were chambers, arrh crushd, columns strown In fragments, choked-up vaults, and frescoes sttcp'd ROUTE 9. — THE PALATINE. 113 ^ In subterranean damps, where the owl peep'd. Deeming it midnight :— Temples, baths, or halls' Pronounce who can ; for all that Learning reapd Jrom her research hath been, that these are walls.— Behold the Imperial Mount I 'tis thus the mighty falls. ■^ChUde Harold. ^rrJ^^Tn^^^^^I ^®''® ^^^^ ^""^ *^® Farnese princes by Biatichini in l/Jl-1725, and many works of art discovered within the grounds were removed to Parma; but the search was not continued, and until 1870 the hill was portioned out in gardens and vineyards. The palaces of liberius, Caligula, and Domitian on the summit or table-land of the Germalus were enclosed in the Orti Farnesiani. The Vigna Nussiner occupied the N.W. slope of the Germalus, overlooking the Velabrum, the Forum Boarium, and the N. end of the Circus Maximus. On the S portion of the hill (Palatium) were the Villa Mills, with the Domus Augustana and the Temple of Apollo ; the Orti Roncioni or Castelli, with the Stadium Palatinum : the Vigna del Collegio Inglese with the Palace of Severus; the Orti di S. Bonaventura and Barberini' with the buildings of Nero. All these private properties were enclosed by lofty walls, and some of them, being nunneries and convents,- were utterly inaccessible. In 1848 the Emp. of Russia bought the Vigna Nussiner, where he made extensive excavations, which led to the discovery of the walls of Romulus, the pavement of the Viciis Tuscus and other sites. In 1857 this valuable ground was given back to Pius IX ' who bought also the Vigna del Collegio Inglese, with the Orti Roncioni and Gastelh. The Orti Farnesiani, originally laid out as gardens by Card. Alessaudro Farnese, and subsequently the property of the Neapolitan house of Bourbon, were purchased in 1861 bv the Emp Napoleon III. for 20,000Z. sterling, for the purpose of "excavations which were subsequently undertaken, at great expense. In 1870 the Farnese Gardens were transferred by Napoleon to the Italian Govern- ment for 090,000 fr., and the excavations were continued under Rosa and Fiorelli : and again later, in 1907, under Com. Giacomo Boni. Existing remains.— The present entrance is between the Church of S. Teodoro rt. and the ruins of the Temple of Augustus 1. From the gate a path ascends to a low cliff, at the foot of which it divides. The left branch leads to the Cliviis Victorias and Palace of Caligula : we turn however to the rt., in order to visit the objects of interest as far as possible in chronological order. Passing several early buildings, originally faced with opus reticulatum, we reach at the N.W. corner of the hill, backed by lofty concrete waUs of a later date the largest and best preserved remains of the * * Walls of Kingly Rome (6 on Plan), excavated in 1853 by the Emp of Russia. The walls are in opus quadratum of tufa blocks 2 ft. high and from 4 to 6 ft. long, usually arranged in alternate courses of headers and stretchers. The tufa contains numerous fragments of charcoal indicating that the shower of red-hot ashes of which the material is composed fell upon ground covered by forest, which it partially ignited. The thickness of the walls increases at the angle to 14 ft. The height does not now exceed 13 ft., but is supposed to have been originally about 40 ft. Behind these remains is a very ancient reservoir for rain- lU ROUTE 9. — THE PALATINE. [Sect. I. I water, in the vault of which are some openings or shafts for letting down buckets. Portions of the same wall are observable to the rt?of the stairs round the comer leading up the hill, and in the remnants of Republican and early Imperial houses built along the N.W. side of the Palatine cliff. Opposite the stairs may still be seen a travertine Altar (7) of ver}" early construction, discovered in 1820, and dedicated to some unknown god or goddess. It is in the early Consular style, with scroll ornaments {pulvini), like those on the tomb of Scipio Barbatus in the Vatican, and has the following inscription, remarkable not only for its archaic spelling, but also for its subject : — SKI . DEO . SEI . DEIVAK . SAC. C . SEXTIVS . C . F . CALVINVS . PR . DE . 8ENATI . 8ENTENTIA . KESTITVIT . It is supposed by IMommsen ('Corp. Inscr. Lat.,* p. 632) to refer to the mysterious genius loci or aius loquens, mentioned by Cicero and Varro, as having announced the attack of the Gauls ; although, being nameless, its sex could not be designated. The praetor C. Sextius Calvinus, who, according to a decree of the Senate, replaced the altar, is supposed to be the son of C. Sextius Calvinus, consul a.u.c. 645. Further 1. is a store-room, formerly the Casino Nussiner, on the front of which is a white marble bust of the archaeologist Fran- cesco Bianchini, whose excavations in 1721-5 have already been mentioned. Just beyond it a rough footpath ascends to the 1., and soon widens into an ancient paved road, bordered by massive walls. Here were the Scalae Caci, leading to the Ara Maxima of Hercules in the plain below, by which the aged king, Evander, led Aeneas to his dwelling on the Palanteum : — I bat rex olwitus aevo Et comitem Aeneam juxta iiatunique tenebat Ingrediens, varicKiue viam semiune levahat. Aen. viii. 30«3. Near the summit of the Scalae Caci on the 1. is a curious little Cistern, of early Republican date, well built in blocks of hard tufa, with a square hole for the water jet, and a groove for the pipe which supplied it. Opposite is a row of arches in hard tufa below a concrete wall faced with opus reticulatum. The wall is early, but the Houses on the other side of it, with their very interesting remains of heating apparatus, are of the 2nd or 3rd cent. a.d. The rooms stand on various levels, and are well worth exploring. At the end of the suite, over- looking the cliff, are some remains of early pavement. Near the angle of the rock below was the Lupercal, the Arcadian Grotto, consecrated as a shrine to Lupercus, protector against wolves, by the emigrant shepherds from Alba Longa, This spot must be the traditional den of the she-wolf, foster-mother of Romulus and Remus, and the Cradle of Ancient Rome. Here, on the 15th Feb., was held the Feast of the Lupercalia, when dogs and goats were sacrificed to the god, and the Luperci, or shepherd-priests, ran half-naked about the Palatine. Returning to the cistern, and continuing up the hill, we reach a small rectangular Cella, about 8 ft. wide, built of soft tufa in large blocks without mortar. This is probably an example of a Roman The City.] route 9.— the palatine. 115 temple in its most primitive form. Other buildings of very early date lie close at hand, but their identification is impossible. They were, however, respected and preserved even under the later Empire, and appear to have been regarded as sacred relics of the infancy of Rome. Among them may have been the Hut of the shepherd Faustulus where Romulus was reared. ' N. of this point, on rising ground in a thicket of ilex, is a huge mass of concrete waU (36 on Plan), supposed to belong to the Cella of the Aedes Matris Deum, or Temple of Cybele, the ruins of which, in fluted drums of peperino columns, lie scattered to the rt. It stood near the Hut of Faustulus, and was consecrated b.c. 192. Outside the mound is a colossal Statue in Greek marble, of the 1st cent, a.d., fairly well preserved, and supposed to represent Cybele. The arms and head are missmg. The fragments of the Temple are of great architectural mterest, and include capitals, part of the pediment, and a cornice of very primitive Romanised CVDrinthian design. The whole was originally covered with opus signimwi. The row of arches in front belong to the Palace of Tiberius (see p. 122). On the rt. is the zinc roof of the House of Germanicus. A well- shaft on the. high ground in front of it communicates wifh some rock- hewn chambers, which were in later times supplied by a conduit, whose specus may be seen near the cliff a few yards W. of the Temple of Jupiter Victor (see below). Turning S., away from the ilex grove, we reach, at a slightly higher level, a building with tufa foundations and bases of travertine piers of early Republican date, whose name and use are unknown. At its N.E. corner is another well. Below it, a few steps descend to the upper rooms of the House of Germanicus (p. 120). S.E. of it, on a lofty platform, stood the Temple of Jupiter Victor (34), of which only the concrete nucleus remains. In front of it were a flight of steps and two broad terraces. On the upper terrace has been placed a round altar, discovered in the Area Palatina, and bearing this interesting inscription : domitivs . M . F . CALVINVS . PONTIFEX . COS . ITER . IMPER . DE . MANIBIEIS. This Cnaeus Domitius Calvinus is the famous general who commanded the centre of Caesar's army at the battle of Pharsalus, and was twice consul, in b.c. 53 and 40. The phrase de manuhiis refers to the treasures acquired by him during the Spanish war, which he employed in embellishing the Regia, or residence of the Pontifex Maximus as related by Dion Cassius (xlviii. 42). The fluted cavity in the centre of the altar contained probably a bronze vessel. Outside the N.E. angle of the Temple are some scattered fragments of a handsome Corinthian building in white marble, with a curious mason's mark on one of the fluted drums. S.VV. of the Temple, at the foot of the lowest flight of steps, on the brow of the hill, are the remains of a large Hypocaust, covered with stumps of the square pilae on which the upper floor rested. Beside the path, 20 yds. N. of this spot, by a clump of ilex, is a portion of the specus of the conduit which drained the subterranean cisterns of the hill. It lies in a straight direction with the Casino (see below). Passing again in front of the lowest Temple steps, and turning to the 1., we may reach the upper rooms of the House of Germanicus or Livia by an underground passage which led to the latomiae, or I 2 116 HOL'TE 9.— THE TALATINK. [Sect. I. ' I The City.] ROUTE 9. — THE PALATINE. 117 stone-quarries of the Palatine, subsequently used as reservoirs for rain-water. Further S. are two fine halls, to which the names of Academia (16) and BiBLiOTHECA have been given at random. To the 1. are the remains of a small atrium, with five columns of cipollino and one of higio antico. In front is a piece of beautiful pavement, in pavonazzetto and giallo antico. Through an opening by the colmnns we can see the enormous substructions of opus quadratuvi, built across the valley to afford a level platform for the Flavian Palace. And here it must be obser\'ed that, while on the S. summit of the hill the Imperial buildings cover every available square foot of ground, without any regard to the preservation of more ancient monuments, on the N. elevation the greatest care was taken by the Emperors to preserve the buildings which time and religious traditions had made venerable. The Area Palatina, and the open ground in front of the Academia (175 yds. long, 106 yds. wide) would have afforded a convenient space for the Palace designed by Vespasian ; but its sacred or historical recollections obliged him to respect that site, and to create an artificial platform instead, by filling up the valley, which contained no monuments of grieat interest. We now descend to the Domus Gelotiana (9), a private house, which wa«» included by Galigula in tl)*« Inipnrial Puluro (Sunt. * Caltg..' tf). Al(C4r hU drniU it • booamo a roaidenco and a traininR-Mcliool for eottti f^M* iHh) bi4 r«cci. (>Dd«l lliia rvn4, • CorinthuM exit do paedagoRio.' Other nainvii ar*— Hi&tnif. 3f«nMUf Ajfevy Saturn s A Or, and l)oryx>horu8, Komo of whirli may havft been ftcratched by Koldi<*rM. Thcru iM aUo a ittrango tmxture of Umlk and I^tin letters. A f)ir more Intoroutlng orajflto, diftoovored in IMfl, U now In iht Kirohoriun Munoum (Rto, ?). Sovoral of the rooms hav* itanaitiM of •arly puvcmcnt and froHco, and the rcHtorod oolooaado In Icont d ihom HUppf^rix u hatidMoiiii) rortiico. There arc wtt^ mocv grmJUi OM tba wall to the 1. of the exit arohway, and a wi^ll-proi«f«d pMM o( aocital wall outMtdo it tu Iho rt. Om path r«tun;p( up iht htU, aitd brU^ ns to Ibe StJidittrri n% bmlt by DoQDQitiaii. colanod and rwioted I17 Hadrian and Sopt Sttfttrus. It oeenpin tho spaoo bMwMO lb* PaUc«a of AutfiMlM and Setx^mt, and ooniimi of two pMralM wmlK ^08 rdg. lonif, with a btrakofcte at tho W. cood. wbesra the Mita la viiAbku "' tho flntf»nff» on tha 1. a gata liali to aom* rocot ao4 tattui..^ boSonglBg to the Ftdaot of AuguauK. OppoiAta h ma IhffOMeb an ofptniM a tea pioM e< barrol vaulting?, with dmlr tamken coffon. Tho Imp€riiww» corridon, and TanK«; •tiH ratainiu^ tboir aaetent tUliOO mooMiBgiK aio inlonfon*«d with Calkn ■Moaoi of Udldiqpi, anwog wMdi aro found f t«gnKn. VMitont iibonld Boi fail to walk to tba oxirtinity of Iho tKtaro aboTQ the aroido In order to on joy tho mgnifloent *tiew ovcc tho raina, tho Cacttao* OMaptgno^ aad dMoat aMontaiii*. Botow to tho rt«» nc«r ibo tamotfott of iho Via do^ Gtcvlii and ttio Via di S. Ore«ono, Oood tbo oolebntid $ oi lion him, huilt hf Soranu (a.d. 196) in ccdor, it ift vaid, to attract tho eye«i of hit Afrioao coantcTatn, on th«ar arrival in tbo capita) tbrouKli thio Pocta Capena. li d€nAx>d ita budo from itn m^ by Siztos V. to famish niat^tiaU Cor tho bolMlng d St. P«t«educt hv whkb Sopi. Sfl'VMW biongbt ibo A^nua CUtudia to hlA PalA^e. Pt iinaMiij tbo narrow brid«(c. we return to tb# K.W. oifed of tho ttlftdium, and dad in ita K.W. wall an ootranc< into the Palace or Ar-ocOTU b (16 : not of«D to ibe pnbllc). Tho frooi d lb» Palace ot«ttoob«d tho Cirons and tho A\^ailiiMi» aad bad 10 windoirs, 118 ROUTE 9. — THE PALATINE. [Sect. I. besides the central door. The prothyrum led to a square atrium, surrounded by a portico of eight columns and four pilasters, on which opened the State apartments. The inner peristylium, 35 yds. long, 32 yds. wide, was ornamented with 56 Ionic pillars. Of this superb building nothing now remains, except a few rooms, opening on the E. side of the peristylium, which appear to have been richly decorated. Two of them are octagonal, with domes admitting light from above. Returning to the Stadium and keeping to the rt. we soon reach a small open space, with six broken columns of cipoUino. Beyond them are the remains of the Palace of Domitian (17-24). The nearest chamber is the Triclinium (17), which ends in an apse, with a beautiful pavement of 02*t(s Alex- andrinum. On the 1. opens the Nymphaeum (18), with remains of a large and richly decorated oval fountain, where the statue of the winged Eros, now in the Louvre, was discovered in 1862. The Peristylium (19) covers a surface of 3000 sq. yds., and was ornamented with fluted columns of portasanta marble, fragments of which are still lying round the walls. According to Suetonius [Dom. 14), these porticos were the favourite promenade of Domitian, who, fearing to be murdered at any moment, caused the walls to be coated with phengite marble (white, veined with yellow), which took so high a polish as to reflect objects like a mirror. From the centre of the Peristylium steps descend to a Buried House, with remains of painted ornaments on the vaults. In the last room, beneath the opening which serves as a window, may be observed very distinctly the imprint of the upright stakes, which formed part of the framework used by the Romans for casting their concrete walls. A semi-fluid mixture of lime, pozzolana, and small stones or fragments of brick was poured into a temporary wooden box, and the boards removed when the concrete had become dry. — M. Three halls open on the front of the Palace. The one in the centre (22), called Tablinum by Rosa and Aula Regia by Bianchini, 50 yds. by 40, was used for state receptions. When first discovered by Duke Famese of Parma it had 16 Corinthian columns of pavotiazzctto and giallo marble, 24 ft. high ; two of them, which stood on each side of the entrance, were sold for 2000 zecchini {ISl. 10s.). The threshold, of Greek marble, was removed to the Pantheon, for the restoration of the high altar. The niches contained colossal statues. On the 1. opens the ♦Basilica, or Hall of Justice (21), remarkable for the great width of its nave : the walls, apse, stairs leading to the tribune, and part of the pavement are well preserved. The apse was enclosed by a white marble railing {cancello)^ portions of which still remain. At its N.W. corner, on the pavement, are some earthenware tiles stamped with the potter's name, and the words valkat qui fecit (may he prosper who made it). Two statues of green basalt, representing Hercules and Bacchus, were discovered hero in 1724. They are now in the Museum at Parma. On the opposite side of the Aula Regia is a large hall, sup- posed to be the Lararium (23), or chapel, in which the Emperor ROUTE 9. — THE PALATINE. 119 The City.] presided as Pontifex Maximus, containing an altar, with figures of the household gods. The latter are not in situ, but were brought from the Villa Campana and placed here by Sig. Rosa. In the corner behind is the start of a staircase which led to an upper story. In front of these three halls ran a row of Cipollino pillars with Corinthian capitals. Skirting the Convent wall on the rt. we now descend from the Lararium (23) by the Clivus Palatinus (26), paved with enormous blocks of lava. Near this stood the Porta Mugrionis (27), f or Poj'ta Vetus Palatii, of the wall of Romulus. On the 1. are some scanty remains of the Temple of Jupiter Stator (28), built by Romulus and restored by M. Atilius Regulus, b.c. 295. On the foundation blocks, in a hole below the area, may still be traced some names of slaves or workmen, such as PiLOCRATES, DiOCLES. Continuing towards the arches of the Basilica of Maxentius, and turning 1., we pass on the 1. a double flight of steps, leading to the modern Casino (2 : see p. 122), and reach the pavement of the Clivus Victoriac, which led from the Porta Romanula to the Temple of Victory, on the summit of the hill. The street is bordered on the 1. by the substructions of the Palace of Caligula, on the rt. by remains of private houses. It must have been somewhere near this place that the rich Romans of the 1st cent. B.C. had their favourite residences, and where the house of Clodius stood with that of Cicero below it. Descending the Clivus Victoriae, we cross the N.E. corner of Caligula's Palace, which respected the public street, passing above it on lofty arches. On the 1. we observe a long and rather steep flight of stairs leading to the upper level of the Palace, and further on a good specimen of marble balustrade. Below it is a fine piece of stucco ornamentation. The street was bordered with shops, closed by shutters, the grooves of which are still visible. The small, dark rooms standing back were probably occupied by soldiers, who kept guard at the adjacent Porta Bonianula. The site of the gate is marked by an arch in brick- work, of the time of Caligula, repaired by Sig. Rosa. To the rt. of the Porta Romanula a broad staircase descends to the Nova Via. It may be connected with the opening which Caligula caused to be made in the back wall of the Temple, in order that he might suddenly appear between the statues of the twin gods to receive the worship of their devotees. In this neighbourhood must have been the start of Caligula's celebrated bridge, connecting the Palatine with the Capitol. The ' bridge ' was more strictly speaking an open gangway, terraced upon the roofs of the Temple of Augustus, the Basilica Julia, and the Temple of Saturn, and crossing the narrow intervening streets by light bridges of wood. At this point the street turns to the 1., and leads back to the entrance by S. Teodoro. Ascending a narrow flight of steps to the 1. inside the gateway, and continually turning rt. through some small rooms, we soon reach the balustrade, and pass through dark passages into some larger rooms, which emerge on the Clivus Victo7'ia£ close to the foot of the stairs ascending to the Casino.. Passing these, we turn t Supposed to be derived from Mugire (lowing of cattle)— suggesting the purely pastoral origin of the settlement on the Palatine. 120 ROUTE 9. — THE PALATINE. [Sect. I. into a passage on the rt., which presently widens into a verv long \r!Z^l^lT'?uK''' ''^''^^J^^ #^"^'y (^<^)' ^^««^ ^^i«^ sfceP« ascend at intervals to the Farnese Gardens. rr..lt^^^^/' ^i^JP^® "^"^^^''^ ^^^''' ^"* *be ^alls were lined with costly marbles, fixed by iron clamps, some of which remain. Vertical clay pipes may also be seen running down the walls, for carrying off the vti^7^ ^' ^'"""l 'I"^ .T^ ^^ ^^« ^^"i^^^'^- At the further end ' the J^^J\ ''''''^^^^ ^'^^. ""^'^ beautiful and spirited reliefs modelled m wet stucco, representmg cupids, birds, animals and graceful foliage.' JDomiH^n 1 T .°°";^^ '^^« bence at rt. angles to the Palace of w«Tnrl«l I'''^i% *^^ ^°'°'"' * ^^^ ^^^P'' °° tbe rt. ascend to a well-preserved oval Piscina, or water-tank, lined with opus signinum. ranean ll W^ ' T^' '^'''^^' "^ ^^^^^^^' ^°^^ P^^^^ ^^ ^^is subter- ranean gallery. The young Emperor, after havinc witnessed th« o^Sfhtr/ V^^ ""'f Pa^aJ^n^'in the atnum^uL "alace. fnst vefr?n ^H / ^'' apartments by the state entrance, where hi^ guards onTus wblr« ""''' '"^ T"^ *^l Cryptoporticus, called crypta by Sue- «n^ h:7- ^ mS"® "°^^^ >'*^^*^«' ^^«°^ Asia, were practUing hymns Cassius^^^^^^^^^^^ ''S^^'^ *° ^*^"««« '^^^ ^^ercisfs, wTen with ?he?r^worH!o ^'^.l'''^'^' ?^^T.^' '^'^^^ °^ ^^^^ dispatched him i" the adjaceo ■ ' ' '' '^' ^^'""^'^^ ''^^^' ^^"°^^^^^ ^^^^««^^'«^ T^ril^T^ of Germanicus (32), father of Caligula. This is the only FnT^9 ull'c^^r'TJ' fT"^ ''^^ ^^ ^^^«*^°"«- I^ -as discovered c?/Za^/m anVl^ r^^^-^^.'^l *"^* concrete, neatly faced with opm retu r^ri^JtT^itfv '^^^ '"m? *^° portions, the state apartments and the Prothvnr I v^^'r""'- 7^' .1^*^^ apartments consist of a vestibule o? Prothynim, which opened on the public street, and subsequently on the cryptoporticus of the Domus Tiberiana. Next comes the Atrium with two pedestals for statues, having on the rt. the Triclinium "rd^nTnl- room, pamted with red panels, and arabesques of fruit,Tnimals and marbie On'theToH?"* °'f ^'^ "^^^^^ 'i^^^'^ ^^^^^ ^^^^ « "^'ouTed marble. On the 1. of it is a staircase ascending to the upper story. winl^ ^'on*' i?' ^-^ John Evan., Angel' "anl: fnst^ti^ted hv '^t r^'"''^^''^*!? ^^i ^" *^" ^^^'^^^^^ *he Litan/procession Rte 29^ ^lil: ?'T^' £"^ *i^' apparition at the Castel S. Angelo (Kte. 29) ; at the foot, SS. Benedict and Scolastica «;f rtf" '^^'^ ^A ^\ ^- 5^ ^^^ ^^"""^ *'"« ^^^^^ Chapels, erected by cated to •''' ^^^^^^®d by Card. Baronius. That on the rt. dedi- AT- ^^^^^^^^?' "^°*^^/ of the saint, who lived here, has a statue by Ntccold Cordieri, and a damaged fresco on the vault bv Guido Rem representing a concert of Angels with the Almighty above; ' the whole The City.] route 10.— ss. Giovanni e paolo. 127 picture is imbued with a glow of youthful animation which reminds us of the best times of Italian Art.' — K. Festa, 5 Nov. Adjoining the Chapel of S. Silvia is a fine remnant of the Servian wall, on the line of which the foundations of the neighbouring Porta Capena were discovered in 1868 (p. 407). The Chapel of S. Andrea contains the frescoes painted in rivalry bv Guido Rcni &nd Dofncnichtjw. By the former, on the left wall,' St. Andrew adoring the cross as he is led to execution ; by the latter, his Flacrella- tion. The third chapel, caUed the Triclinium Pauperum,° and dedicated to ^ S. Barbara, has a statue of St. Gregory bv Niccoh) Cordieri, begun It IS said, by his master, Michel Angelo. In the centre is a marble table, on which St. Gregory fed every morning 12 paupers, among whom it is said that our Saviour, under the form of an angel, once appeared as the thirteenth. For this reason the Pope upon Maundy Thursday used to wait upon 13 pilgrims instead of 12. Handsome feet support the table. On the left wall is a fresco representing this repast. Another fresco (to the 1.) commemorates the well-known tradi- tion of the fair-haired British children in the Forum— non Angli sed ^n^e^i— who first suggested to St. Gregory the thought of sending St. Augustine as a missionary to England. With back to the facade we now turn to the rt. (E.). The reticu- lated wall high up on the left belongs to some public building of Trajan's time, which was subsequently used for the support of a private house, and afterwards for that of the 1. aisle of the Church. We now reach the Church of SS. GIOVANNI E PAOLO, attached to a Passionist Convent, and conspicuous by its beautifully arcaded external apse, which, as well as the portico and pavement, date from 1150, It was erected by St. Pamruachius, a monk and a friend of St. Jerome, in the 4th cent., on the site of the house occupied by the Saints to whom it is dedi- cated, who suffered martyrdom in the reign of Julian the Apostate. In front is a mediaeval portico supported by granite and marble columns. The Nave has 16 ancient columns. The pavement is partly Cosmatesque. The vault of the tribune is painted by Pomaranciu. Within a railing in the nave is a stone on which the patron saints are supposed to have suffered martyrdom. Opening out of the rt. aisle is a handsome Chapel built by Prince Torlonia and lined with choice marbles. The urn under the altar contains the relics of S. Paolo della Croce, founder of the Passionist Order.t On each side are beautiful columns of Egyptian alabaster. Pilasters of the same material, and panels of coloured marble, cover the walls. At the end of the rt. aisle is a painting of S. Saturninus, by Marco Benefial. A flight of steps descends to the very interesting 5th cent. * House of SS. John and Paul, which formed the Crypt of the original Church, but lay buried and forgotten until discovered by one of the Passionist fathers in 1889, It rests on foundations of the 3rd and 1st cent., and contains 15 brick-faced chambers, some of which have coarse mosaic floors. In a vaulted room are eight fairly well-preserved frescoes of t The room in which the Saint died is worth a visit. 128 BOUTE 10.— S. TOMMASO IN FORMIS. [Sect. I. youths with festoons hanging from shoulder to shoulder, and pea- cocks, pheasants, and storks between them ; above, on the roof, boys, birds, and foliage (3rd cent.). Another room is painted in panel, with animals on the roof. There are also some stiff Passion scenes of the 9th and 10th cent., and some highly decorative frescoes of the 13th. The room which served as the Tomb of the martyred Saints was turned into the Confession of the Church in the 12th cent. Festa 28 April. ' A portion of a more ancient edifice (see below), in massive blocks of travertme, forms the base of the elegant 13th cent. Bell Tower one of the best-preserved in Rome. Card. Howard was titular of this Church. The adjoining Passionist Convent and its garden (ladies not admitted) enclose the site of the Temjjic of Claudius. Of the edifice raised by Agrippina, pulled down by Nero, and rebuilt by Vespasian, nothing now remains but part of the corridor which surrounded the substructions of the platform. The best preserved portion under the Campanile consists of eight large Tuscan arches of travertine. The true history of these very remarkable and interesting ruins is probably the following. They first served as a reservoir to feed, bv means of ornamental cascades, the artificial lake in the pleasure grounds of Nero's Golden House. Upon the destruction of the latter by Vespasian, and the erection of the Colosseum, the reservoirs, now dry, served as temporary dens for the beasts intended for the gladia- torial shows. They were driven over night from the Vivarium near the Praetorian camp, and entered the Colosseum by the underground passage on the S. side. This theory accounts for the size of the sub- structions, upon a small portion of which the Temple of Claudius stood ; and accounts also for the extension of the Claudian aqueduct to this point by Nero (p. 131). A copious supply of water would be necessary for the reservoir which fed the lake, but could not be required for a temple. The style of these substructions is not the same all around. On the N. side of the platform they are built of bricks with a row of shops or store rooms ; on the E. side, facing the Church of SS. Quattro, they are ornamented with semicircular and square niches. The *View from the shady avenue of ilexes, over- looking the valley of the Colosseum and the slopes of the Palatine is exceedingly beautiful. * A road between walls leads now to the Arch of Dolabella and Silanus, a structure of travertine, with a single line as cornice, and an inscription, from which we gather that it was erected by the above- named consuls (A.D. 10). It affords an example ♦ of the impressive effect of a plain Arch without Greek ornament.'— B. Nero included It in the line of his aqueduct to the Palatine. Just within the Arch on the rt., is the entrance to the little Church of S. Tommaso in Formis (Claudiis), so called because it was built partly upon the arches of the Aqueduct. It belonged originally to the Trinitarians of S. Crisogono, and was the burial-place of S. Giovanni de Matha, their founder, who established here a Hospice, and died in 1213. His remains were carried to Spain, and during the absence of the Papal Court at Avignon the Convent was abandoned. It now belongs to the Canons of the Vatican. The City.] route 10. — s. m. in domnica. 129 At the high altar are four very beautiful fluted columns of pavonaz- zetto, and a painting of the Virgin and Child, with SS. Boniface, Francis, and Pope Boniface VIII., by Pomarancio. On the 21st Dec. and 8th Feb., the Church is open all day, and the cell in which the founder died, which stands over the Arch of Dolabella, may be visited. To the rt., just beyond the Arch, is a pointed arch of peperino, and further on a fine marble doorway, the chief entrance to the former Hospice. Above the latter, under a canopy, is a *]\Iosaic of the Saviour having on either side a captive, in allusion to the foundation of the Trinitarian Order, whose principal object was to redeem Christians carried off by the Barbary pirates, or detained as prisoners in Palestine at the time of the Crusades. The doorway bears the name of Jacopo Cosma and his son (13th cent.). Opposite is an extensive and admirably arranged Military Hospital with 1000 beds, built partly on the site of the Villa Casalit once cele- brated for its works of art. A few yards further on is the Church of *S. M. in Domnica, or S. M. della Navicella, so called from a small marble Boat, which Leo X. placed in front of it — a copy of an ancient one which stood here. This Church occupies the site of the house of S. Ciriaca, which stood where the foreign soldiers were quartered on the Mons Caelius — the Castra Peregrinoimm. The house is more interesting as the traditional spot where St. Lawrence, by order of Pope Sixtus II., distributed the treasures of the Church among the poor. It was entirely restored by Leo X., when titular Cardinal, from the designs of Raphael. The interior has 16 fine columns of grey granite, and two of red. The frieze of lions and genii over the windows was painted in chiaroscuro by Giulio Romano and Pierino del Vaga. The Mosaics in the tribune are of the year 817. On the vault the Virgin and Child, with a host of white-robed angels ; at her feet Paschal I., whose monogram is upon the centre of the arch. Upon the front wall, the Saviour with two angels, 12 Apostles, and two large figures of Prophets below. The rich floral decoration is remarkable. Open all day on the 2nd Sun. in Lent ; every Sun. for an early morning 5lass by a Greek Priest. Do^nnica is the Latin form of the Greek Ciriaca. A gateway just beyond the Church leads into the Villa Mattel {Caelimontava), built by a duke of that family in 1572, now the pro- perty of Baron Richard von Hoffmann (Adm.,8ee p. [34]). The grounds command a splendid *Vikw of the Alban hills, with the aqueducts of the Campagna and the walls of Rome, the Baths of Caracalla and tho Aventine. Several ancient marbles which have been found on the spot are placed in the grounds ; on each side of the fine alley of ilex are pedestals of statues dedicated to Marcus Aurelius by the officers and soldiers of the 5th cohort of the Vigiles, who were stationed here. The wall of Servius TuUius encircled that part of the Caelian on which the Villa Mattei stands. Within the grounds is a small red granite obelisk, partly ancient, and found, with that in the Piazza della Minerva, on the site of a temple of Isis. The upper third part bears a hieroglyphic inscription of the time of Psammeticus II. It was lengthened (nearly two-thirds) IRonie.] K 130 ROUTE 10.— STEFANO ROTONDO. [Sect. I. i with another block of paler granite ; and between the two stones were crushed the hands of the mason who superintended the work by the sudden sliding down of the upper piece. ' In a comer of the paddock nearest the Baths of Caracalla, below the ornamental grounds, is a Spring of beautifully clear water, the probable source of the Fcnmtain of Egeria. From the entrance to the Villa Mattei we retrace our steps a few yds., and then turn to the rt. The first door on the rt. opens into the courtyard of ^ *S. STEFANO ROTONDO. a remarkable church, originally a Pagan edifice. It was consecrated by Pope St. Simplicius, a.d. 467, and ^ven to the Geraian College by Gregory XIII. In the vestibule is a Greek marble throne (signed Magister Johannes), from which St. Gregory the Great is said to have read his fourth homily. It probably formed the ^at of some Roman dignitary on the podium of the Colosseum The Rotonda, which is 44 yds. in diameter, has two concentric rows of grey granite columns with Ionic capitals, 36 in the outer circle, 20 in the inner. The intercolumniations of the outer one were filled up by Nicholas V. (1453), to form the wall of the present building, beyond which are still traces of the third circuit, a solid wall, which foraied the outer enclosure in more ancient times. On the W. side are four fluted Corinthian columns, supporting a loftier arcade. In the central area are two Corinthian columns, higher than the rest, which, with two pilasters, support a cross wall ; it is probable they were added at a later period to support the roof, as the top pilasters occupy the places of Ionic columns in the inner circular row, which were removed to make room for them. In the clerestory are 22 small windows, only eight of which are pierced. The walls are covered with frescoes by Pomarancio, representing 32 scenes of martyrdom in chronological order, which, although displeasing to the eye and imagination, and ha\ing nothing to recommend them as works of art, are interesting as legends. In the apse of the 1st chapel on the 1. is a Mosaic (642-649), representing the Saviour in a medallion above the Cross, beside which stand SS. Primus and FelicianuK. This chapel formed the entrance to the Church until the Ba.ir«ird Staafbvd. 12, 13 Jk M, Lob^ Acr«, If.C. The City.] route U.— ss. quattro coronati. 131 ROUTE 11. From S. Stefano to the Porta S. Giovanni, by the Churches of the SS. Quattro Coronati and S. Clemente. Opposite S. Stefano Rotondo is the extensive Ospedale Militare The Tia dt S. Stefano runs between the Church and the Hospital passing on the 1 a line of arches built by Nero for the extension of the Claudian Aqueduct to the reservoir which supplied his artificial lake (pp. 103, 109). The brickwork of Nero's time is extremely neat but re- quired strengthening by Sept. Severus, who added an inner arch to the original. Another Emperor, perhaps Constautine, inserted a lower arcade all along the line ; and Theodoric filled up both tiers of arches with solid masonry. The work of each of these four periods can be readily detected. Near the end of the road the Via del SS. Quattro on the 1. leads straight to the Church of *SS. QUATTRO CORONATI, with its massive and ancient Campanile This remarkable castellated church and convent are dedicated to quattro pittore mcoronati e cinque scultori martiri, who suffered martyrdom for refusing to paint or carve images of pagan gods The Church was rebuilt by Paschal II. in 1111 to replace a more ancient one erected by Hononus I. in 626, and destroyed by Rob. Guiscard in 1084. In front are two square courts. To the rt. of the outer one (the atrium of the early Church) is the Chapel of St Sylvester, erected by Innocent IV. (1246), with some paintings (1248), representing scenes in the life of Constantino and Sylvester, and (on the end wall) our Saviour with the Virgin St John the Baptist, and the Apostles. 1 (to the 1.) Constantine, who' had been attacked by leprosy, and was advised to bathe in children's blood restores to their mothers the infants collected for that purpose 2 He sees a vision of SS. Peter and Paul, approving the deed 3 He sends for Sylvester. 4 Sylvester looks out of his cell at the messengers 5 He shows effigies of SS. Peter and Paul to Constantine, who recog- nises the likeness. 6 Baptism of Constantine. 7 His donation It Rome to Sylvester. 8 Constantine leading Sylvester's horse into Rome. On the 1. wall, Discovery of the true Cross. The Chapel b ^^^f^ul^^ ^^''^^^^^^ (stonecutters). The pavement is extremely *!, f^^^S'-T^fxT^Jf^ ^.^^^"^ ^^ Honoriusl. was much larger than that of Paschal II. Its colonnades, stiU left standing, ext?ended as far as the walls which divide the inner from the outer court. The present nave has eight columns of granite, surmounted by a women's gallerv of smaUer piUars, with a marble screen behind which its occupants were concealed. These columns were subsequently added to form aisles withm the nave, which was originally of the same width as the Chancel. At the end of the rt. aisle is the tomb of Mons. d' Aquino (1679), K 2 Ssction 6. Rte 11.12.13 London > Bd-wmrd Sunfbrd. 12, 13 & 14, Lcm.^ Acre. W. C. The City.] roi'te 11.— ss. quattro cokonati. 131 ROUTE 11. From S. Stefano to the Porta S. Giovanni, by the Churches of the SS. Quattro Coronati and S. Ciemente. Opposite S. Stefano Rotondo is the extensive OspedaU Militare Ihe Via di S. Stefano runs between the Church and the Hospital passing on the 1 a line of arches built by Nero for the extension of the Claudian Aqueduct to the reservoir which supplied his artificial lake (pp. 103, 109). The brickwork of Nero's time is extremely neat but re- quired strengthening by Sept. Severus, who added an inner arch to the original. Another Emperor, perhaps Constantine, inserted a lower arcade all along the hne ; and Thcodoric filled up both tiers of arches with solid masonry. The work of each of these four periods can be readily detected. Near the end of the road the Via dei SS. Quattro on the 1. leads straight to the Church of *SS. QUATTRO CORONATI. with its massive and ancient Campanile This romarkal)le castellated church and convent are dedicated to (junttro pittorc incoronati e cinque scultori mart hi, who suffered martyrdom for refusing to paint or carve images of pagan gods The Church was rebuilt by Paschal II. in 1111 to replace a more ancient one erected by Honorius I. in 626, and destroyed by Rob. Guiscard in 1084. In front arc two square courts. To the rt. of the outer one (the atrium of the early Church) is the Chapel of St Sylvester, erected by Innocent IV. (1246), with some paintings (1248), representing scenes in the life of Constantine and Sylvester, and (on the end wall) our Saviour with the Virgin St John the Baptist, and the Apostles. 1 (to the 1.) Constantine, who had been attacked by leprosy, and was advised to bathe in children's blood restores to their mothers the infants collected for that purpose 2 He sees a vision of SS. Peter and Paul, approving the deed 3 He sends for Sylvester 4 Sylvester looks out of his cell at the messengers. 5 He shows effigies of SS. Peter and Paul to Constantine, who recog- nises the likeness. 6 Baptism of Constantine. 7 His donation If Rome to Sylvester. 8 Constantine leading Sylvester's horse into Rome. On the 1. wall, Discovery of the true Cross. The Chapel belongs to the scarpeUim (stonecutters). The pavement is extremelv beautiful. -^ .u J^^r^^-^T^fT^l^^'x^^ ^^'"'"''^ ^^ Honorius I. was much larger than that of Paschal II. Its colonnades, still left standing, extended as far as the walls which divide the inner from the outer court. The present nave has eight columns of granite, surmounted by a women's gallerv of smaller pillars, with a marble screen behind which its occupants were concealed. These columns were subsequently added to form aisles within the nave, which was originally of the same width as the Chancel. At the end of the rt. aisle is the tomb of Mons. d'Aquino (1679), K 2 132 ROUTE 11.— CHURCH OP S. CLEMENTE. [Sect I famous for his library, now dispersed. Further on is half of an inscrip- tion by Pope Damasus, in honour of SS. Protua and Hyacinth, from the Catacombs of S. Hermes, but discovered on the pavement of this Church. The apse has a modem episcopal chair, and frescoes of martyred aamts by Giovanni da S. Giovanni (1630). Fine pavement full of fragments from Catacombs, and handsome flat uncoloured wooden ceiling. On the last pier to the 1. is a fine white marble ciborium. Beneath in a subterranean chapel are the relics of SS. Carpoforo, bevero, Sevenano, and Vittorino, to whom the Church is dedicated, in urns placed here by S. Leo IV. In the apse of this Crypt is a window opening, closed by a slab of marble with glazed holes, which formerly served as a fenestrella at the high altar. Tlie adjoining Convent is shared by Augustinian and Carmelite Nuns. Festa, 8 Nov. ; Station. 4th Mon. in Lent. On the opposite side of the Via di S. Giovanni lies the very inter- esting •' •CHURCH OF S. CLEMENTE, one of the least altered of the mediaeval Christian buildings of Rome, built over a still more ancient basilica discovered beneath it in 1857. According to the tradition, Clement, the tl '^, P- ^^ ^^^^' *^® ^"^^<^ ^^ ^S- Pet®"^ and Paul, and a member of the Flavian family (by some considered the nephew of Flavius Clemens, an Imperial Christian martyr), was banished, with other Christians, by Trajan to the Crimea, where he suffered martyrdom, being thrown into the sea. The oratory which he had erected in hii own house on the Esquiline was, after the time of Constantine, replaced by a basihca. To this building St. Jerome referred in 392 in a cele- brated passage which represents the Pelagian Celestius as feeding on Scotch porridge {puUibus Scotorum) ; a council was held within the walls m 417 to condemn Celestius, and here Gregorv the Great (590) read his 32nd and 38th homilies. This older Church, whose date is .J^S ^1.^^ inscription at a.d. 385, was almost entirely destroyed in 1084, when Robert Guiscard burned all the public edifices from the Lateran to the Capitol. It had been long forgotten, until, in 1857 some repairs having become necessary in the adjoining convent, which belongs to the Irish Dominicans, its prior, the late Father MuUoolv came upon a wall covered with very ancient paintings, at a level of nearly 20 ft. below the modern Church ; this proved to belong to the ancient basilica, which was then cleared out bv excavation. Below it were found massive substructions of Republican date. The Upper Church was built by Paschal II. in 1108, over the remams of the older one, when the choir and amf>ones, which stood formerly m the lower, were removed hither. The atrium, with its quadriporticus, is the onlv perfect specimen in Rome, although traces of similar ones are to be 'seen at other earlv churches.f It dates probably from Paschal II.'s time, and is sur- rounded on three sides by granite columns with Ionic capitals Over the entrance gate rises a canopy of the 18th cent, fianked by rude lomc and composite columns, partly rebuilt by Clement XI. Tho t 8. Cecilia, .hs. Quattro Coronatl. S. Alesslo. The City.] route 11.— church of s. clemente. labrum or vase for ablution be- fore entering the Church has been replaced by a fountain. The Upper Church has 16 ancient columns of different materials and orders. The aisles are of unequal width, that on the rt. being the narrower, a treatment for which no satisfac- tory reason has yet been as- signed. To the 1. of the principal door is a marble slab engraved with an index of books offered to the church. — L. In the middle of the nave is the curious Choir, removed from the lower Church. It is enclosed by walls of marble, bearing sculptured Christian emblems, and the monogram of Pope John II. On the sides of the choir are the Ambones : that on the 1., from which the Gospel was read, has a double staircase with a handsome candelabrum in mosaic-work for the Paschal candle. From the opposite one, with reading-dask turned to- wards the tribune, was read the Epistle. On its steps also was sung the Antiphon. The posi- tion of the ambones depended upon the orientation of the Church. The Presbyteriura is separated from the choir by a screen of sculptured marble panels, of the same period as the choir. Three of them are perforated (see Fenestrella in the Glossary). Beneath the high altar lie the remains of Flavius Clemens and of SS. Clement and Ignatius of An- tioch. Over it is a baldacchino, with two columns oipaionazzetto and two of bigio marble, placed diagonally. Attached to its roof is a fragment of the chain by which the ciborio, in the form of a Dove, containing the Sacra- ment, wfts originally hoisted up 133 •. CLKMJumt {Uffor Chmnk). '*t."Bf!£^ ^■' *trt«iL C Nan-. ttom tW iftrwi. K SMfaoM to Urn ftrtttj ai»i lovf r CtiurU 134 BOUTE ll.~CHURCH OF S. CLEMENTE. [Sect. I. for reservation above the altar. On the rt. is a handsome Cosmatesque tabernacle afterwards used for a similar purpose, but now serving for the reception of the sa<)red oil. The marble throne bears the name of Anastasius who was titular Cardinal of the Church in 1108, but the ?!l« .7^ o-'- •'' ^°m^^'®^, ^^^'^^^^ P^^* 0^ an inscription of the time of dement XI^' ""^ ^^ "^^^ ""^^^^ ^^ ^"""^ Fontana in the •A^^P^*""^^® T^^ *°^ ^'^^* a'® covered with elaborate and beautiful Mosaics executed in 1112. In the centre is our Saviour on the Uross;t from the clouds above appears a hand (symbolic of the Almighty) holding a wreath of victory. On the Cross are 11 white doves, and beside it stand St. John and the Virgin, within a vesica of thorns. A vine (emblematic of the Church), springing from the foot of the Cross 'spreads hke a rolling frieze over the hollow of the tnbune, the Doctors of the Church, with many other figures, ensconced among Its branches. The four rivers of Paradise, with shepherds, flocks, &c on the banks, are beneath; and below the whole composi- tion are thirteen sheep, having come from two archways which lead respec^vely to the cities of Jerusalem and Bethlehem, on the walls ' —(Lindsay s Christian Art, p. 278.) The frescoes on the walls beneath have been attributed to Giovejiale da Orvieto, or da Celano (1299) On the facfe of the arch is the half-figure of the Saviour pronouncing the ^nediction, with two emblems of the Evangelists on either side Below are SS Peter and Clement with Jeremiah on the rt SS Lawrence and Paul with Isaiah on the 1. nJit^L^^ni^t ^^■^u'l'' ^^^. ^- *^'^®' ^^ *^^ *Tomb of Card. Bart. Roverella (1476), with beautiful sculptures. Next to it, that of his nephew, Abp. Brusati (148(^. In the Chapel on the rt. of the tribune, the statue of St. John the Baptist is by Sirnone Ghini (1433) ; in the opposite chapel of the Rosary, the picture of the Virgin is by Seb. Conca The sepulchral monument of Card. Venerio (1479) has two handsome half-columns from the ciborium of the old Church, with basket-work capitals and foliage rehefs. The 1. capital bears the name of Mercurius who became Pope John II. in 532. ' The 13th cent. Chapel of the Passion, on the rt. of the side entrance, has mteresting *fr68coes by Masolino (1422), which, though they have suffered much from restoration, ' still show characteristics of remarkable power. '-iT. Outside the arch. Annunciation, and St Christopher carrying the infant Christ over the stream ; within St' Catharine refusing to worship Idols ; her Instruction of the daughter of king Maxmilian in prison ; Martyrdom of the King's daughter • Dispute with the Alexandrian Doctors before MaximUian ; Miracle of her Dehverance ; Martyrdom, with her burial and transport to heaven by angels m the background. Opposite is the History of St. Clement (much damaged), and over the altar the Crucifixion. In the Sacristy are hung coloured copies of the frescoes in the Lower Church, which may be advantageously studied before and after their mspection below. The Lower Chubch is shown daily by the Sacristan (50 c.) It is open to the public, free, and lighted up throughout (a great advantage) t Tlie only apsldal Mosaic of the Ciuclflxion in Rome, 1 I The City.] route 11. — church of s. clemente. 135 on Nov. 23 (Feast of St. Clement), Feb. 1 (St. Ignatius), and the second Monday in Lent. It is reached from the Sacristy by wide stairs, whose walls are covered with inscriptions discovered during the excava- tions. Photographs of the paintings in the Lower Church may here be obtained. At the foot of the steps is the Narthex, or Vestibule of Catechumens, by which the subterranean Di" " B o 5 ' lO YARDS. A. Enti-aiice from the Sacristy of Upper Church. B. Narthex of ancient Basilica. C. Nave. D, D. Aisles. E. Primitive Tribune or Apse. F, G. Sup- posed chambers of the House of Clement, possibly his Ora- tory, beneath the Apse, and opening on M, or Ambulatory, and on N, a lai^e chamber, supposed to be an Aedes of Mithras of the age of Hadrian. H. Supposed site of Tomb of S. Cyril. I. Entrance to stairs leading to Oratory of Clement. J. Massive wall of Republican period. L. Modern Altar. Paintings on the Walls of Subterranean Basilica. 1. Christ giving his Benediction with Saints. 2. Miracle at the Tomb of St. Clement at Cher- son. 3. Translation of the Relics of St. Cyril from the Vatican to this church. 4. St. Methodius baptizing a youth, 5, St. Cyril before the Emp. Michael. 6. Cruciflxion of St. Peter. 7. Mfi-acle of St. Liber- tinas. 8. Miracle of Sisinius. 0. Daniel among the Lions. 10. Life and death of St. Alexis. 11. St. Blasius. 12. Christ. 13. Assumption of the Virgin. 14. Crucittxion. 15. Women at the Sepulchre. , S. CLEMENTE (Lowcr Church). Basilica is entered from its E. end. On the 1. wall is (1 on plan) a fresco, giving perhaps the best of the early representations of our Lord, with the head surrounded by a broad nimbus, and holding in the 1. hand a book, while with the rt. he blesses in the form practised in the Greek Church, with the third finger turned down. Beside him stand the Archangels Michael and Gabriel, presenting two tonsured personages 136 ROUTE 11. — CHUBCH OF S. CLEMENTE. [Sect. I. supposed to be Cyril and his brother St. Methodius ; beside the latter, SS. Andrew and Clement. This painting is probably of the 10th cent. Opposite, on the rt., is (2) a painting of the legend of a widow's child that had been drowned, but was found alive in the tomb of St. Clement, built for him by angels at the bottom of the sea, near Cherson, in the Crimea. The painting represents the sepulchral urn, on which tapers are burning, with the child raised by the widowed mother ; on the 1. is a procession of tonsured priests with a bishop at their head, issuing from the gate of a town, on which is written the word Cersona. On the rt. is the anchor of St. Clement. Beneath is his head with a nimbus; on the rt. an inscription; at the sides, figures of Beno de Rapiza and his wife, who caused the painting to be executed, with two of their children, Clement and Altilia. The arabesque paintings round this fresco are elegant; the upper part is surrounded by the sea, indicated by numerous marine animals and fishes, in commemoration of Clement's martyrdom. Further on (3) the removal from the Vatican of the body of St. Cyril in a.d. 863, in the time of St. Nicholas I. This Pope was the first to wear the cap and crown or single tiara, as here shown. The painting is well preserv'ed, and was executed as a votive offering from Maria Macellaria. At the extremity of the Narthex are marks of a door opening on what appears to have been the Atrium, nearly 20 ft. below the level of the modern one. Here three sarcophagi were found. Portions of the marble pavement were also discovered with an inscription bearing the name of two consuls of the time of Constantine. From the further end of the Narthex we turn (rt.) into the Left Aisle. —Near the end is a brick tomb (H), perhaps of St. Cyril ; beyond it fresco, (4) St. Methodius (brother of St. Cyril) baptizing a youth ; (5) St. Cyril before the Enip. Michael ; (6) Crucifixion of St. Peter. Here are some ancient Roman stairs leading to sevoral chambers of the Imperial Age (now flooded and inAOOMfliblu), Iwlow the apse, which rest on an extensive area cased with hug** blocks of voloanio tufa, having a cornice in travertine, resembling that of the Forum of Augustus. The largest of these chambers is suppow.d to have boon tho Menwria or Oratory of St. Clement (Plan p g), used before tho orcctiou of the first Basilica. Beyond this, an ante-chambor loads to a mrMlum or chapel dedicated to the worship of the divinity Mn iiuah. excavated by Father Mullooly. We return and through an opening enter tho Nave— On the near wall are three ♦Frescoes (8), onottlKivn another. The highest represents the induction of St. Clement into tho Papal chair by SS. Peter, Linus, and Cletus, with their namos annexud (half destroyed). In the centre, Clement celebrating mawH, auring which Sisinius, a Pagan, was struck blind. Below, SiKiniu«. who had Ixioti restored to sight by the prayers of his wife Theodora, but in yet unconverted, orders his servants to drag St. Clement to prison. Thoy however bring a column instead. According to the inBoriptlon, thww) paintings were dedicated by Beno de Rapiza, a name mentioned in some local chronicles as that of an inhabitant of this quarter of tlirt city in lOeO. Round the corner is (9) Daniel in tho lions' dun. Nimror the entrance, are (10) three scenes from the lifo of St. Alexis, who, abandoning his paternal home to follow a life of penitence and obawtity, ROUTE 11. — OBELISK. 137 The City.] (1) returns home to die, in the presence of his father, (2) is blessed by Boniface I., (3) is recognised when dead by his bride. Further on, St. Blasius, who is extracting a thorn from tho mouth of a child. The paintings resemble the Byzantine style ; the inscriptions beneath are in well-formed Roman letters; the arabesque ornaments around are graceful. Returning into the Nave, near the Narthex is (13) the Assumption of the Virgin, with the Apostles below, and at the sides a pope — probably S. Leo IV. — and Vitus. The square green nimbus, round the Pope's head, shows that he was alive when the painting was executod (845-67). Possibly of an earlier date are (14) the Crucifixion, with tlio Virgin and St. John ; the Supper at Cana ; Christ releasing Adam and Eve from Hades (on the rt.) ; and the Maries at the tomb (above: 15). A few steps lead to the raised Tribune, where some relics of SS. Ignatius and Clement, lately discovered, are placed under an altar, with a canopy supported by handsome columns of breccia di Serravezza. Behind this altar may be seen a portion of the apse of the primitive church, once covered with marble slabs. Rig^ht Aisle. — At the end, (12) Christ, with rich ornamentation, the head unfortunately destroyed. On the rt., at the end of the inner aiMlo. Christ liboruting Adam from Hiidc^. A nuai^ of lliiiinx. Uxlf buriiul in inuMoiiry, Miparutim the oaUr ofeilfi from the na\ii; on IbfOS was eroctc'1 tli. .utor wall of tho chufob wXoKt. The more modem inner wall xiipput u the coliuniis of %ht rt. iUtlo of (be upptr ehvireb. From S. Clements tho Via H. (Htirannl iirmiiils in 5 min. to the Latoran, paHHinf/, at thn ond of the Hirc^l » lavgi^ gltmp of buildi^fs in connection with the lIoKpital. On the L. tbe CtmtUry, with its Chapol; oppoMito. a handsome marble galewiky oC 1848, Jinx wMitii which on thii 1. ih thn (^ha^xtl of SS. Andrea e Bartolommco, with a Icsuiifal Cxmnt^^qtw Mve^ ment uf 14(>2. Ncur thix upot utood the l^ovia C^tiimomtoMO. [netted to S. Str/anv {Hiv. 10) and SS, Qnaitro (mntf).'} Further on» al the corner on tho rt., the Ospedale del S. Salvatore, fur sick and s«od ImmIm, fdUttJid in 1'219 by Card. Giov. Colonna, with uMitiy 600 beds. On the Oair^ (Iftt floor) is a very remarkable ^relief in ninrhlo of St. Mtchacl and the l^ragon with tracoM of colour, and a 14th cent, inscription. NVe now enter tho Hpacious Pia/./.a i>i S. CiiovA2exi, in the otntm o^ which rises an Obelisk, erected by Fontana in Umi poniifiuUo of Hcxim V. ftV^. It is of rod granite and covered with hi^rcfjhrflrt. U wim brought from HelioiM>liM t<> Aliixaiidrhi by ('onHtaattne toe Oroalv and romoved to Homo )\v hiK Kon ConstttutiuH, who plsc<«i it on l^snSni^of tbe Cirtrat Miixiiiiu . It was conveyed from Alexandria to iW ■N«ll) of the Tilnir in a \r.M 1 of 300 ourM. and «ias kfidcd 3 m. b^ow Hooie, aj[>, 357. According to ChampoUion's inl^msUliott ol the hifrqgljrphf, it eommomorateft ThothmeH IV. of the 18lh 4yiiKifej, the Moths o( the (IrmilcM. It JM rotniirkahlo that this Intetlptiett Wtts atttttd a4 aa aatty date— it is Hupi<> • • • I about the time of MoMii The name of (hespol Aarati was then substituted for that of another dcUj' vhoeo wonhip hftd 90110 out 138 ROUTE 11. — CASINO MA8SIMI. [Sect. I. of fashion, and in certain lights this alteration may still be easily seen. When discovered by Matteo da Castello it was lying in the Circus Maximus, broken into three pieces. In order to adapt these fragments, it was necessary to cut off a portion of the lower part ; notwith- standing this, it is still the loftiest obelisk in Rome. The height of the shaft, without the ornaments and base, is 105 ft. 7 in. ; the whole height from the ground to the cross is 141 ft. The sides are of unequal breadth at the base : two measure 9 ft. 8^ in., the other two only 9 ft. ; one of them is slightly convex. The weight of the shaft has been estimated at 455 tons. [For description of St. John Lateran and the Museums, see Routes 12 and 13.] The Via Merulana leads hence N. to S. M. Maggiore (Rte. 14), passing on the left in 3 min. the Church of SS. Pietro e Marcellino, founded in the 8th cent., and several times rebuilt or restored. It was given by Clement XI. in 1707 to the Maronites, and on their removal to S. Antonio (p. 160) was assigned to the barefooted Carmelite Nuns by Benedict XIV. Festa, 19 March. Nearly opposite is the large red-brick Church and Convent of S. Antonio di Padova, erected by the Franciscans upon the partial destruction of the buildings attached to the Ara Cocli. It is the great College of the Order, and can admit 200 students. Behind it, in the Via Arioato, is the Casino Massimi, belonging to a Villa now destroyed for building purposes, and very difi&cult of access. On the outer walls are some reliefs — partly ancient and partly in stucco. It contains frescoes, by modern German artists, of scenes from the works of the Italian poets. In the Central Room, subjects from the Orlando Furioso of Ariosto, by Julius Schnorr (1827). Room on the rt., the Divine Comedy of Dante, by Koch and Veit. Room on the 1., Jerusalem delivered (Tasso), chiefly by Overbeck. All these were painted for Prince Camillo Massimo between 1831-7. A short lane leads E. to the Via Tasso. In this street were discovered in 1886 extensive remains of the barracks of the Equites Singrulapes, or horse-guards in attendance on the Emperor. They contained in a hall, 30 yds. long, 43 inscribed bases of statues to deities, mostly thankoff erings from veterans who had been discharged after faithful service. — M. Continuing E., the next parallel street is the Via Emanuele Filiberto, which leads in a straight line N. to the Piazza Vitt. Emanuele, S. to the Porta S. Giovanni (see below). Turning to the rt., we soon reach a large open space, bounded on the W. side by the front of the Basilica, and on the E. by blocks of houses. Among these, in a corner to the 1., is seen the entrance to the Villa Wolkonski, now belonging to the Marchese Campanari. It was formerly one of the loveliest spots within the walls of Rome, but has been deprived of nearly all its beauty by the erection of a hideous suburb on a portion of its grounds. The picturesque arches of the Neronian Aqueduct, which carried the Claudian waters from the Porta Maggiore to the Caelian, traverse the gardens, and a number of inter- esting epitaphs and reliefs have been affixed to their lower piers. The City.] route 12. — san Giovanni in laterano. 139 Close to the old house is a curious Columbarium, consisting of three brick chambers superposed; on the front which faced the ancient Via Labicana is an inscription in fine Roman characters, stating that it belonged to T. Claudius Vitalis, an architect, and was erected by Eutychus, one of the same profession. It is supposed to date from the time of Nero. The terra-cotta sarcophagus in the lowest chamber, with bones, is of a much later period. The Porta San Giovanni was built for Gregory XIII. in 1574 by Gia^ii. della Porta. An additional arch has been made to accommodate large traffic. It is the starting-point of the electric tram cars, which began to run in 1906, to Frascati, Marino, and Albano (Rtes. 47, 60, 52). Close by to the W. is the Marana, the ancient Aqua Julia, which enters the city ^ m. further on under a closed postern gate. Behind the mill rises the Porta Asinaria, the best preserved of all the gates of the Aurelian wall, flanked by round brick towers ; it is the gate through which Belisarius first entered Rome. Here also Totila gained admis- sion into the city, by the treachery of the Isaurians. The gateway is now walled up, and is a very picturesque ruin from the outside. Between the Porta Asinaria and the Porta Latina several portions of the lower part of the Aurelian wall are formed of massive square blocks of volcanic tufa, derived probably from the Servian defences, which are situated at a short distance within it. ROUTE 12. The Basilica of S. Giovanni in Laterano, with its Baptistery and the Scala Santa. [Omn., p. [28], 25 ; Tramway, p. [27], 5, 16.] SAN GIOVANNI IN LATERANO.— This celebrated *Bafiilica derives its name from the Roman family of Lateranus, who had a palace here. Plautius Lateranus was implicated in the conspiracy of Piso, for which he was put to death by Nero and the house confiscated. Juvenal refers to the residence as Egregiae Latcranorum oxides. It afterwards passed to the family of Marcus Aurelius, who was born near the palace, which became subsequently an Imperial residence. Early in the 4th century it was conferred by Constantine on St. Sylvester, bishop of Rome, as his episcopal residence, and the Emperor founded within it this Basilica, assisting with his own hands in digging the foundations. It was at first dedicated to the Saviour, and the inscription on each side of the entrance styles it the Mother and Head of all Churches of the city and world {Sacrosaticta Lateranensis ecclesia omnium urbis et orbis Ecclesiarum Mater et Caput). The Chapter of the Lateran still takes precedence of that of St. Peter's ; and the ceremony of taking possession of this Basilica was one of the first observed on the election of a new 140 ROUTE 12. — SAN GIOVANNI IN LATERANO. [Sect. I. Pope, whose coronation previous to 1870 took place in it. It is one of the four Basilicas which have a * Porta Santa.' ♦ The Church became Benedictine in 580, when some monks of Monte Cassino, their convent having been plundered by Toto, Duke of Bcneventimi, established themselves in a monastery here.' — L. The old Basilica was ruined by an earthquake in 896, but rebuilt immediately by Sergius III., and dedicated to SS. John Bapt. and Evan. It was nearly destroyed by fire in the pontificate of Clement V. (1308), but it was rebuilt by that Pope, and subsequently extended and remodelled by his successors. Clement VIII. enlarged the transepts and aisles from the designs of Oiacomo della Porta. In the time of Innocent X. (1644) Bai^romini loaded the nave with ornaments, and surrounded the granite columns, no longer capable of supporting the roof, with the present cumbrous piers. Clement XII. completed the work of renovation in 1734, by erecting the principal favade from the designs of the Florentine architect Alessandro Galilei. Pius IX. and Leo XIII. have destroyed the old apse of Constantino, and erected in its place the present gaudy chancel from the designs of Vesjngnani, whereby the Basilica has entirely lost whatever was left of its original character. A much-used entrance to the Basilica is on the N. in the great Piazza, but it is better to approach by the principal entrance up the steps on the East. The great Front (1734) is imposing, though not in the purest stvle. It is built entirely of travertine, with columns and pilasters of the conaposite order, sustaining a massive entablature and balustrade, on which are placed colossal statues, 20 ft. high, of our Saviour and ten saints. Between the columns and pilasters are five balconies ; from that in the centre the Pope used to give his benediction on Ascension Day. The View from the steps, looking towards the Alban hills, is beautiful. In the vestibule is an ancient marble statue of Constantino from his Baths on the Quirinal. There are five entrances ; the middle one has *bronze doors brought by Alexander VII. from the ancient Senate-house in the Formn (now S. Adriano). 'They have been slightly lengthened at each extremity by strips of bronze, easily distin- guished by their stars, but in all other respects are untouched and genuine.' — M. The Porta Santa on the rt. is walled up, and only open in the year of Jubilee (every 25 years). It was last opened on Christmas Eve 1899, and walled up exactly twelve months later. INTERIOR.— The Nave (142 yds. long) has double aisles, separated by rows of piers. Against those of the nave, in which Borromini encased the columns of the old basilica, are niches containing statues of the Apostles, characteristic specimens of the extravagant school of Bernini, erected by private families at a cost of lOOOZ. apiece. The best are Matthew (2nd rt.) and James the Greater (5th rt.). Above are stucco reliefs of (1.) Old Testament subjects ; (rt.) New. The latter are easily recognised; the former represent (1) Jonah; (2) Red Sea; (3) Joseph sold into Egypt ; (4) Sacrifice of Isaac ; (5) Deluge ; (6) Ex- pulsion of Adam and Eve. Higher still, medallions of prophets ; best, Joel (3rd 1.), and Jeremiah (last rt.). Each statue is flanked with two handsome columns of verde antico. The Ceiling, sculptured with arms of Popes, and curious emblems of the Passion and of SS, Peter and The City.] route 12» — san giovanni in laterano. 141 Paul, is the work of Giac. della Porta. The pavement of coloured marble dates from 1420. Right Aisle.— In the comer to the rt., tomb of P. P. Mellini (1527). SAN GIOVANNI IN LATERANO. 1 Statue of Constantine. 2 Porta Santa. 3 Bronze Doors. 4 Monument of Martin V. (1431). 5 Tabernacle (1367). 6 Altar of the Sacrament. 7 Winter Choir. 8 Tribune. 8a Site ol Ancient Tribmie. 9 Sixtine Portico. 10 Leonine Corridor. 11 Sacristy. 12 Chapel of the Crucifix. 13 Boniface VIII., painted by Giotto (130C)). 14 Torlonia Chapel. 15 Massimi Chapel. 16 Monument of Card, de Clavis (1287). 17 Chapel of S. Andrea Corsini. 18 En- trance to the Cloisters. 19 Statue of Henry IV. of France. 20 Entrance to the Museum. 21 Veatibule. 22 Stairs leading to the Baptistery. 23 Baptistery. 142 ROUTE 12.— SAN GIOVANNI IN LATERANO. [SeCt. I. There is a remarkable whispering gaUery between this point and the nearest diagonal pier. On the inner pier is the *portrait of Boniface VIII between two cardinals, announcing the jubilee of 1300, by Giotto the oiUy fragment remaining of his frescoes which covered the loggia of the Old Lateran palace. Opposite, tomb of Giulio Acquaviva (1574). made a cardinal by Pius V. at the age of 20. v /» Cappella Torlonia, decorated in 1850, at an expense of 65,000/. sterling. Over the altar is a Descent from the Cross, by TeneranL and at the sides sepulchral monuments to the first duke and his wife, the latter in the character of a Roman matron, with statues of Charity and Hope. The Chapel was formerly dedicated to St. John Nepomucen canonized here in 1729. Against the 2nd inner pier on the 1., inscription from the tomb of Sylvester II., who was buried in the 1. aisle. It begins :— Iste locus mundi Silvestri membra sepulti Venturo Domino conferet ad sonitum— meaning that the Pope would be ready to appear before the Lord at His coming. The words were, however, interpreted to mean that at the near succession of every new Pope, Sylvester's bones would rattle. The Cappella Massimi, designed by Giac. della Porta, has a Crucifixion by Sicciolante, and some tapestry (Marriage in Cana) Over the open wmdow screen outside is a beautiful relief of St. James 3rd pilaster, tomb of Alexander III., the friend of Becket and St. Bernard, who canonized Edward the Confessor. It is in the worst possible taste ; was raised by Alexander VII. in 1660. Further on, at a closed door leading into the Museum, four pilasters of cipoUino rosso, a very rare marble in Rome. 4th pilaster, tomb of Sergius IV. Facing it, *Cosmatesque tomb of Card, de Clavis (1287). Further on, tomb of Card. Antonio of Portugal (1447). Rt. Transept— Opening on to the Piazza del Laterano is the handsome Portico erected by Sixtus V. from the designs of D Fontana m 1587. The twin towers, which are singularly good for their period' date from 1560. At the E. end of the portico is a bronze statue of Henry IV. of France, by Niccold Cordieri, erected by the canons out of gratitude to the French monarch, who bestowed on their church the rich monastery of Clerac in Gascony. One of the two large fluted ♦columns of giaUo antico was brought from the Basilica Ulpia in the Forum of Trajan ; the other from the Arch of Constantino. ' In the Chapel of the Crucifix, on the rt. of the door, is a curious kneehng statue of Nicholas IV., which originally stood in the old Basilica of St. Peter's. This figure is interesting for the form of the tiara, so different from the present triple crown.f The base and slab are of Cosmatesque mosaic. On the 1. is the Tomb of Canon Lorenzo Valla, the philologist (1465). To the right of the tribune (8 and 8a) is a large white marble monument to Innocent III., erected in 1892, on which occasion the iQ*J '^t ^»P*^ <^!*™or Jiegmnn had a sinRle circlet until the latter years of the tKtiflSrte'f ae^^^^^^^ ^'^^" ^'^"^^"^ waa added; the third'dates frSS The City.] route 12. — san Giovanni in laterano. 143 remains of that great Pope were brought from Perugia, where they had for six centuries shared a tomb with two other pontiffs. Above the corresponding doorway to the 1. is the tomb of Leo XIII. The semicircular corridor, called the Leonine Porticus, supposed to have been erected by Leo I., which surrounded the apse before its enlargement, has been replaced by a three-sided corridor, forming aisles or ambulatory to the choir. At the end of the rt. aisle, on the 1., is the tomb of the architect Aless. Galilei (1737). On the rt. a door opens upon a flight of 24 steps, which descend to the Baptistery (see below). Behind the altar, archaic Statues of SS. Peter and Paul (10th cent.), saved from the fire of 1308. Opposite the former, two water-pipes inscribed with the names of Sextius and Torquatus Laterani. Opposite the latter, fragment of a relief believed to repre- sent the Porta Asinaria. At the end of the 1. aisle, tombs of the painters Andrea Sacchi (1661) and Cav. Arpino (1640). From the 1. aisle a door leads into the Sacristy. — Beside the entrance are two large slabs inscribed with a catalogue of the relics preserved in the church, in beautiful letters of enamel (1291). In the Sagrestia dei Beneficiati are two very fine columns of granito bianco e nero, a relief of St. Anthony and St. Lawrence, and an Annunciation by Marcello Venusti, from a design of Michel Angelo. In the Sagrestia dei Canonici is an altar with reliefs of SS. Francis, John Bapt., John Ev., and Augustine. On the wall of the Sala del Capitolo hangs a drawing, attributed to Raplmel, of the Madonna di Casa d'Alba, now at St. Petersburg. The adjacent oratory has a small Holy Family with St. Jerome, and a well- wrought ivory Crucifix. In the Guardaroba is a wooden Statue of St. John Baptist, by Donatello. The bronze doors leading into the Cloisters were made by artists of Piacenza, in the time of Pope Celestin III. (1196). The Choir, flanked by two colossal columns of pink granite from Baveno, is a modern addition to the church. Its entrance marks the spot where the ancient Tribune stood. So long ago as 1673 it was found to be in an unsafe condition, and Pope Alexander VII. con- structed a massive arch for its support ; but in 1865, instead of adding the buttresses which would have saved this priceless relic of ancient art, the whole apse was pulled down— an utterly irreparable loss. The new apse, began by Pope Pius IX., was completed by his successor in 1886. The choir is lined with canons' stalls and is gorgeously decorated with marbles, gilding, and frescoes by Roman artists. Five steps lead up to the Tribune, where stands the Pontifical Throne of marble enriched with mosaics. The old Mosaics on the vault of the apse have been refixed on the new vault, but are so much restored and modernised as to have lost much of their value. They were executed for Nicholas IV. (1287-1292) by Fra Jacopo da Torrita, author of the mosaic in the Baptistery at Florence. His portrait may be seen in the figure of a little friar kneeling by a window on the rt., with a square and compasses in his hand. On the 1. is the inscription: 'Jacopus Toriti pictor hoc opus fecit.' He was assisted by Fra Jacopo da Camerino, and on his death the work was finished by' Gaddo Gaddi in 1292. The subject is the 144 ROUTE 12.— SAN GIOVANNI IN LATERANO. [Sect. I. union of heaven and earth by baptism. The head of Christ, preserved from an older tribune, in a glory of angels, looks down from heaven, the Holy Ghost descends like a dove shedding a stream of water upon the Cross which stands upon the hill of Paradise. Lower down, the spiritual waters form rivers of life, from which stags and sheep symbolical of the faithful, are drinking. On the 1. are colossal figures of the Virgin (at whose feet kneel the small figures of Nicholas IV ) with SS. Peter and Paul; on the 1., SS. John Bapt., John Ev., Andrew and a smaller figure of St. Anthony. In the foreground flows the river Jordan, with fishes, ducks, and boats. The Apostles between the windows are by Cameriiio. The restored high altar (5 on plan) stands beneath a magnificent Gothic ♦canopy in white marble, supported by throe columns of grey granite and one of marble. It was erected in 1367, partly at the expense of Charles V. of France, to receive the heads of SS. Peter and Paul, which had been found, according to current belief, in the Saiicta Sanctorum at the Scala Santa, and are represented in the upper part of the canopy. Within the marble altar is enclosed a table of wood brought from the Catacombs, and said to be an altar at which St. Peter celebrated ; only the Pope, or a cardinal authorised by a special brief from him, can celebrate mass here, as in all the Patriarchal Basilicas. The paintings on the tabernacle, much restored, and practicallv invisible, were originally by Bania da Siena (1390). In the enclosed space in front of the Confession of St. John, is the bronze *Tomb of Martin V. (Colonna), by Simane Ghini (1433). To the rt. opens the Winter Choir of the canons. Over the altar, the Saviour, with the two Saints John, by the Cav. Arpino ; on the rt! wall, a portrait of Martin V., by Scipione Gactano. The black marble monument on the 1., to a lady of the Colonna family, is flanked with two rare columns of new antico. The caryed oak stalls are the finest specimens of the kind in Rome. On each side are 18 statuettes of Apostles and Saints divided by columns. The splendid Altar of the Holy Sacrament, from the designs of P. Olivieri, is flanked by *four bronze Corinthian columns, thickly plated with gold. ' Two date from the time of Constantine, who raised them on either side of the apse to serve as Pharo-canthari (lighting- towers), while two were cast under Clement VIII. with bronze dis- covered among the tombs at Corneto.'— L. ' Thev are well worthy of examination as being among the most important examples of ancient metal-work on a large scale which still exist. Their fine workmanship shows that they were cast during a good artistic period.'— Jlf. Above IS a fresco of the Ascension by Cav. d' Arpino, and on the tvmpanum the head of the Almighty, by Honcalli. Behind a gilded silver relief above the altar is preserved the cedar table on which the Last Supper is supposed to have been laid. [The ♦Cloisters, entered from the end of the 1. aisle (18 on plan), retain their beautiful Romanesque architecture of the 13th cent. Engrafted upon an older and simpler structure of the 8th or 9th, they are considered to be the masterpiece of Vassallecttis, whose name may be seen engraved below the frieze, on the side opposite the entrance door. This noble monument had been allowed to fall into decay, and had been propped up in various places with heavy stone buttresses. The City.] route 12. — cappella corsini. 145 In 1887 it was admirably restored at the expense of Leo XIII. by Ves2yignani,yffho has transformed the corridors into a museum of Pagan and Christian works of art, connected with the history of the Basilica. The cloisters are ornamented with a multitude of shafts varied in design, and encrusted with mosaic bands. The middle arch on the S. side rests on Sphinxes, one of which is bearded. In the centre is the mouth of a 9th cent, well, having several Christian emblems and Runic knots in relief. In a corner to the 1. is a relief representing a procession of Levites with various religious emblems. Further on are fragments of the episcopal throne, candelabra, chancel -screens, and tabernacles, in fine Gothic design ; a Slab supported by four columns, which are supposed to be the height of our Saviour (6 ft.) ; many slab-tombs from the ancient church, and a few Roman inscriptions ; bronze doors leading to the Sacristy ; five reliefs of Saints from the Ciborium of S. Matteo in Merulana, a delicate work of the early Renaissance.] Left Aisle.— In the last Chapel is the recumbent effigy of Card. Pietro Pippini. 3rd Chapel, Tomb of Card. Girolamo Casanate, founder of the Library (p. 189). Outside the 2nd, recumbent figure of Card. Bern. CLOISTERS, SAN GIOVANNI IN LATERANO. Carracciolo (1280); tomb of Card. Gerardo da Parma (1302), and of Card. Riccardo Annibaldi (1240). ♦Cappella Corsini, built in the form of a Greek cross by Clement XIL, in honour of his ancestor, S. Andrea Corsini, from the designs of Alessandro Galilei (1729). This costly structure is decorated with the richest marbles, the most elaborate ornaments and gilding, reliefs, and even gems. The altarpiece; representing the Carmelite S. Andrea Corsini at prayer, is a copy in mosaic of a painting by Guido Reni (Pal. -Barberini). The porphyry sarcophagus which forms the sepulchral urn of Clement XII. (1740) formerly stood under the portico of the Pantheon ; the cover is modern. Opposite is the tomb of Card. Neri Corsini (1678). In the family vault beneath is a Piet^ by A. Montauti. During its construction, remains of the barracks of the Imperial horse- guards {castra eqiiitum singularium) were discovered, with many marbles now in the Pal. Corsini. Festa, 4 Feb. The Basilica is served by a Chapter of Canons, hencficiati, chaplains, and beneficed clerks, over which is a Card, arch-priest, represented by a prelate vicar. It is held that if all the Cardinals were to die during a Conclave the election of a new Pope would devolve upon the Canons [Ro7ne.'\ J, 146 ROUTE 12.— CAPPELLA coRsiNi. [Sect. I. vln^foJtringt'Stlr" " ''"'"^«" °' Ponitontiaries ,0.«er. The principal Church ceremonies in St. John Lateran are-— Ordination on the Sat. morning before Easter, after the baptism 'of ThTh^d^ nf'q^'^'p^f Baptistery- by the Card, grand vicar of Rome. IxZ ocS?. T ^- /u*? .^""^ ?*"^ *^« ^^P°«®^ «" faster Sun. and Mon., 2ath June, 6th July. 9th Nov.. and 27th Dec, when there is nne music. It was in one of the halls of the Lateran that Gregory the Great LfsrgiTirSchooK "^'""'^ ^''^""^ °^ ^"«^""^ ^^*"^' ^^^^"^^^^ ^i^' T^wn 9'^"^''^, Councils held in this basilica, known as the Lateran Councils, were the following :—(l) .Alarch 19 112'^ in the pontificate of Calixtus IL. at wh^ich \L questions' ci^nect^S with the Investiture were settled. (2) April 18, 1139, under Innocent 11., at which the doctrines of Peter de Bruys and Arnold of sch^m o7'tLTr'"'''^'A^°^^^'^'^^ ^^^"^ *° terminate the Alexander TTT t^^V^l i^^^\^?^ ^^- (3) March 5. 1179, under Alexander III at which the schism caused bv Frederic Barbarossa was terminated and the doctrines of the Waldenses and A^b^en^ were condemned. (4) Nov. 11, 1215, under Innocent III., at whTh '^ bkhnn« Ttv. ""^ C^'^^.^^^^P^"' '^^ Patriarch of Jerusalem 400 bishops, and the ambassadors of England, France Huncarv Tra»stfnt-r '^^ ^P?? "^^^ ^^'^''^ ^^«« the doctrin'e '^f Transubstantiation was first imposed on the Western Church. At this errTr^'l^Al^'"'""'^^^V^" Albigenses were again condemned and the errore of Almaric and the Abbot Joachim, the pretended prophet of Ca abria, respecting the Trinity, were denounced as heresies.^ (5) Mav j'1%' ^r^^^ned by Juhus IL. and continued for a long time under Leo X. This council is remarkable for the abolition of the Pragmatic Sanction.and for the conclusion of the Concordat between theTope and Francis I., by which the liberties of the Gallican Church we?e sacnficed. The only general councils held since that t°me were tho^ of Trent, a.d. 1525. and of the Vatican in 1869-70. In the Casa dei Penitenziarii (apply to the Sacristan), overlookim? the city walls, is a chapel containing some interesting frescoes con el by order of Benedict XIV. from those which adorned he dlmolSh^ ni? ""^ '•;k^''^ 'i- '^^">' '^^'^^^^^ St. Nicholas of Bari. wTth foCr popes on either side; above, the Virgin and Child with two \nX Mvester and Anastasius I. at the sides, and Calixtus a.id An^Ss nL'cherubs °'''' ^''" '^^ "'""^ '' * ^'"^^ ^^^^^ ^^^ ChTd S' The *BAPTISTERY, or Church of S. Giovanni in Fonte m on nli.n^ erected by Constantine, and decorated wit^t^e remains of iore^^^^^^^^ edifices. 18 an octagonal building of brickwork. At the E. Entrance a?e two magnificent red porphyry columns, half-buried in the waU with composite capitals, beautiful bases, and a rich entablature It oprned into the portico or atrium of the Baptistery, enclosed i^the 13th^cent by Anastasius IV. (see below). Within, eight columns of poUvr; sustam a handsome cornice which runs r;)und the building supXtS eight smaller columns of white marble, above which rise the ocCna^ The City.] route 12. — cappella corsini. 147 drum of the cupola and lantern. The exterior, and the general arrangement of the interior, have very probably been preserved since the time of Constantine, but the whole building has been frequently repaired and was restored by Urban VIII. and Innocent X. (1630-50). The paintings on the sides of the Cupola, illustrating the Life of the Baptist, are by A7idrea Sacchi ; the frescoes, by Carlo Maratta and others, represent events in the life of Constantine (Vision of the Cross, Victory over Maxentius. Triumphal entry into Rome. Overthrow of Idols, Council of Micaea). The Baptismal Font, in the centre of the sunk octagon, is of green basalt. With it are connected two famous, but baseless, legends. It is said that Constantine was baptized in it by Pope Sylvester in 324, thereby being cured of leprosy and paganism, diseases of the body and the soul. The truth is that Constantine had been taking baths for his health when, a few days before his death, he was baptized, at Nicomedia, by Eusebius, in 337. The other, equally groundless tradition, makes Rienzi bathe in this font on 1 Aug., 1347, the night before his coronation in the basilica. Converted Jews are baptized here on the Sat. before Easter. Opening out of the Baptistery are two Oratories, formed, it is said , out of apartments in the house of Constantine, and converted into chapels by Pope St. Hilary (461-467) — that on the rt. dedicated to St. John the Baptist, with a bronze statue by Valadur (1772), between two very rare columns of porjido serpentino verde, copied from the one in wood by Donatello in the sacristy. The bronze doors are said to have been brought from the Baths of Caracalla. That on the 1., to St. John the Evangklist, with two beautiful columns in oriental alabaster and a statue of the patron saint by Landini (1594). Its roof is covered with mosaics — on each section of the vault four birds (ducks, parrots, partridges, and doves), standing face to face at a flower vase. On the wall to the 1. is a 15th cent, relief of St. John. The bronze gates are of the time of Celestin III. (1196). OpiKwite the main entrance is a large Chapel, which formed the atrium of the Baptistery. Over the door which opens into it is a relief of the Crucifixion (1194). On the rt. is the altar of SS. Cypki- ANUS AND JusTiNA, adoriied with beautiful "^Mosaics of the 5th cent. * The semicircle of the Apsis is filled with the most beautiful green- gold tondrils upon a dark blue ground, above which the Agnus Dei appears with four Doves.' They are among the most ancient Christian mosaics in Rome, * and give us a high idea of the fine feeling for decora- tion in this otherwise degenerate age.' — K, The opposite Chapel of SS. RupiNA AND Secunda had a similar mosaic vaulting, destroyed in 1757. Another door opens from the Baptistory into the Oratory of St. Venantius, erected by Pope John IV. (640-642) and completed by Theodorus I. (a.d. 642-648) to receive the remains of certain martyrs brought from Dalmatia. On the vault of the apse is a remarkable ♦Mosaic of the 7th cent. In the centre, the Virgin; on the 1., John IV. holding his Oratory, Venantius, John Evan., Paul ; on thert., Theo- dorus with a book, Domnius, John Bapt., Peter. Above are half- length figures of Christ and two .\ngel6. On the face of the arch are the two Holv Cities, the emblems of the Evangelists, and eight Slav. 'taints. 148 ROUTE 12.— SANCTA SANCTORUM. [Sect. I. remarkable as showing the costumes of the period— 1. SS. Paulinianus TeUms, Ascerius^ and Anastasius; rt. Maurus, Septimius, Antiochianus' and Gaianus. These mosaics are rude in execution, and were restored m loT'l. Scala Santo. -Under a portico N.E. of the Basilica (see plan p. 141), erected from the designs of Foiitana in 1589. The stairs consist of 28 bluish-white marble steps (Marnio Tirio), from quarries on the slopes of ]Mount Lebanon. They are said to have lilonged to Pilate s house, and to be the identical ones which our Saviour descended when he left the judgment seat. Thev may be ascended only by penitents on their knees; and the multitude of the faithful who visited them m the time of Clement XII. was so great that he found It necessary to>protect them by planks of walnut wood which have been renewed three times. The Ecce Homo and Betrayal at the foot of the steps are by Giacmnetti. Two lateral flights on each side G^otWcfha'pe^^^^^^^^^ '^^' '' '"^ ''''' '''^^'''^ ^^^ -^--^"^« ♦Sancta Sanctorum, built by one of the Costna family in 1278 It was formerly the private Chapel of the Popes, and is the only part which remains of their ancient Palace except the Stairs. It is square m plan, with a gilded column at each corner, from which springs a vault bearmg frescoes of the Evangelistic symbols. On the waUs damaged scenes from the life of St. Lawrence and other Saints, in fresco. Below the vault runs a lovely arcade of trefoil-headed arches seven on each side, divided by twisted or spiral shafts. The pavement IS very beautiful. Behind the altar is preserved a painting of the Saviour on cedar-wood, 1 ft. 8 in. in height, apparently of Greek workmanship but said to have been drawn in outline b/ St Luke and finished by an angel. It is enclosed in a silver tabemacie. with imely wrought dooi-s, given by Innocent III. On the inner panels Annunciation and six Saints, in silver-gilt relief. On the barrel ^?' a<^^/^'tk- '^'f ""^1 ^^^Lord with four angels, St. Lawrence and bt Apes. This chapel, which no woman is allowed to enter, is open only for a few minutes, while the Image is being covered or uncovered SIX times a yean To the rt. is the Chapel of S. Lorenzo, usS thronged with devotees who have ascended the Scala. The Scala Santa was entrusted by Pius IX. to the care of the Passionists in 1854 vprvh^i^Ht?''^^^^^"^^ J' the Httle Oratorio di S. Giovanni, with two ^ery beautiful columns of giallo di Siena at the high altar. On the 1 rn\^t'l K^""' Renaissance altar-piece, with Cosmatesque columns ; and the ChTptVcLgl!^^^ a"'"" ""' °" '"^ ''■ °^ *^^ ^'''' ^^^-^ w^Jf ^'''''' erected by Benedict XIV., in 1743. to receive the Mosaics which covered a trtchmum in the Lateran Palace, of the VimTof i.eo III They are, however, only copies, the originals having been the midst of the Apostles, and on tlie face of the vault (\ ) Christ delivering the keys to St. Peter and a banner to Consta^tine (rt bt. Peter, seated, giving a banner to Chariemagne, and the Palliura (in the form of a Stole) to Pope Leo III. "^ ^ ^ The City.] route 13.— the lateran. 149 S.E. of this point, across the Piazza, stands the Porta S. OiovannL the startmg-point of the trams for Frascati and Albano. 10 min E hes S. Croce (Rte. 15). ROUTE 13. The Museums of the Lateran. [Omn. p. [28J, 25 ; Tramway, p. [27], f), 16.] (Entrance from the Piazza di Porta San Giovanni by the E. door see 20 on plan, p. 141. Adm., p. [34].) * The LATERAN was the Palace of the Popes from the time of Constantine to the period of the return of the Holy See from Avignon (1377), when Gregory XI. transferred the papal residence to the Vatican. The ancient Palace, much more extensive than the present one, was damaged by fire in 1808, and lay in a ruined condition, until Sixtus V. in 1587 cleared away the ruins and caused the present building to be erected from the designs of Doni. Fontana. It was converted into an orphanage by Innocent XII. in 1698. Pope Gregory XVI., in 1843, appropriated it as a I\Iuseum of Christian antiquities and other works of art, for which room could not be found in the Vatican, whence it is called Museo Gregoriano Lateranense By a law of the 13th of May, 1871, known as the Legge delk Giiarcntigie this Palace was assigned absolutely to the Pope, together with Castei Gandolfo, the Vatican, S. M. IMaggiore, the Cancelleria, and the Dataria, and an annual income of 130,000Z.t The Museo Profano on the ground floor contains ancient Roman and Greek sculptures. On entering, cross the arcaded Court to the 1., and hc« Which are laurel croLf. On'knX Z>^Tu^ If^ ^rf.^'^- - sculltu7e!!'i?1isl.'";e?trce"^eur .^"""y .<" Augustus, and other (at fhefur'ther io7)U0 BjSI!^\ntil^^L''Z\^ T^""'' lusque Caeres. 438 Uncertain pS? 435 Tib«rin^ ^|?»'"^P»P"- anc^e'Jt poSl"J°^,^^^a['':°tt'\?^^^ '" '*'«> °"« "^ '•>« fi"^' rolls ' ^nr^Kroif ; \a ? , ^^^ ' ** '^^^ ^^<^® 13 a scnnium full of MS 1 gxiity. ine expiession of the face unites, in a marvellous The City.] ROUTE 13. — THE LATERAN. 151 way, the qualities of intelligence, imagination, seriousness, and benevo- lence. The drapery is a masterpiece of skill.' — Helbig. 462 ♦Marsyas, found in the Via di S. Lucia in Selci, the arms restored as if dancing ; but the attitude may rather be that of drawing back in astonishment at something on the ground, in which case this figure may be a copy from a group by the Greek sculptor Myron, in which Marsyas was surprised at the flutes cast away on the ground by Minerva — a subject occurring on a painted Greek vase and on a marble N 14 15 13 12 1j* ENTRANCE. E 1* CHRISTIAN MUSEUr.1. j TO THEFIRST II 111 W W ffl '^'-oof s a m 10 s C R E AT COURT »=| I GROUND FLOOR a s s 91 ffi S i! □^ I i b ^r.iif I TO THE F IRST FLOOR 4. A- J— L J '" " so _1_ 30 40 so YARDS I w LATERAN PALACE AND MUSEUM. Ground Floor. 1. Hall of the Mosaic. 2. „ Architectural fragments. S. ,, Aesculapius. 4. ,, Medea. Stag. the family of Augustus. Sophocles. Neptune. 5. i« 6. »» 7. M 8. >l 9. Hall of Architectural fragments 10. Reliefs. 11. , Reliefs, 12. Saicophagi. la. , C. C. Saturninus. 14. , Mosaic Floor. 1.5. , Mosaic of Silvanus. 16. , Orpheus. relief. The face preserves a good deal of the simplicity and breadth of style of the great age in which Myron lived (early 5th cent. B.C.), but otherwise this sculpture is an example of the softening down and over- refining of the bodily forms characteristic of much of the Graeco-Roman sculpture. On a jamb of the door leading into the next room is a curious sepulchral inscription of Musicus Scurranus, from Lyons, who died in Home; after the titles of their master follow the names of 16 152 ROUTE 13.— THE LATEllAN. [Sect. T. persons of bis suite, with the designation of their offices, such as physician, master of the wardrobe, cook— ^ in cum eo Bomae cum decessit fuerunt. This singular record was found over a cinerary urn in the Columbarium of the Vigna Codini on the Via Appia. VIII— In the centre, 534 *Statue of Poseidon from Porto, the legs and arms restored. On the 1. 487 Relief, with a dramatic poet, and a Muse. 494 Calydonian Hunt. i , u » ^IX.— Architectural fragments from the Forum and the Via Appia. 657 Triangular base of a handsome candelabrum from the Forum, sur- mounted with an engrailed column. Two columns, covered with ornaments of foliage. X.— Sculptures from a sepulchral monument of the Aterii dis- covered in 1848 at Centocelle : 070 Tomb in the form of a temple,' with a crane for raising stones moved by a tread-wheel. 675, 677 Bust's of a man and wife. *Two columns of Astracani\ 11 ft. high. 721 Relief, with several monuments of Rome: an arch, inscribed ArciLs ad Ms, a circular building, consisting of three rows of arcades, a triumphal arch seen endways, the arch of Titus, inscribed Arcus i?! Sacra Via Stimtna, and a hexastyle Corinthian temple, with a figure of Jupiter under the portico, and decorated with instruments of sacri- fice and thunderbolts, from which it has been supposed to represent that of Jupiter Stator, on the Palatine. Above, Ceres, Pluto, and Proserpine ; the broken relief on the 1. is Mercury. In the centre 740 Cupid on a dolphin. XI.— Sculptures mostly found by Signor Fortunati on the Via Latina in 1857. To the 1., 743 Sleeping Nymph (headless) ; to the rt., 751 Sarcophagus, with Bacchanalian subjects. 765 Relief of Pugilists. 768 Diana of Ephesus. 769 Sarcophagus with Adonis. 777 Hippolytus Above It, 778 Three labours of Hercules. 783 Relief, not of the best period, but still fairly good and purely Greek, of youths approaching a bearded figure. In the centre, 792 Large sarcophagus with the triumph of Bacchus. XII.— 793 Cupid as the Young Hercules. Three large sarcophagi discovered at the Vigna Lozzano near the Praetorian Camp in 1839 : 813 Slaughter of Niobe and her children. 799 Orestes and the Furies. 806 Festoons and Gorgon masks. 815 Graceful female figure seated on a chair. 831 Round altar, found at Veii, with festoons of fruit, sus- pended between four lyres. Below the festoons are instruments' used in coining. XIII.— 841, 843, 850 Marble eaves ornaments, with figures of the Pal- ladium. 840 Ulpia Epigone, with a strange coiffure of the time of Titus. 846 *Statue of C. Caelius Saturninus, in Parian marble, found below the Pal. Filippani, in the Piazza della Pilotta. Opposite, 864 Senatorial Statue. 868 Pylades supporting Orestes. 866 Sarcophagus busts in high relief of five members of the Furia family, discovered on the Via Appia. In the centre, 882 Sepulchral urn, with recumbent figure sur- rounded by women and servants bearing the viands for a banquet. XIV.— 909 Unfinished statue in porphyry, found in the garden of the Ospedale (p. 137). In the corners, portions of a terra-cotta syphon, 16 ft. in diameter. i The City.] itouTE 13.— the lateuan. 153 902 Colossal statue of a captive barbarian, found in 1840, in digging foundations in the Via do' Coronari, still preserving the sculptor's points to guide the workman's chisel. 895 Sarcophagus of Octavius Valerianus, with representation of bread-making, from Casal Rotondo, on the Appian Way, inscribed : Evatti, efugi. Spett et Fnvtuna valet e ; yU mihi cobixcum e«.f, ludijicate aliots. On the rt., 892 *Mosaic of an Unswept Floor, formed of very minute tesserae and representing actors' masks and objects of still life, inscribed with the name of the artist, HRAKAITOC • HRrACATO i'HpdK\iTos ijpydtraro) ; found on the Aventine. XV.— This and the next room are chiefly filled with objects found at Ostia, the smallest of which are in glass cases. Niche in mosaic, representing Silvanus with his dog. 916 Sarcophagus with sea-deities. 975 Small *Head of a Nymph. XVI.— 1061 Recumbent statue of Atys, dedicated by C. Cartilius Euplus as he was admonished to do by the goddess Cybele. On the walls are fresco paintings : 1063 Scene in a tragic play. ' 1064 Orpheus bringing back Eurydice, inscribed with their names : on the 1. is the entrance to Hades, near which is Cerberus and a young figure called here the janitor ; Orpheus is in the act of looking back to Eurydice, forgetting that this would be fatal. Behind them sits Oknos twisting a rope of straw, which an ass eats as fast as he produces it. 1065 Pluto seizing Proserpine. On the floor, fragments of leaden water-pipes. 1043 Bronze *Statuette of Venus. The First-Floor (see plan, p. 154) is reachedfrom the S.E. corner of the quadrangle, or by the staircase opposite Room I. of the preceding series ; on its walls are early Christian inscriptions. The Christian Museum was founded by Pius IX. in 1854. Vestibule.— 55 Sarcophagus, with Statuette groups of the Raising of Lazarus, Denial of Peter, Moses receiving the tables of the law, Sacrifice of Isaac, Pilate at the Condemnation, Moses striking the rock, Daniel in the Lion's den, Christ in the Synagogue, Healing the blind. Loaves and Fishes. 56 Bust of Christ, in Mosaic. 58 The Virgin bathing the Infant Jesus, from the Chapel of Pope John VII. in the old Basilica of St. Peter's (707). 57 Christ enthroned between SS. Paul and Peter ; copied from the tomb of Otho II. at old St. Peter's. It is remarkable that St. Peter holds three keys. The Great Hall was formerly the state passage leading from the Palace to the vestibule of the Basilica ; the roof is covered with ara- besques and frescoes by the Zuccheri and their school. At the bottom of the stairs: 103 Statuette of the Good Shepherd, legs restored ; interesting for the extent to which the classical type of face and hair as well as the classical method of treating the drapery has been retained ; in contrast with the companion statuette (105 ) 154 ROUTE 13. — THE LATERAX. [Sect. I. where the art is singularly rude ; there also the lower parts of the legs are restored. 104 Very large sarcophagus with reliefs in two bands, discovered under the pavement of the Basilica of St. Paul, and supposed to date from late in the 4th cent. In the centre of the upper band are two unfinished portrait busts. On the 1., Creation of Adam and Eve, both represented as children ; Christ between Adam and Eve in the Garden of Eden, beside the forbidden tree, round which the serpent is twined as in classical representations of the Garden of the Hesperides. Christ changing the water into wine, Miracle of the loaves and fishes. Raising «n «c «**I»P» LATERAN PALACE AND MUSEUM. First Floor. B'B'B'. Corridors, i F. Modem Terra-cotU Busts and a, a. Entrance from the Statues. Court, on the O. Hall of the Great Mosaic, ground floor. I. Frescoes. „T, «^'^' ^^^^^^- II.- IV. Paintings. EE. Copies of Paintings in the V.-VIII. Modem Paintings. Catacombs. q. Plaster Casts. R. Archives of the Inquisition. of Lazarus. Below, Virgin and Child, with the three kings, in Phrygian bonnets ; Restoring sight to the blind ; Daniel between two lions, and Habakkuk bringing a basket of bread; Our Saviour, and St. Peter taken prisoners by the Jews, who wear round caps; Moses striking the rock. Ill Destruction of Pharaoh's army in the Red Sea, over which the Israelites have passed ; they are accompanied, on the rt., by a very literal pillar of fire and of cloud. The City.] route 13. — the lateran. 155 On the stairs, 1., 119 Story of Jonah ; in the centre a double figure of the whale placed with classical symmetry ; the one towards the 1. receives with open mouth Jonah, who is being cast from the ship ; the one turned to the rt. vomits him on land ; above this, Jonah — a classical t}^e of figure — lies at ease under the gourd ; other scenes in the life of Jonah. The figure of the whale vomiting Jonah has a classical prototype in the dragon vomiting forth Jason on a fine red figure vase in the Museo Gregoriano. At the top of the stairs, rt., 138 Figures arranged within arches in the manner of late Roman sarcophagi ; in the centre Christ ; on each side three apostles. 189 In the centre a medallion with portrait busts of man and wife, which seems to break the monotony of the two bands of reliefs. Under- neath, Daniel between the two lions, a symmetrically composed group which also breaks the composition of the lower band into two halves, and shows that the sculptor had felt the artistic necessity of such an element of repose. 183a In the centre and at each angle the Good Shepherd ; the central figure is bearded, and holds a ram. Cupids employed in vintage or tending sheep, the relief deeply undercut and often quite free. The sarcophagus is incised at the back. To the 1. is a sarcophagus presented by Leo XIII. having the Good Shepherd in the centre and figures remarkable for the classical type of their costume ; at each angle is a ram. 178 Central medaUion with portraits of man and wife ; two friezes of subjects from Old and New Testaments curiously mixed as usual ; several of the heads restored. 175 Central medallion within a sheU ; two friezes in high relief and rude ; scenes from the Old and New Testament. 174 Between Corinthian columns richly decorated sits Christ en- throned between Peter and Paul. On the extreme 1. Abraham sacri- ficing Isaac ; on the extreme rt. Pilate with a look of disgust washing his hands. On the ends are two very curious representations of streets, with temples and houses. 164, 171 In the centre the vR monogram of the first two Greek letters in the name of Christ, within a wreath and surmounting a cross under which sit a sleeping and a waking Roman soldier (Labarum of Constantine). Scenes from the Old and New Testament. 198 On the stairs. Relief of Elijah ascending to heaven from a chariot drawn by four horses, and leaving his cloak to Elisha, whose figure, however, is here a modern restoration, as are also the two children above. This piece of sculpture may date from the early part of the 4th cent., as the classical element is so strongly marked in it. Above, 199 Nativitv. At the end of the hall is the sitting statue of St. Hippolytus, dis- covered near S. Lorenzo. Although the head is modern, it is a fine specimen of early Christian sculpture, and probably contemporaneous with the saint (a.d. 240). On the rt. arm of the chair is engraved in Greek the celebrated Paschal Calendar, composed about a.d. 223 to combat the error of those early Christians, denominated Quarta- decimatii, who observed the festival of Easter on the same day as the Jews. On the 1. arm is a list of the saint's writings. 156 ROUTE 13. -THE LATEIUX. [Sect. I. Upper Corridor, extending round three sides of the quadrangle. [On the rt is the Mosaic of the Athletes (see below) Facing tho stairs a door leads into some rooms hung w th exSelv intere^st n^ o?Tfr^^^?K''F^? '^' Catacombs^ncludin^b^a7tif;^ fi^^^^^^^ of the Good Shepherd ; the Adoration, with four Ma^ • Bathers f rC a boat probably mtended for Jonah ; Boy Christ aX'c. the DiscSs SI iglo figui-es, recumbent or erect, of great beauty An adiacciU room ^;osed) contams terra-cotta sculptuL, chiefly bustHnd^ouDrr^ ^orth American Indians, by Pettrich of Dresden ] ^ ^ ^ On the walls of the corridor are eailv Phnstiin inscrintinn^ rli^ covered chiefly m the catacombs, commencnrgwUnoseo^v^ the dates can be ascertained, or otherwise by tht names of the Consuls the oldest is of the 3rd Consulate of Vemmsian a n 7i K^f fi ' are doubts as to its being of Christian origr Between this and^^^^^ next IS an interval of 167 years. One of the divLions is occupied bv mscriptions written by Pope Damasus (chiefly facsimUes ^ ^ Marrv?'']^Wnli«"fi''T ^V^^i^i^^t^' who erected a church to the ^oc ?K ^i^®^^^^i«' ^^i^ld on the floor of S. Martino ai Monti Proiecta was the daughter of Florus, and died at the ace of near! v 17 Tn f).! consulate of Fl Merebaudes 'and Fl. Satuminus (f d. 38^ ffi^^^ ions in the first seven compartments can approximately be dS" tt'^n^f'^tLTht^^^^^^ *° '^«^^^°^ epochsTrom'the 3rd1o rnl^c .f i • • ®°^^ ^ ""^^y common method of decoration is by means of designs incised in the marble, and filled in wXcolour Many of the mscriptions are written in Greek. Eeturainra W the i'm/ad^ t'o XmCW^T'T^?' ^i*\^ '^P '' *^« «^-^ "'-' "^ th: ri„rn leaas to Koom & (see plan), which contains a 'Mosaic Floor, found in the Baths of CaracaUa A cart of tl,u Mosaic IS in Boom I. ou the eround floor ^niTQ* t? pugilists and other athletes, and* hdr trainers •^'The^e aJe f'lSj'S' nude youthful figures; busts of older men, some if them wtTbeard^ *hnM il'^H^* f'°t^«« -^'^ s! r ■ ^^■~lli. '''^ centre is a Floral Mosaic from the Pal Sora 05 P.;;™v. L^m: 'Triptych, with the Coronation of the Virgin and two OUvS t Hee de Rossi's Inscnptiones Chngtiame Urlris Romae. Section?. Rta ■ 14. I The City.] route 14. — the lateean. 157 monks on either side, presenting donors. Three beautiful angels. 64 Benozzo Gozzoli : St. Thomas receiving the Girdle, with a Predella of six scenes from the life of the Virgin. 62 Antmiio Vivarini : ♦Carved figure of St. Anthony, with paintings of SS. Sebastian, Christopher, Venantius, and Vitus; above, the Saviour showing his wounds, with half-length figures of SS. Jerome Peter, Paul, and Augustine (1464). * 60 Carlo Crivelli : *Virgin and Child with SS. Jerome, Gregory, John Bapt., John Evan., and a tiny donor (1481). 61 * Virgin and Child enthroned, with a tiny Franciscan friar (1482). 66 Giov. Santi : ♦St. Jerome. 67 Cola delV Amatrice : Assumption (1515). SS. Benedict and Lawrence, SS. Mary Magd. and Scolastica. III.— 74 Andrea del Sarto : Virgin and children with S. Anna (replica). 71 Francia: Annunciation. 77 Cesare da Sesto : Baptism of Christ. 79 Giulio Romano: Cartoon of the stoning of Stephen (Genoa). 78 Fe»i€/ian 5c/iooZ : Entombment. 10 Marco Palniezzano : Virgin and Child with SS. John Baptist and Jerome (1510). 72 Palmezzano: Virgin and Child with SS. John Bapt., Lawrence, Francis, Dominic, Anthony the Abbot, and Peter (1537). IV.— 84 Portrait of Sixtus V. by Sassoferrato. 81 Sixtus V. as Cardinal, head and shoulders only, by Domenichitw. 87 After Vandyck : Male Portrait. 82 Cav. d'Arpino: Annunciation. 8(3 George IV, of England, by Sir T. Lau'ren4^4i, presented by the King to Pius VII. The remaining rooms contain modern pictures. At the end is the Great Hall of the Council, surrounded by portraits of popes from St. Peter to St. Sylvester; lower down, the principal cmbellishmonts of liomo by Sixtus V. Casts of celebrated sculptures. The fine inner court of the palace has frescoes by T. Zucchero. The Third-Floor contains a series of casts from Trajan's column, executed at the expense of Nai>oleon III. Thecustode will show them, if I'cquestcd. The Terrace commands a fine *view of the Sabine hills and Campagna. Lonaoa > Bdw»r«l Stanford. 12. 13 * 14. Lon^ Act*. W.C. ROUTE 14. From the Colosseum to S. M. Maggiore, by the Baths of Titus, S. Pletpo in Vlncoli, S. Lorenzo in Panis-Perna, and S. Pudenziana. (Omo. p. [281, 25 ; Iran) way, p. (27), 4, 6, 14, 16.] In the Via Lahicana, about 150 yards E. from the Colosseum, is the short ascent to the ♦Baths of Titus (Adm., p. [34]). ♦The Golden House of Nero, with its park and lakes and plantations, Section? ^^ m^^ ^' Rte 14 ^"S? 'V Resei-vni ^^../ «^' ••^^OLOSSEUM==:! / • •• ••»> . -A '*meS,frjir-/ ^^^i^ Ls. Loadon ^ Bdwnrfl Stafford. 12. 13 & I'i. Loo]^ Arrr. W.C. k The City.] route 14. — the lateran. 157 monks on either yidc, presenting donors. Three beautiful angels. 64 Beno220 Gozzoli : St. Thomas receiving the Girdle, with a Predella of six scenes from the life of the Virgin. 62 Antonio Vivarini : *Carved figure of St. Anthony, with paintings of SS. Sebastian, Christopher, Venantius, and Vitus; above, the Saviour showing his wounds, with half-length figures of SS. Jerome Peter, Paul, and Augustine (1464). * 60 Carlo Crivelli : *Virgin and Child with SS. Jerome, Gregory, John Bapt., John Evan., and a tiny donor (1481). 61 *Virgin°and Child enthroned, with a tiny Franciscan friar (1482). 66 Giov. Santi: *St. Jerome. 67 Cola delV Aniatrice : Assumption (1515). SS. Benedict and Lawrence, SS. Mary Magd. and Scolastica. III.— 74 Andrea del Sarto : Virgin and children with S. Anna (replica). 71 Francia: Annunciation. 77 Cvsare da Sesto : Baptism of Christ. 79 Giulio liomano : Cartoon of the stoning of Stephen (Genoa). 78 l^Mt'/mn 6'c/iooL- Entombment. 70 Marco Palme -zano : Virgin and Child with SS. John Baptist and Jerome (1510j. 72 Palmv-zuno: Virgin and Child with SS. John Bapt., Lawrence, Francis, Dominic, Anthony the Abbot, and Peter (1537). IV.— 84 Portrait of Sixtus V. by Sassoferrato. 81 Sixtus V. as Cardinal, head and shoulders only, by DonienicMno. 87 After Vandyck: Male Portrait. 82 Cav. d'Arpino: Annunciation. 86 George IV. of England, by Sir T. Lawrence, presented by the King to Pius VII. ^ ^ The remaining rooms contain modern pictures. At the end is the Great Hall of the Council, surrounded by portraits of popes from St. Peter to St. Sylvester; lower down, the "principal embellishments of liomo by Sixtus V. Casts of celebrated sculptures. The tine inner court of the palace has frescoes by T. Zucchero. The Third-Floor contains a series of casts from Trajan's column, executed at the expense of Napoleon III. The custode will show them,' if requested. The Terrace commands a tine "'view of the Sabine hills and C.'ampagna. ROUTE 14. From the Colosseum to S. M. Maggiope, by the Baths of Titus, S. Pietro in Vincoli, S. Lorenzo in Panis-Perna, and S. Pudenziana. (Oniu. !►. [281, 25 ; Trarnway, p. [27], 4. 6, 11, 16.] In the Via Labicana, about 150 yards E. from the Colosseum, is the short ascent to the *Baths of Titus (Adm., p. [34]). ' The Golden House of Nero, with its park and lakes and plantations, 158 ROUTE 14. — PALACE OF NERO. [Sect I. The City.] ROUTE 14. — THE THERMAE. 159 occupied the whole space between the Palatine and the gardens of Maecenas near the modern Rly. Stat. Vespasian and his son Titus restored to public use the ground usurped by Nero, save the spaces now occupied by the amphitheatre and by the Baths of Titus. In the construction of this last edifice advantage was taken of Nero's work; the Golden House was not destroyed, it was simply vaulted over and used as store rooms and cellars for the Baths above. Hence its admir- able preservation.' — L. ' The Thermae of Titus were called velocia munera bv Martial, because constructed with such haste that Trajan was obliged'to rebuild them almost from the foundation. The Baths of Titus and Trajan comprehend, as usual, a central edifice with caldarium, tepidarium, frigidariutn, and other bathing accommodations, surrounded with an extensive park or garden. The whole was enclosed within four walls, 2 CRYPTO -PORT lOUS — flj .. ; . r-n- Tr- . rmr!t i VIA LABICANA PAltT OF THE I'ALACE OF NEBO UNDEll THE BATHS OF TITUS. 1. Chapel of S. Felicitas. 2. Mosaic |)aveineut of an earlier house. 3. Painting on ceiling. 4. Walls added by Titus. 5. Decorations of Nero. 0. Walls of Titus to sup- port Theatre. 7. Room for slaves. S. CoiTidor(Xero). 9. Unexcavated injrtion. The Roman Theiimae were a combination on a huge scale of the common Balneae with the (ireek Gymnasia. Their usual form was that f)f a lar^e quad- rangular space, the sides of which were formed by various porticoes, exedrae and even theatres for gymnastit- and literary exercises, and in the centre of which stood a block of buildings containing the bathrooms and spacious halls for undergoing the complicated pnwess of the Koman warm bath. All were built of brick and the interior was decorated with stucco, mosaics, or slabs of marble and other ornamental stones. The exterior of the Thermae was probably verj' plain and even unsightly, and illustrates the Roman tendency to develop the interiof of their bJiildings at the expense of the exterior. Greek Gymiuxsia, on the contrary opened outwards, and were ornamented on the exterior with colonnades and gateways —J Before tue time of the Em erors the only bathing establishments were the Balneae, which were on a much smaller scale, and had none of the liuurious accessories of the Thermae. The seven principal Thermae were those of Agrippa, B.C. 21 (p 186) Nero A.D. 60 (p. 195), Titus, A.D. 80, Trajan, A.D. 115, Varacalla, A.D. 217 (Rte 41)' Diocletian, A.D. SCO (p. 217), and Comtaatine, a.d. 320 (p. 206). In the time of the last-named Emperor there were upwards of 850 Balneae. ornamented at the angles with hemicycles and halls of various designs.' — L. One of the hemicycles was converted by the French into a powder magazine (Polveriera), which gives its name to the adjoining street. On the side nearest the Colosseum facing the modern entrance is a semicircular theatre, where curved outlines are well preserved, together with the eleven parallel walls, diagonally set, which formed its substructions. To the 1. of the entrance is a small Chapel (1), dedicated to S. Felicitas, discovered in 1813. It is supposed to have been used for Christian worship as early as the 6th cent. : on the wall was found a Christian calendar, which has been engraved by De Romanis. Faint traces of frescoes representing S. Felicitas and her martyred boys may yet be discerned behind the rude altar, and on the stucco attached to the rt. wall are some graffiti. Descending a few steps, we now pass on the 1. a row of slaves' rooms (7), and at the end of the corridor observe on the 1., sunk below the level of Nero's palace, part of the pavement (2) of a more ancient private house, upon which he laid his foundations. To the rt. runs a long corridor or crypto-porticus (3), excavated in 1813. Its beautifully painted ceiling will be shown by the Custode, with the aid of tapers at the end of a long pole. The vault is pierced with square openings, through which Raphael and Giovanni da Udine are said to have gained access, and admitted the light necessary for copy- ing the paintings as studies for the Loggie at the Vatican. These interesting works, now almost effaced, were among the most perfect specimens of ancient paintings which have been preserved in Rome ; they represented arabesques of flowers, birds, and animals, exhibiting the most graceful outline and remarkable facility of design. We now enter a Corridor (8), from which open a series of seven parallel rooms, with side walls added by Titus. These walls cut up into strips the large oblong peristyle of Nero's palace, whose central fountain may be seen in the fourth room. It was surrounded on all sides by columns, whose bases are occasionally visible. Further on are some yet more beautiful paintings, which the Custode will light up, if desired. A dark room at the extreme end is said to have been a prison, and has some well-preserved graffiti on its walls. The chambers and their paintings are described by several writers of the 16th cent., but they were almost lost sight of and forgotten in the 17th. In 1776 they were again partially opened by Mirri, for the purpose of publishing the paintings ; and in 1813 the whole site was cleared, when Romanis' ' Camere Esquiline ' was published. There is no doubt that many interesting fragments still remain buried under the accumulations of soil. Returning to the Colosseum, and ascending a road which winds upwards to the rt., we pass on the 1. a large School. On the rt. rises a Convent, with a handsome loggia (see below). After 2 min. we turn rt. into the Via di S. Pietro in Vincoli. On the 1. is the Minimite Convent of San Francesco di Paola (Festa, 2 Apr.), founded in 1623, the belfry of which is perched on a well-preserved media,eval tower of the Frangipani. The Church is entered from the ether side, and the Convent has become an Istituto Tecnico. 160 EOUTE 14.— S. PIETRO IN VINCOLI. [Sect. I. Opposite on the rt. stands the Convent of S. Antonio, belonging to the Maronites of Mount Lebanon. At the high altar of the little Church are two beautifully chased columns of Pentelic marble. Festa Lu °,;- *^® garden is a picturesque palm-tree. On the S. side of the Piazza stands a large Convent belonging to the Little Sisters of the Poor. At the E. side of the square, on the Oppian tongue of the Esquiline. IS the Church of 01, *S. PIETRO IN VINCOLI {Basilica Eudoxiana), built in 442 by Eudoxia, wifeof Valentinian IIL, to preserve the chain with which fet. Peter was bound at Jerusalem. It was repaired by Pelagius I. in 555 ; rebuilt by Adrian I. in the 8th cent. ; and restored in 1503 bv Julius II., from the designs of Baccio Pontelli. In 1705 it was altered to Its present form by Fr. Foiitana. In front is a portico, out of which opens the fine nave separated from its aisles bv 20 ancient fluted Doric columns of Hymettian marble with added bases, the arch of the semi- circular tribune being supported by two columns of grey granite with Corinthian capitals. © j & Rt aisle.— 1st altar, St. Augustine with SS. Agnes and Monica, by Ctmrcino. Beyond it, monuments of Card. Margotti and Agucchi, from tlie designs of Domenichiiio, who painted the portrait of the latter. Near the end of the rt. aisle is the *Moses of Micliel Aiwelo, one of his most celebrated sculptures. It was intended to form part of a magnificent tomb of Julius II., the plan of which was so imposing that c. ^i f . \.-^Z^ induced the pope to undertake the rebuilding of X Tn 5 !' ^^^^^'^} Angelo's design was a parallelogram, surmounted by 40 statues and covered with reliefs and other ornaments. The Mcissitudos of this monument form one of the curious chapters in the history of art. The quarrel of Michel Angelo with Julius II. arrested Its progress for two years ; but on their reconciliation the great sculptor returned to Rome, and continued to work upon it until the death of the pope in 1513. It was then suspended during the greater part of the reign of Leo X., and was not fairly resumed until after his death The original design after all these interruptions, was never executed: Michel Angelo had completed at his death only the statue of Moses and the figures supposed to represent the Active and Contemplative Life but called by \ asari Leah and Bachel. The one holds a looking-glass iind wreath; the other gazes upwards as if in prayer. Two of the slaves, which were intended to serve as Caryatides, are now in the Louvre and the >3rd is in the Boboli gardens at Florence. To complete this list of misadventures, the Pope is not buried under his monument but m bt. Peters, and without any memorial, except a paltry marble inscription. The statue is therefore not so advantageously seen as it would have been if surrounded by aU the accessories of a finished monument; but it is impossible not to be struck with its commanding expression and colossal proportions. Above are the Prophet Elias and the bibyl, by Raj^aello da Montelupo, a very poor recumbent figure of Juhus II., hy Maso dulBosco, and the Virgin and Child, by Scherano da oettigtiaiio. '' The last chapel contains a fine St. Margaret by Guercino, and an Annunciation, m two panels, by Carlo Maratta, The City.] route 14. — s. pietro in vincoli. 161 In the Sacristy is the Deliverance of St. Peter, by Domenichiiio. Here may be purchased for a franc a model of the chains which give their name to the Church, in the form of a steel watch-chain which has touched the original fetters. These are publicly exhibited on the 1st of Aug., and are kept under the custody of an arch-confraternity. The Sacristy has a good mosaic pavement, and a very beautiful *Cosma- tesque altar. Chancel. — The tribune is painted by Jacopo Coppi, a Florentine artist of the IGth cent., representing on the vault the story of a miraculous Crucifix ; on the walls St. Peter liberated by the angel, Eudoxia the elder obtaining the chains at Jerusalem, and Eudoxia the younger giving them to Leo the Great. Below is a civic throne in Greek marble, from the podium of the Colosseum. On the rt. pier of the arch is a memorial, with his bust in relief, to Giulio Clovio (1682), the celebrated missal and miniature painter, who was a canon of this church. The high altar with its canopy of painted and gilt wood, the handsome Confession in front of it, and the crypt where the lately discovered relics of the Seven Maccabees are preserved, were dedicated on June 3, 1877, the 50th anniversary of the consecration of Pius IX. as Bishop of Spoleto, in this church. Over the altar of the Confession is a bronze tabernacle in which are preserved St. Peter's chains. Left aisle. — On the wall is an interesting inscription of 532, which indentifies Mercurius the priest with Pope John II. (see S. Clemente). Over the 2nd altar is a curious Mosaic of St. Sebastian (680), represented as an old man with a beard ; it commemorates a deliverance by means of the saint from a pestilence (see Inscription on the rt.). Between this and the next chapel, which has over the altar a picture of the Dead Christ, is the tomb of Card. Cinzio Aldobrandini, the protector of Tasso and nephew of Clement VIII. Further on is a relief in gilded marble of St. Peter delivered by the Angel, with kneeling Donor, executed in 1465 for Card. Niccold di Cusa (Cues), whose gravestone is beneath. On the pavement opposite is a good slab-tomb of a Bishop (1475). Near the door, the tomb of Pietro and Antonio PoUajuolo (1498), with their busts ; the fresco is descriptive of the plague of 680. The mosaic of St. Sebastian stood beside it until 1576. In this Church, which belongs to the Regular Canons of the Lateran, John II. was elected Pope in 532, and Hildebrand in 1073, under the name of Gregory VII. The adjoining convent, now a school of engineering attached to the University, was built by GiuUano da Sangallo : a good *view of the Colosseum is to be had from its upper Loggia. The great cloister, surrounded by a handsome Ionic portico, erected by Julius II. when titular Cardinal, has in the centre a cistern by Antonio da. Sangallo, with a beautifully worked plinth in white murblo. In the adjacent vineyards are many interesting remains of the Baths of Titus. [From S. Pietro the Via dellc Setfe Sale leads to S. Martino (Rte. 15). At No. 11, 3 min. on the it., is the entrance to the Sette Sale (ring the bell, 50 c). The ruins are quite \ mile distant, abutting on the Via Leopardi. On the way are passed three large hemi- cycles. the first of wiiich lies within the area of the Baths of Titus. Beyond the last we turn to the rt., and reach a low massive building of [^Rome.l M 162 ROUTE 14.— S. M. DEI MONTI. [Sect. T. concrete faced with brick in two stories, one of which is still buried It was a reservoir built originaUy to supply the Golden House of Nero* and afterwards connected with the Baths of Titus. The interior is divided into nine parallel compartments, of which only seven are excavated They communicate by four arched apertures, placed so that the spectator, standing in the first chamber, can look obliquely through several at once. The object of this arrangement was to produce perfect stillness in the water, and to prevent the formation of currents between the chambers. The central compartment is 40 ft. by 13, and 9 ft high Ihe internal walls of opus signinum still retain an incrustation of carbonate of lime formed by the water.] From the Piazza we descend some steps by the Scuola Tecnica, at the foot of which, on the 1., is a granite Cross. A few yards further 1. ^ the entrance to S. Francesco di Paola. Looking back from the steps may be seen a handsome fragment of a Doric cornice Pbnrl'lffVcf ^/^- *^^ ^J'^^/i;'' Cavour. 100 yards to the rt. is the unurcn of bS. Gioacchino ed Anna, belonging to Minima Nuns (1722) During a partial rebuilding of the Convent in 1774 was discovered a silvprVhfT'^ ""^ ?/'^\'?^^'' including a unique toilette service in bilver which was sold and dispersed by the nuns. Festa, 10 Dec. A bttle further, on the rt. is fn. Fk ^"^^* }^ ^?^^' mentioned in 500 ; rebuilt by Carlo Maderno 1/i Augustme Nuns m 1604. Its name has reference to the basaltic pavement of the Chims Suhuranus, which ran close by; but the Church statn?o^n*\'''"fA^r Vf'''' '"^ ^^^«' ^^^°^ * large fountain wi?h a arP^L T P^^"^ ^^^T'^^ ^: ^^)- ^^««^^' 13 Dec. 100 yards higher up are the Towers near S. Martino (Rte. 15). 6 ^ F P..S^^1''''°^' *^^,^°,^^® Vi* favour, past the front of S. Francesco di raoLa we come to the spot where stood formerly the Convent of the SepoUe Vive (see p. [109] ) Further down, at the"^ entrance of the Via dell Agnello, is the little Church of the Madonna del Buon Consirlio ^?^!,^H^T>.''''^ ^'"''^' ^^ T Saviour with Saints, and the Virgin and Child. Then turmng down the Via dei Serpenti we reach on the 1. S. M. del Monti, formerly attached to a Nunnen' of Poor Clares T^:'7tTV'' ^^.it'L^T' At the end of the^l. aisle is bS St. Benoit Labre (1748-83), a French pilgrim, canonized by Leo XIII AprU ir '"^ ' ^' ^^' ^' ^^* ^^' ^'^P"^*i' '' shown on .V, ^•'i!^i'''!i?^ ^H"^ ^r^^^^r^ *^ ^^^ ^^ ^^ P^«s on the rt.. beyond a fountain the little Church o SS. Sergius and Bacchus, only interesting as the successor of one which was built in very early times on the ruins of riLch o7thel ''''' ^^ ^^ *° *^' '^' ^ *^' ^^* ^*^^ ^^^^^ ''^ S. Lorenzo in Panis-Perna (160 ft ).on the summit of the Viminal supposed tostand over the spot where St. Lawrence suffered martyrdom' now enclosed m the Crypt. It derives its singular name from Perperna' or Perpenna, an inscription to a member of that family having been found on the spot. It was rebuilt in 1300 by Boniface VIII and r^ored in 1575 by Cxregory XIII., and in 1892 by the titular Cardinal Above the high altar is a fresco by Fa8(iuale Cati, one of the best . The City.] ROUTE 14.— s. pudenziana. 163 scholars of Ivlichel Angelo. In the 2nd Chapel rt. is the front of an old Sarcophagus. St. Bridget died in the adjoining convent of S. Chiara. Station, 2nd Thurs. in Lent. The convent has been entirely rebuilt by the Italian Government B^tan^"^^^ ^ ^wii-ersiiy for students in Physics, Chemistry, and We now descend into the depression between the Viminal and Esquiline. In front rises S. M. Maggiore. , [200 yds. further S. in the Via Urbana is the Church of S. Lorenzo in Fonte, said to have been built over the prison of St. Lawrence, in which a spring burst forth miraculously to enable him to baptize his ^f. K ^>PP^ly<^^«. .afterwards martyred. In the 14th cent it was attached to a Benedictine Monastery.] Turning left into the Via Urbana we pass on the rt. the large Educational Institution of Gesd Bambino, with its Chapel. tL Hospital, founded in 1869 by some private* citizens for children suffering from acute diseases, has been removed to the Janiculum (Rte. 34) Nearly opposite is the Church of ^ ^' ,. *S- PUDENZIANA, supposed to be the most ancient Christian edihce of Kome (omnium ecclesiarum urbis vetus- issima), and in early times the cathedral of the Christian city. It occupies the site of the house of the senator Pudens, where St. Peter lodged from A.D. 41 to 50, converted his daughters Prassede and Pudenziana, and baptized many thousands of con- verts. The Church was consecrated by St. Pius I. A.D. 145, restored by Adrian I. in the 8th cent., by Gregory VII. and Innocent II. in the 12th, and again in 1597 by Card. Enrico Caetani. It was given to the Cistercians by Sixtus V. in 1586, and now belongs to the Regular Canonesses of St Augustine. Festa, 19th May. The Via Urbana in front of it, the ancient Vicus Patricius, was much raised, in 1873, to improve the ascent to S. M. Maggiore, so that the Church now stands below the level of the road, and is approached by a double -"•'^^ flight of steps. About 403 was built a 'Colonnade plan op more than 300 yds. long, leading fiom the Suburra sta. pudenziana to the Vestibule of this Church. At the entrance are ancient spirally fluted columns, supporting a lintel, on which are early Christian medalhons of Pastor, Pudenziana, the Lamb and Cross Prassede, and Pudens. The favade, with its modern mosaics, was entirely rebuilt by Card. Bonaparte. The interior has 14 ancient columns of grey marble built up into piers. /1QQ^^ ^^® ^u' ^^u^® ^^^^' '^^^^ ^^^y "^ ^a^t bronze, of Card. Czachi (18«8). In the Chapel at the end of the rt. aisle is a curious relief from the Catacombs. The *Mosaics of the Tribune are the finest in Rome, but much restored. They must have been originally executed in the 4th cent., or, at all events, copied from others of that date.f The Saviour ia t Spithover has pubUslied good drawiuj^s of these Mosaics, with text l)y de Rossi, M 2 i"rr. 164 ROUTE 14. — S. M. MAGGIORK. [Sect. T. enthroned, blessing with his rt. hand and holding a book with his left. Beside him are St. Peter crowned by S. Prassede, and St. Paul by S. Pudenziana; Pudens, his sons Novatus and Timothy, and others, with edifices in the background (supposed to represent the Church and the Vicus Patricius), and the Cross and emblems of the Evangelists above. ' Eight half-length figures overlap like double profiles on a coin.' — K. In the chapel on the left is a large marble group by G. delta Porta — the Delivery of the Keys. On the 1. wall are copies of inscriptions discovered in the catacombs of S. Priscilla, to Cornelia, of the family of Pudens, with a rude portrait (originals in the Lateran Museum). Beneath the altar is part of a table on which S. Peter celebrated the Agapai with his Roman converts. The rest was removed to the Lateran by Card. Wiseman, when titular of S. Pudenziana. In the left aisle, as in other parts of the Church, are remains of the old Roman mosaic pavement, supposed to have formed part of Pudens* house. The well, with a grating over it, is full of the bones of Martyrs. Opening out of the 1. aisle is the richly decorated Cappella Gaetani, erected for the Cardinal by Francesco da Volt err a ; the Adoration of the Magi over the altar, in high relief, is by Olivieri ; on each side is a fine column of Lumachella marble. On the roof are ancient mosaics of the Evangelists with Angels ; over the entrance arch S. Pudenziana collecting the blood of martyrs; beside the windows, Sibyls (5th cent.). . The ♦Campanile is the most elegant of its kind in Rome (1130). The three upper tiers, with their open colonnades, are unique. Beneath the Church are some remains attributed to the Baths of Novatus, mentioned in the Acts of S. Prassede, and in the Liber Pontiticalis, as the place where Pius I. consecrated a Church to that nobl6 martyr. They consist of square chambers in brickwork, with mosaic pavements, all nearly destroyed in laying the foundations of new houses. In the imposing Piazza dell' Esquilino stands an Obelisk, erected in 1587 by Sixtus V. It is of red granite, 48 ft. high, broken into three or four pieces, and without hieroglyphs. It was one of a pair which originally flanked the entrance to the mausoleum of Augustus, and were brought from Egypt by Claudius, a.d. 57. The other was placed on Monte Cavallo by Pius VI. A few yards N. of the Piazza, at the junction of the Via Farini and Via Cavour, some remains were discovered, in April 1873, of the Baths of Naeratlus Cerialis. Some pedestals, with honorary inscriptions, and many beautiful statues and fragments, were du^ up among the ruins. The Basilica Liberiana, or Church of ♦S. M. MAGGIORE, ranks third among the Churches inside the walls of Rome, and is one of the four which have a Porta Santa, the others being St. Peter's, St. John Lateran, and St. Paul's outside-the-walls. It was founded near the Macellum Liviae^ on the Cispian tongue of the Esquiline (177 ft.) in a.d. 352, by Pope Liberius, and John, a Roman patrician, in obedience to the command of the Virgin, who announced separately to each of them that a fall of snow would occur on the 6th PIAZZA DEL ESQUILINO a 1. 1. 1. Entrances. 2. Philip IV. of Spain. 3. Entrance to Loggia. 4. Porta Santa. 5. Clement IX. 6. Nicholas IV. Baptistery. Sacristy. Cap. del Crocif ggo. Si.\tine Chapel. 7 8. 9. S. MARIA MAQGIORE 11. Sixtus V. 12. Pius V. 13. Card. Consftlvi. 19. 20. 21. Baldacchino. Confession. Mosaics. Mosaics. Cap. Paolina Borghese. Paul V. Clement VIII. Cap. Sforza. or 22. Cap. Cesl. 166 ROUTE 14.— -S. M. MAGGIORE. [Sect. I. August and cover the exact space to be occupied by a church to be erected in her honour. The miracle took place and the Church was b^ilt and was for a time caUed S. M. ad Nives, afterwards S^rj^Lt^^rCm On the 5th August in the Capella Paolina or Borghese chapel (iTon plan) during h,gh mass the fall of snow is imitated by a shower of smaU pieces of paper from holes in the ceiling »"ower oi small -.fJu^ ^fr^'f ot ^P*^f«"«' in 436, declared IMary to be Theotokos or Mother of God. St. Sixtus III. thereupon, in 432. enlarged thTs Church and dedicated it to the Virgin. The interior has undergone numerous alterations and additions, which have impaired the simpli- city of Its original plan; but in spite of these changes it has retained its basilican form The tribune with its mosaics was added by Nicholas IV. (1288-94) The whole building was repaired by Gregory XIII in 1575, and the principal facade added in 1741 by Benedict XIV., from the designs of Ftiga, At the same time the interior was completely renovated, the col- umns were fitted with new Ionic bases and capitals, and the beautiful mosaic pavement re-laid. Two famous scenes of violence have occurred inside this basilica. In 866 the supporters of the Anti-Pope Ursicinius seized it and had to be expelled by force after much bloodshed, by the followers of Pope Damasus. In 1075, the great Pope Gregory Vli. (Hildebrand) was attacked while celebrating Mass and carried off to prison by a turbulent Roman, Cencius • but the populace rescued the Pope next day and he, with characteristic fortitude re-* turned to the basilica and finished' the interrupted Mass. The principal Fac^ade, facing the S.E., is one of the least happy in the church archi- tecture of Rome. It has five doors, including the walled-up Porta Santa on the left. On the rt. IS a bronze statue of Philip IV of Spam. The loggia, reached by a staircase XV . °° *^^ ^®" ^° **^e vestibule, is covered with mosaics; they were restored in 1825, when their date (1317) wUh the name of the ^rt^stPhUippus Rusutus, an otherwise unk4oWk master were discovered The subject is Christ giving his Benedi^on with bS James, Paul and the Virgin on the 1., SS. John BapCprter and Andrew on the rt. SS. John Evan, and Peter at the extremities have been destroyed to make way for a modern cornice. Below the Dream of St. Liberius and the Miraculous Fall of Snow. At the foot of the stairs is a passage lined with slab tombs from the ancient pave ment of the Church. The back of the Church, by which visitors ORIGINAL PLAN OF S. MABIA MAOOIOBE. The City.] ROUTE 14. — S. M. MAGGIORE. 167 usually enter the building, was constructed by Carlo Rainaldi (1673), and is in better taste. The Bell-tower (cir. 1145) is the largest and one of the best preserved in Rome. It is decorated with handsome mould- ings and bronze ornaments. The short spire dates from 1375. The ♦Interior consists of an immense nave, 93 yds. by 20, divided from its aisles by 42 Ionic columns of Hymettian marble from quarries close to Athens. t These support a continued entablature, which has unfortunately been broken by modern arches flanked with columns of grey granite constructed by Paul V. and Sixtus V. as entrances to the Borghese and Sixtine chapels. Upon the entablature rests the upper wall of the nave, with a row of fluted and gilded Corinthian pilasters. The flat coffered roof, designed by Giuliano da Sangallo, and divided into five longitudinal rows of panels, is elaborately carved, and gilded with the first gold brought to Spain from South America, presented to Alexander VI. by Ferdinand and Isabella. The aisles are comparatively low and narrow, and have vaulted roofs little in character with that of the nave. The ^Mosaics are of great interest. The square panels above the • cornice of the Nave represent Old Testament subjects, illustrating chiefly the lives of Moses, Joshua, Abraham, Isaac, and Jacob. They have been considered to date from the pontificate of Sixtus III. (a.d. 432), whose name is over the arch ; but there are grounds for supposing them to be of the third century. J The mosaics on the face of the arch outside the Tribune are also, probably, of the third century. The subjects are the Annunciation, Presentation in the Temple, Adora- tion of the Magi, Meeting of a Hellenistic Prince with the Christ Child, Massacre of the Innocents, Herod and the Magi, Jerusalem and Bethlehem. Observe the nimbus round the head of Herod, as a symbol of power, not sanctity. The *finest, in the apse of the Tribune, are by Jacopo da Turrita (1295) : they ' are surpassed by no contemporary work in dignity, grace, and decorative beauty of arrangement.' — K. Within a blue circle, starred with gold, Christ and the Virgin are enthroned together — an especially fine group — the Saviour placing a crown on the Virgin's head, while she bends forward to receive it in an attitude of adoration and modest remonstrance. On the 1. are SS. Francis, Paul, Peter, and Nicholas IV., Card. Colonna, SS. John Bapt., Jerome, and Anthony of Padua, with adoring angels. The Pope and Cardinal are smaller figures on their knees. The upper part is filled in with vine branches, and below is a river with boats. The execution is very careful. Lower down are mosaics by Gaddo Gaddi; they represent the Annunciation, Nativity, Adoration of the Wise INIen, Presentation in the Temple, and (in the centre) the Death of the Virgin. Beneath the windows are reliefs of the Nativity, Fall of Snow, Assump- tion, and Adoration, from the old altar, attr. to Mino da Fiesole. Returning to the main entrance on the rt. is a monument to Clement IX. (1669), erected by Clement X. ; on the left, that raised by Sixtus V., when Cardinal, to Nicholas IV. (1292), by Leonardo da Sarzana. The Baptistery (7 on plan), has for its font a fine basin of red porphyry. Among the Archives is preserved the sepulchral inscription of the t The 2nd and 4th (broken) on either side are of Carrara. X See "The Mosaics of S. M, Miiggiore," by .T. P. Richter and A. C. Taylor, 1904, 168 ROUTE 14. — S. M. MAGGIORE. [Sect. I. patrician John, founder of the basilica. In the Sacristy are reliefs of SS. Jerome, Bernard, and the Virgin ; and in the Chapter Room others of great beauty by Mino da Ficsole, from the old ciborium (Annuncia- tion, Virgin and Child, SS. Paul and Peter, God the Father). In.a passage leading out of the Baptistery on the 1., is a bronze statue of Paul V. Fine pavement. The tapering granite Column surmounted by a bronze crucifix, and the Virgin and Child, in a court outside this doorway, was erected in 1595 in memory of the absolution granted by Clement VIII. to Henry IV. of France. It stood formerly in front of S. Antonio, but was removed to its present place in 1881. Returning into the Church, in the rt. aisle is the Cappella del Crocifisso, surrounded with ten half-columns of porphyry. The ♦Sixtine Chapel was erected by Sixtus V. from the designs of Fofitana, and is rich in marbles and other ornaments. It was restored at much expense by Pius IX. in 1865. On the rt. is the tomb of Sixtus ^V., with his statue by Valsoldo ; opposite, that of Pius V. by Leonardo da Sarzana, with effigy in gilded bronze relief below. The reliefs, by Cordieri, represent the battle of Lepanto, which took place during' the pontificate of Pius V., and his sending assistance to Charles IX. of France for the persecution of the Protestants. The statue of St. Dominic is by G. B. Porta. Over the altar is a fine tabernacle in gilded bronze sustained by four angels. In the Confession below, a marble group of the Nativity by Cecchino da Pietrasanta (1480). The ♦altar over which it stands is the one originally consecrated for the Church of Liberius, and was beautifully decorated with mosaics by one of the Cosma family in the 12th cent. In a passage behind it is a very interesting ancient group of the Adoration of the Magi. We are told that Sixtus V. commenced this Chapel while still a Cardinal and that Gregory XIII. suspended his allowance on the ground that he must be a rich man to incur such an expense. The work would have been postponed in consequence, if Fontana had not placed at the founder's disposal the whole of his savings, an act of generosity which Sixtus repaid by constant patronage after his elevation to the pontificate. At the extremity of the rt. aisle is the ♦Gothic tomb of Card. Rodrigo Consalvi, Bishop of Albano, by Giovanni Cosma (1299), and a mosaic of the Virgin and Child with SS. Matthias and Jerome. The high altar rests on a large sarcophagus in red porphyry, supposed to have been the tomb of the Patrician Johannes. The baldacchino, erected by Benedict XIV. from the designs of Fuga, is supported by four columns of red porphyry. Beneath is the Confession of S. Matthias, where his relics are preserved. In front of it is a semicircular atrium reached by a double fiight of steps, and decorated with coloured marbles, and columns of Egyptian alabaster, erected by Pius IX. The kneeling statue of that Pontiff by Giacoynetti was placed here in 1879 by the College of Cardinals. In the Confession, within a shrine constructed for the purpose by Pius IX., is preserved the great relic of the Church, the sacred culla. It consists of five boards of the Manger at Bethlehem ; they are enclosed in an urn of silver and crystal, with a gilt figure of the Child on the i. ^N . II LoudLon . Bd-ward. %\ SdoUon 8 ROUTE 15. — S. M. MAGGIORE. 169 ^ The City.] top. They were brought to Rome from Bethlehem when the remains of St. Jerome were also removed, in the middle of the 7th cent., by Pope Theodorus. The Culla is exposed in the Sacristy on Christmas Eve. It is placed over the high altar in a magnificent silver and crystal ornament on Christmas Day, and is carried back into the Sacristy about 5 p.m., during the singing of a beautiful processional hymn. To the left of the high altar is a very beautiful paschal Candle- bearer in bianco e new. The simiptuous ♦Cappella Paolina, belonging to the Borghese family, was built by Paul V. from the designs of Flatninio Ponzio (1608). Over the altar is a miraculous painting of the Virgin and Child, which St. Gregory the Great carried in procession to stay the plague that desolated Rome in a.d. 590; above it is a gilded bronze relief by Stefano Maderno, representing the miracle of the snow. The frescoes above are by Giiido Reni, except the Madonna on the left, which is by Lanfranco. Those on the pendentives beneath the cupola are by Cav. d'Arpino. The Tombs of Paul V. (1.) and Clement VIII. (rt.) are covered with reliefs by pupils of Bernini. The recessed altars on each side of the entrance are dedicated to S. Carlo Borromeo and S. Francesa Romana. This Chapel has 12 chaplains, and a separate Sacristy. Beneath are the sepulchral vaults of the family, including our country- woman, the popular and benevolent Princess Gwendoline Talbot Borghese and her three infant children. The next Chapel is that of the Sforza family, designed by MicJiel Angela, now the winter choir, with an Assumption by Gir. Sicciolante da Sernioneta. Further on is the Cappella Cesi, containing two sepulchral monuments with bronze effigies of cardinals of the family, by Giiigl. della Porta. High up, at the bottom of the 1, aisle, is the tomb of Card. Abp. De LeviSf of Aries (early 16th cent.). ROUTE 15. From S. M. Maggiore to S. Croee, by S. Prassede, S. Maptino, S. Eusebio and S. Bibiana, the Minerva Medica, and the Porta Maggiore. [Tramway, p. [27], 5, 6, 16, 17.] On the E. side of S. M. Maggiore is a fluted Corinthian Column 62 ft. high, one of the eight which supported the vault of the great hall in the Basilica of Constantine, erected here by Paul V. on a lofty modern pedestal and dedicated to the Virgin. The uppermost capital is modern. Hence the Via Carlo Alberto leads to the Piazza Vitt. Emanuele, passing on the 1. the Church of 170 ROUTE 15. — S. PRA88EDE. [Sect. I. Tn«?; A Abate which occupies part of the site of the Basilica of Junius Bassus, upon which Pope Simplicius (468-485) erected the Church (now c osed). It has a handsome marble thirteenth century d(x»rway supported on crouching sphinxes. The blessing of animals on Jan. 17th (the Feast of St. Anthony, patron Saint of animals) formerly took place here, but now at the Church of S. Eusebio. ^ ^ S. of the Column is a side entrance to f. r!^i' r;n?^^^^^^' fouuded ou the sitc of a Small oratory built by Pius I it;?; f ^-^^ fu^^^^® °^ "^''""^y *^ ^^^^^ <^^e early Christians might retire during the persecutions. Prassede was the sister of Pudenz fna and daughter of Pudens. the first person in Rome converted to year ofTllH^,!^^ apostle lodged in his house from the Is? STme !<,£^ P V *^^ ^^'rS?^ ^^^^^ ^•^- ^2. when he returned to ^Poc^ li T* ^"f ^^^^«««)- The present building was erected in 822 by San'r^rln 'l."''^'"^ '^ *^ ^^^^ ""°*- ^^ ^^'^^^^^^ ^ .. and modernised the^ftfot nf f vf'T®^' ""^^ ^*' *^^^^" ^^'•^^"^^- ^^ ^as *be Dlace of the attack of the Frangipani on Pope Gelasius 11. in 1118. ' At the of a?^n^ff ^^fl ^^""''^ columns of granite. The interior has 16 columns ot granite with composite capitals. fi^.'^o ® P^P-®^ ?^ ^*- ^^"° ^^'^^ '^O ^8 no* open to la- ^i^« IV. ;^the opening vhioh L. L ^ ^""^ ^i "^'^^ ^""^^ '^ '"^ *^« ^°^i^"t bronze grating! which has been preserved unaltered. At the entrance stood colossa •in ?oand^"H^"''^f ^"1 ^^^;PP^' °^ '^'^'^^ °^ly the niches reman All round the external walls are tiers of useless arcades in brick Ste ' ''^'V\^" 1?^Pr'^^ "^r ^^''^ 20 ft. thick befng of sS d concrete. -.¥. This affords a good illustration of the use to which The City.] norxE IG. — pantheon. 185 HALF ELEVATION, HALF SECTION OF THE PANTHEON. brick was applied by the Roman builders. The bricks are U in thick, and the mortar rather more than ^ in. The lower part wat formerlv coated all round with white marble! which has disappeared '^'""^'^^ The Interior is a rotunda, covered by a dome, 142 ft in diameter and the same in height. The walls (20 ft. thick) have three apseT and four oblong recesses, formerly filled with Statues of gods among whorn were Venus Mars, and Julius Caesar; the recesses h!ve flu^ c^ol^m^ of giallo antico, and the lateral apses of pavona.,ctto. The maTn apse facing the entrance, has a larger column of pavonazzetto on Tach s?de' Between the apses and recesses are eight aedicnlae, each occupied by an altar. Above them runs a marble cornice, richly sculptured, per- fectly preserved, and supporting an attic, with 14 niches surmounted by a second cornice. Above the attic rises the majestic dome, divided into square panels, which are supposed to .have been originally ornamented with bronze rosettes. In the centre a circular opening, 28 ft. in diameter, supplies the only light which the temple receives. The pavement, restored by Pius IX., has disks of porphyry and granite, with slabs of pavonazzetto, porphyry, and giallo. Some feet below it runs a drain to carry off the rain which enters by the opening in the dome. Unfortunately, it carries in also the freshets of the Tiber, to a height sometimes of 18 ft. The floor now lies below the level of the Piazza, though it was originally raised five steps above it. By the 2nd altar 1. are the tombs of Perino del Yaga and Taddeo ZuccUero. In the central apse on the left is the tomb of Umberto I. Ra d' Italia, assassinated in 1900. Just beyond is the hurialplace of Raphael (b. Gth April 1483; d. 0th April 1520). On the 14th Sept., 1883, the place was opened in the presence of several ecclesiastical dignitaries and artists resident in Rome, and the bones of the immortal painter were discovered behind the altar of the chapel. Four views of the tomb and its contents were engraved from drawings by Camuccini. The skeleton measured about 5 ft. 7 in. ; the coffin was extremely narrow, indicating a very slender frame. The relics were ultimately restored to the same spot, after being placed in an antique marble sarcophagus from the Vatican Museum, presented by Pope Gregory XVI. The epigram by Card. Bembo runs : — Ille hie eat Raphael, iimuit quo aospite vinci JRerum magna j>arenH, et morieate mori. The inscription on the 1. by Card. Bembo, ending with the words Vixit An. xxxvii. Integer Integros, refers to Raphael's having died on the anniversary of his birth. On the rt. is the tomb of Annibale Caracci ; above which a tablet records that Raphael was affianced to Maria, niece of Card. Bibiena, their union being cut off by his untimely death. f The next altar has a semi-colossal statue of the Virgin and Child, known as the Madonna del Sasso, executed at Raphael's request by his friend and pupil Lorenzetto. At the 7th altar is a monument containing the heart of Card. Con- salvi (1824), who was titular of this Church, with a portrait-relief by Thorvaldsen, of that enlightened and patriotic statesman. The high altar is built of marbles taken from the Palace of Domitian. In the central apse on the right, opposite the tomb of Umberto I., the remains of his father Vittorio Emanuele II. were buried in 1878. On the monument, by Ranfredi (1886), are the words Padre della Patria. Excavations begun in Nov. 1874, in front of the portico, brought to light some of the steps which led from the paved area, and two orna- t In the small Museum of the Virtuosi del Pantheon, in the attic, entered from the 1., under the portico, are preserved all the relics of Raphael, with the drawings made at the time by Camuccini, and a fine orifrinal one of the VMiyin, by the great painter himself. The cast of the skull is remarka)ily beautiful in form. 186 ROUTE 16. — s. M. sopRA MINERVA. [Sect. I. mental reliefs belonging to the vestibule. This area was a large open space, paved with travertine, which extended in front of the Pantheon. It went as far as the Via delle Coppelle ; and the house No. 7 Via degli Orfani on the E., and the Pal. Crescenzi on the W., mark its width. A triumphal arch stood in the middle, called in the Mirabilia the Arch of Piety. Behind the Pantheon are some remains of the Baths of Agrippa, erected B.C. 21, and bequeathed by Agrippa to the Roman people. Thev are supposed to have extended as far S. as the Via delle Stimmate, and to have been bounded on the W. and E. by the Via di Torre Argentina and the Via del Gesi, occupying a space of about 300 yds. from N. to S., and 316 from E. to W. They contained the famous' bronze statue by Lysippus, representing a youth using a Strigil (marble copy in the Vatican), which Tiberius removed to his palace, but was obliged subse- quently to restore, in order to appease the clamours of the people. The demolition in 1882 of the houses in the Via della Palombella, which concealed the S. curve of the vast Rotunda, has shown that there was no connection between Agrippa's Thermae and the Pantheon. The recently discovered apse, visible from the Via della Palombella, con- taining the pedestal of a statue, and the lateral walls at the back of the Pantheon are works of Hadrian, with restorations by Septimius Severus. One of their Phrygian marble columns and an entablature and frieze, with sculptured dolphins, have been placed in position. In the Via dell' Arco della Ciambella (see below) may still be seen a portion of a circular hall, probably the Laconicum or Calidarium. Attached to the Thermae were extensive gardens and an artificial lake, the Stagnum Agrippae, which extended nearly to the Church of S. Andrea della Valle. In the Piazza della Minerva (the scene of many burnings of heretics) is a small Obelisk of Egyptian granite (17 ft. high) with hieroglyphs indicating that it dates from the reign of Hophres, a king of the 26th dynasty ; it is supposed to have been one of a pair which stood in front of the Temple of Isis and Serapis, whose site is now occupied by the gardens of the Dominican convent of the Minerva. Both these obelisks were found here in 1665 ; one was erected in front of the Pantheon ; the other was placed by Bernini in the Piazza della Minerva on the back of a marble elephant, the work of Ercole Ferrata. The *Church of S. M. SOPRA MINERVA stands on the site of a temple of Minerva, dedicated by Pompey after his victories in Asia, and destroyed at the beginning of the 16th cent. The earliest Church was attached to a Convent of Basilian Nuns, established here by Pope Zachary in 750. Upon their removal to the Concezione in Campo Marzio this Church was granted to the Dominican friars of S. Sabina by the Roman Senate and people under Gregory XI. in 1370, and entirely reconstructed. It is the only Gothic Church in Rome that has retained any considerable part of its original architecture. On the bare and unfinished facade are inscriptions marking tha height of the waters in different inundations of the Tiber from 1422 to 1870. The interior has been restored (1849-1854), at an expense of 25,000^, the columns being covered with coloured stucco [scagliola) in imitation of cipollino marble, and the roof painted in the most florid style. The Church being Dominican, and the Monastery having been the headquarters of the Inquisition, we naturally find in it special homage to The City.] route 16. — s. m. sopra minerva. 187 St. Thomas Aquinas, Era Angelico, Cardinal Torquemada, and Paul IV. (Caraffa). Right Aisle. — By the entrance, Tomb of Nerone Diotisalvi (1482). Beyond the 3rd chapel, in a passage within a closed door, *Tomb of John Arberinus, with a relief of Hercules and the Lion, from an ancient sarcophagus. Fourth chapel. — ♦Annunciation, on gold ground, by an unknown painter, with the Spanish Card. Juan de Torquemada, founder of the confraternity for distributing marriage portions to poor girls f in 1460, presenting three children to the Virgin. On the 1., tomb of Urban VII., by Amhrogio Buonvicino (1590). Fifth chapel i(Aldobrandini), built from the designs of Giac. delki Porta. Last Supper, by Baroccio. Monuments of the father and mother of Clement VIII. (Aldobrandini). In the rt. corner, St. Sebastian, by Cordien (1558). Sixth chai)el. — Tomb of Benedetto Superanzio, bishop of Nicosia (1495), and of Juan de Coca, bishop of Calahorra, in Spain. The latter has a second effigy, set up against the wall (1480). To the 1. of the altar, slab-tomb of a son of William Wilberforce, a convert to Romanism, who died at Albano in 1857. Right Transept— Small Gothic chapel with a wooden Crucifix attributed to Oiotto. The *Carafia Chapel (handsome screen) has some fine and interesting ♦frescoes by Filippino Lippi (1487). Over the altar the Annunciation, in which Card. Oliviero Caraffa, founder of the chapel, is presented to the Virgin by St. Thomas Aquinas ; on the wall above, the Assumption ; on the rt. wall, St. Thomas and his Vision of the Crucifix ; below, the Disputation of St. Thomas. The roof, painted by Raffaellino del Garbo, has sibyls surrounded by angels. The tomb of Paul IV. (1559) is from the designs of Pirro Ligorio. The statue of the old man, the founder of the Inquisition, was executed by the brothers Casignola. So unpopular was this pope that another statue of him was hurled into the Tiber on his death. Further on, *Gothic tomb of Guillaume Durand (1296), the learned bishop of Mende, author of the ' Rationale Divinorum Officiorum,' sup- posed to have been the first book printed with movable types. The mosaics represent the Virgin and Child enthroned, with Bp. St. Privatus, the kneeling Durand and St. Dominic, by Giovanni Cosvuis. The chapel of the Rosary has frescoes representing the life of St. Catharine of Siena, by Giovanni de' Vecchi ; the Mysteries of the Rosary on the ceiling, by Marcello Ventisti. On the rt., Tomb of Card. Capranica (1469). On the 1. of the high altar is a Statue of Christ, by Michel Angela (1521), very deficient in the requisite expression of divinity, * heavy and repulsive.' — K. It is mentioned in the letter of Francis I. to Michel Angelo, speaking of the Pietd in St. Peter's, as one of those works which made the king desirous to enrich his chapel at Paris with some pro- t This society distributes every year, on the 25th March, 400 portions of 165 fr. each. The ceremony formerly took place in this Church, and was very interesting. It is now under the management of the Municipality. 188 ROUTE 16. — S. M. SOPJtA MINEHVA. [Sect. T. cluetions of the same sculptor, and is supposed to represent the Saviour meeting St. Peter on the Appian Way (Rte. 42). It was to have been finished by Pietro Urbaiio, one of M. Angelo's workmen, who vainly attempted to improve upon his master's design, and is stated in a letter by Sebastiano del Piombo to have ' spoilt everything, especially the feet and hands.' Thereupon the latter entrusted the work to his friend Fedcrigo Frizzi of Florence, who completed it. The drapery is a modern addition. On the rt. is a good modern figure of St. John, by Obicci. ^Beneath the high altar, gorgeously restored in 1856, lies the body of St. Catharine of Siena in an open shrine, round which taper? are burnmg The Choir contains monuments of Leo X. and Clement VII., designed by Bmcio Bandimlli. The statue of Leo is by Raffaele da Monfelnpo, that of Clement by Nanni di Baccio Bigio. Below the monument of Leo is the gravestone of the celebrated Card. Bombo, the friend of Michel Angelo, of Raphael, and Ariosto (1547). In a semi- circle beyond are modern inscriptions to Card. Casanate, the founder of the library which bears his name, and to Card. Howard (1694), Great Almoner of England, and grandson to Thomas Earl of Arundel. The modern painted glass in the windows represents six saints of the Dominican Order. In the passage leading to a door'on the 1. of the choir is the tomb (on the 1.) of Era Angelico, who died in the adjoining convent. Non mihi sit laud! quod eram velut alter Apelle*, Sed quod lucra tuis omnia, Christe, dabam : Altera nam terris opera extant, altera coelo ; I rbs me Joannem Flos tulit Etruriae. He is represented as an emaciated figure in the Dominican habit; at the feet 18 written, Hie jacet Vem'*'- Pictr, Fr. Jo. de Flo. ordis Predicato, 1455. (Here lies the venerable painter brother John of Florence of the Order of Preachers.) On the opposite wall is the sepulchre of the cele- brated Card. Latinus (Orsini). Beside the exit door are good tombs of the Rustici family (1482 and 1488). Left Transept.— A passage leads to the Sacristy, where is a Cruci- fixion by Andrea Sacchi ; and over the door leading to it from the Church a fresco representing the Election of Eugenius IV. and Nicolas V which took place here in 1431 and 1447. In a Chapel behind the sacristy are some paintings attributed to Perugino, brought from a house in the adjoining Via di Santa Chiara, in which St. Catharine of Siena died in 1380. Left Aisle.— Fourth chapel.— S. Vincenzo Ferrerio, by Bernardo Castelli, a Genoese painter and friend of Tasso. Third chapel.— ♦Sta- tuette of St. Sebastian, on the rt., by Mino da Fiesole (?). Over the altar, Head of Christ (Umbrian School). Two good Maffei monuments (1494). On the last pilaster of the nave is a bust of Raffaello Fabretti, a learned antiquary from Urbino (1700). In the corner is the *Tomb of Francesco Tornabuoni (1480), by Mino da Fiesole; above it that of Card. Tebaldi (1466), by Andrea del Verrocchio. Festa, 7 March (St. Thomas Aquinas) ; 25 March (Annunciation) ; The City.] route 16. — biblioteca casanatense. 189 20 April (St. Peter Martyr) ; 30 April, St. Catharine. (Only on this day are ladies allowed to enter the Chapel beyond the Sacristy.) The Monastery, once the headquarters of the Dominicans, and seat of the Inquisition, where many heretics have been tried, is now occupied by the Minister of Public Instruction, and the Biblioteca Casanatense, a Library of 200,000 vols, and 2000 MSS., open on week days from 9 to 3. Entrance in the corner, to the left of the Church. A bridge connects it with the Library in the Collegio Romano. In the first Court is the handsome Tomb of Card. Pedro Ferrix (1478). Beside it, that of Card. Astorgio Agnensi (1451) ; on the rt., five slab effigies from the pavement of the old Church. In this Convent took place the trial of Galileo, on the 22nd June, 1633. Galileo, formerly the friend of the reigning Pontiff, Urban VIII. , having obtained previously the permission of the ecclesiastical autho- rities at Rome, published his celebrated Dialogues, in which he pro- pounded that the sun, instead of the earth, as then believed, was the centre of our planetary system, or, as it was designated, of the world, and that our planet had a proper motion, and revolved round the sun. These two propositions were, in the 17th cent., considered heretical, and, as the sentence of his judges stated, absurd in philosophy and opposed to Holy Writ. Denounced by the Pope's friends, and abandoned by the Pontiff, the septuagenarian philosopher was brought, during the depth of winter, from Florence to Rome, placed in the prison of the Inquisition, and ultimately brought here before a tribunal consisting of 10 cardinals, all creatures of Urban VIII. , headed by one named Borgia. Before this court the illustrious Florentine was obliged to recant on his knees before receiving absolution. On rising, Galileo is reported (though upon very slight authority) to have said in an under- tone, ' E pur si muove.* This Monastery stands on the site of the Temple of Minerva Cam- pensis, erected by Pompey the Great, a portion of which still existed in the 16th cent. Between it and the Piazza di S. Ignazio was a Temple of Isis ; and farther S. that of Serapis, on which stand the Church and Convent of S. Stefano del Caeca. S.W. of the Piazza is the large Convent of S. Chiara, with a modern Chapel now belonging to a College of French Priests. Behind the Hotel Minerva, on the S. side of the Piazza, is the little Church of S. Giovanni della Pigna. To the 1. of the entrance is tho sepulchral slab, with mosaics and incised effigy, of Giuliano dei Porcari (1182), whose family mansion was in the street close by. On the rt., another without mosaics (1362). Tho Church belongs to a Confraternity for visiting Prisoners. Returning to the street which runs S. from the Piazza della Minerva, we pass on the rt. the so-called Arco della Ciambella. At the end of the street on the 1. is the Church of the Stimmate di S. Francesco, formerly dedicated to the Forty Martyrs. Festa, 10 March. It belongs to a Brotherhood of the same name, founded at S. Pietro in Montorio in 1595. We now reach the Corso Vitt. Emanuele (Rte. 17). 190 ROUTE 17. — S. ANDREA DELLA VALLE. [Sect. I. ROUTE 17. From the Gesi to the Piazza Navona, by S. Andrea della Valle, the Palazzo Massiml, the Pasqulno, the Univer- sity, and S. Luigi dei Francesi. [Gran., p. [28], 22, 23, 24 ; Tramway, p. 127], 8, 11, 15.] From the Piazza del Gesu (Rte. 4) the broad Corso Vitt Emanuele leads W. to the Ponte S. Angelo. In the 2nd street on the 1. is the Church of S. Nicola dei Cesarini, so called from its vicinity to a mansion of that family. Its original name was S. N. de Calcarario, derived from the calcare (lime-kilns) in the neighbourhood. Festa, 6 Dec, 3 Feb. The circular ruin in the courtyard of the Carmelite Convent is commonly attributed to the Temple of Hercules Magrnus Custos, described by Ovid (Fast. vi. 209) as standing at theN. end of the Circus Flaminius. It has four fluted columns. of tufa and four of marble, with fragments of frieze and capitals. Entrance at the door marked Croce Rossa on the 1. On the opposite side of the Corso is the Church of the Stimmate (p. 189). The next street on the 1. passes immediately the Teatro Arg^entina and' leads to the Ponte Garibaldi. [Nearly opposite a street leads N. to the Redemptorist Church of S. M. in Monterone, attached to a Hospice built by that family for Sienese pilgrims. It was restored in 1245, in 1597, and in 1680. It formerly belonged to the Padri della Mercede. This Church, which retains its Basilican form and its ancient columns, stands on the ruins of the Templum Eventus Bonl, built of large blocks of tufa, and discovered about 183G by Sarti.] Crossing the tramway line, we reach on the 1. S. Giuliano dei Fiamminghi, the national Church of the Belgians, founded in 713, and rebuilt in 1675, in the form of a Greek cross. Festa, 27 Feb. Adjacent is the small Church of the Sudario, built in 1605 for the Piedmontese in Rome, and named after the celebrated relic in the Cathedral of Turin, a copy of which may bo seen over the altar. It is now the court chapel of the king and royal family when in Rome. On the vault is a group of beatified persons belonging to the house of Savoy, including the Beato Bonifacio, consecrated Abp. of Canterbury by Inno- cent IV. in 1245. Festa, 4 May. Opposite is the Palazzo Vidoni (Giustiniani-Bandini), designed by Raphael (1515) for Duke Cafiarelli, who sold it to Card. Stoppani. The upper part is a subsequent addition. At the top of the first flight of stairs on the 1. is an ancient Roman statue appropriated by the Abate Luigi which formerly stood outside the Palace. Here are preserved the fragments of the ancient Roman Calendar found in 1771 at Palestrina by Card. Stoppani, and illustrated by Nibby. The Emp. Charles V. stayed here in 1536. We now reach ♦S. Andrea della Valle (1591-1620), by OlivieH and Carlo Maderno. Several of the Chapels are celebrated for their rare and beautiful marbles. S«ction 10. Rte. 17. 18. LotkAon < Ba.wuHi. St«u£or4, U, 13 tt 14, Lung Acre, VT. C . 190 ROUTE 17. — S. ANDREA DELLA VALLE. [Soct. I. ROUTE 17. From the Gesii to the Piazza Navona, by S. Andrea della Valle, the Palazzo Massimi, the Pasqulno, the Univer- sity, and S. Luigi dei Francesi. [Omn., p. [28], 22, 23, 24 ; Tramway, p. [27 1, 3, 11, 15.1 From the Piazza del Gesu (Rte. 4) the broad Corso Vitt Emanuele leads W. to the Ponte S. Angelo. In the 2nd street on the 1. is the Church of S. Nicola dei Cesarini, so called from its vicinity to a mansion of that family. Its original name was S. N. de Calcararw^ derived from the calcaic (lime-kilns) in the neighbourhood. Festa, 6 Dec, 3 Feb. The circular ruin in the courtyard of the Carmelite Convent is commonly attributed to the Temple of Hercules Magnus Custos, described by Ovid (Fast. vi. 209) as standing at theN. end of the Circus Flaminius. It has four fluted columns. of tufa and four of marble, with fragments of frieze and capitals. Entrance at the door marked Croce Rossa on the 1. On the opposite side of the Corso is the Church of the Stiinmate (p. 189). The next street on the 1. passes immediately the Teatro Argentina and' leads to the Ponte Garibaldi. [Nearly opposite a street leads N. to the Redemptorist Church of S. M. in Monterone, attached to a Hospice built by that family for Sienese pilgrims. It was restored in 1245, in 1597, and in 1680. It formerly belonged to the Padri della Mercede. This Church, which retains its Basilican form and its ancient columns, stands on the ruins of the Templum Eventus Boni, built of large blocks of tufa, and discovered about 1836 by Sarti.] Crossing the tramway line, we reach on the 1. S. Giuliano dei Fiatnminghi, the national Church of the Belgians, founded in 713, and rebuilt in 1675, in the form of a Greek cross. Festa, 27 Feb. Adjacent is the small Church of the Sudario, built in 1605 for the Piedmontese in Rome, and named after the celebrated relic in the Cathedral of Turin, a copy of which may be seen over the altai-. It is now the court chapel of the king and royal family when in Rome. On the vault is a group of beatified persons belonging to the house of Savoy, including the Beato Bonifacio, consecrated Abp. of Canterbury by Inno- cent IV. in 1245. Festa, 4 May. Opposite is the Palazzo Vidoni (Giustiniani-Bandini), designed by Raphael (1515) for Duke Caffarelli, who sold it to Card. Stoppani. The upper part is a subsequent addition. At the top of the first flight of stairs on the 1. is an ancient Roman statue appropriated by the Abate Luigi which formerly stood outside the Palace. Here are preserved the fragments of the ancient Roman Calendar found in 1771 at Palestrina by Card. Stoppani, and illustrated by Nibby. The Emp. Charles V. stayed here in 1536. We now reach *S. Andrea della Valle (1591-1620), by Olivieri and Carlo Madernc. Several of the Chapels are celebrated for their rare and beautiful marbles. Section 10. Rte. 17. 18. Loudon : Bdward St«ut'ord, iZ. lA & 14-, Luu^ Acre. W. C . The City.] ROUTE 17. — PAL. DEL BUFALO. 191 »' ■^■-. .*■/■ In the Strozzi chapel (2nd rt.) are copies in bronze of the Piet^ in 8t. Peter's, and of the Leah and Rachel of S. Pietro in Vincoli. Handsome bronze candlesticks. High up at the end of the nave are •Monuments of the Piccolomini Popes, Pius II. (1464), and Pius III. (1503), by Niccold della Guardia and P. P. da Todi ; they formerly stood in Old St. Peter's. The cupola was painted by Lanfranco (1581-1647). At the angles are the Evangelists, by Don:enichino ; * One of the best specimens of his work . . . wonderful compositions.' St. John, on the rt., is 'one of the-best efforts of the kind.'— ^. By the same master, on the vault, St. John Bapt. pointing to the Saviour ; below, Calling of SS. Peter and Andrew; 1., Flagellation of St. Andrew; rt., his crucifixion; in the centre, his glorification. Between the windows, Six Virtues. St. Sebastian in the 3rd chapel 1. is by Giovanni de^ Vecchi. In the 2nd 1. (to the 1. of the altar) is the Tomb of Giov. della Casa, the learned Abp. of Benevento (1556). He was the biographer of Card. Bembo. Within the doorway between the 1st and 2nd chapels are good porphyry reliefs of the parents of Urban VIII. The Feast of the Epiphany is celebrated with great pomp here, and sermons in different languages preached during its Octave. The Presepe (manger) is also famous. On Christmas Eve the whole space behind the altar is fitted up as a stage with life-size figures representing the Adoration of the Shepherds, for which the Magi are substituted on the 6th Jan. This Church is supposed to occupy the site of the Gardens and of the Hecatostylon of Pompey, very near the spot where Caesar fell. It belongs to the Theatines, for whom Princess Costanza Piccolomini gave up her adjoining Palace as a residence in 1589. Nearly opposite is the Pal. del Bufalo, formerly Pal. della Valle, designed by Lorenzctto, for Card. Andrea della Valle. The ceilings of the first floor have splendid carved and gilt sunk panels designed by Giulio Romano, by whom also are the frescoes and frieze in the grand saloon. This was the paternal mansion of Pietro della Valle, the celebrated traveller of the 14th cent., and is supposed to have given its name to the neighbouring Church and Theatre. Further on to the rt., in the Corso Vitt. Emanuele, is the Palazzo Massimi alle Colonne, built in 1532-36 by Baldassare Peruzzi, who died about the time of its completion. The fine portico of six Doric columns was designed to follow the curve of the original narrow street. Within is a double court and a pretty fountain. The lesser front, towards the Piazza Navona, has some frescoes in chiaro- scuro from the life of Q. Fabius Maximus, ascribed to Daniele da Volterra. On the 2nd floor is the Chapel of S. Filippo Neri, open on 16th March, when the miraculous resuscitation of Paolo dei Massimi, a boy of 14, by the Saint in 1651, is commemorated. On the 1. wall is a good painting of the Virgin and Child, with SS. Francis, Lawrence, Stephen, and Anthony of Padua. It was in the adjoining Pal. Pirro, so called from the statue of Pyrrhus or Mars, now in the Capitoline Museum, that Pietro de' Massimi, in 1455, established the earliest printing-office in Rome. Here also the^rst works that issued from it, Apuleius and St. Augustine's de Civitate Dei, were printed by Sweinheim and Pannartz "/ 192 ROUTE 17. — PIAZZA DI PASQUINO. [Sect. I. in 1467. They had settled previously at Subiaco ; but iu consequence of a disagreement with the monks they removed to Rome. The Massimi claim descent from Fabius Maximus (b.c. 203), called' Cunc- tator from his caution in war. We now reach the irregular Piazza S. Pantaleo, which has in the centre a statue of the Italian Statesman Marco Minghetti (died 1886) On the 1. rises the graceful little *Pal. Linotte, with a handsome Doric court and staircase. Little is known of its history; it bears lilies on its frieze, and has thence been erroneously called the Palazzetto Farnese. Almost every great architect of the Renaissance has been claimed as its designer, but the style of the building mostly accords with that of Bald. Peruzzi. It has recently been restored and converted into a museum and picture gallery. On the rt. is the Church of S. Pantaleo, founded by Honorius III. in 1216, restored in 1621, and given by Gregory XV. to the Padri Scolopi {delU Scuole Pie), instituted by S. Giuseppe Calasanzio (1556-1643), who lived in the adjoining Convent and IS buried in a porphyry urn beneath the high altar. His rooms may still be seen. To the 1. of the door is the Tomb of Giov. Alfonso Borelli, of Naples (1680), author of a celebrated work on the movement of animals. Close by is the Palazzo Braschi, now the Ministry of the Interior. It was built from the designs of Morelli about 1770 by Pius VI. while Cardinal, and bequeathed to his nephew duke Luigi Braschi Onesti. The imposing marble staircase is ornamented with 16 columns of red oriental granite, and statues of Commodus, Ceres, Achilles, and Bacchus. Here were the Carceres of the Stadium Agonale. At the N.W. corner of the P. Braschi is the little Piazza di Pasquino, so called from a tailor of that name who had a shop here, the rendezvous of all the gossips of the city, and from which their satirical witticisms on the manners and follies of the day obtained a ready circulation. Opposite his shop was a ♦Statue, supposed to represent Menelaus supporting the dead body of Patroclus, of which a mutilated fragment, much admired by artists, remains. Witticisms on the events of the time were placed by Pasquino and his friends on the pedestal of this statue : hence the term, Pasquinade. The statue of Marforio (or Ocean), which formerly stood neav the Arch of Septimius Severus, was made the vehicle for replying to the attacks of Pasquino, and for many years they kept up a constant tire of wit and repartee! When Marforio was removed to the Museum of the Capitol, the Pope wished to remove the Menelaus fragment, called Pasquino, also ; but the Duca di Braschi, to whom it belonged, would not give his consent. Until the introduction of a free press, the Romans seemed to regard Pasquino as part of their social system : he was in some measure the organ of public opinion, and there was scarcely an event upon which he did not pronounce judgment. Some of his sayings were very witty, and fully maintained the character of his fellow-citizens for satirical epigrams and repartee. During a bad harvest in the time of Pius VI., when the pagnotta, or loaf of two bajocchi, had decreased considerably in size, the passion of the Pope for the inscription which records his munificence on so many of the statues in the Vatican was satirised by the exhibition of one of these little rolls, inscVibed Munificentid Pii Sexti. Canova cxhibitod his draped figure of Italy for the 'monument ri The City.] route 17. — universita della sapienza. 193 of Alfieri during the French invasion ; Pasquino immediately launched this criticism: — Canova (luesta volta 1' ha sbagliata, Ba r Italia vestita, ed b spogliata. Soon after certain decrees of Napoleon had been put in force, the city was desolated by a severe storm, upon which Pasquino did not spare the emperor : — L|Altissimo in six, ci nianda la tempesta, L'Altissinio qua giu, ci toglia quel che resta, E fra i Due Altissimi, Stianio noi nialissimi. One of his most remarkable sayings is recorded in connection with Urban VIII. It was this Pope whom the satirist so severely castigated for stripping the Pantheon of its brazen roof, which all preceding plunderers of Rome had sy&red:— Quod non fecerimt barbari, fecit Barberini. Opposite is the little Church of the Agonizzanti, belonging to a Brotherhood who offer up special prayers for persons in extremis. The Via del Governo Vecchio leads hence to the Ponte S. Angelo (Rte. 22). Turning E., through the Via di Pasquino, and crossing the S. end of the Piazza Navona, the 1st street on the 1. leads to the Universita della Sapienza, founded by Innocent IV. in 1244, as a school for canon and civil law. It was enlarged in 1295 by Boniface VIII., who created the theological school ; the philological professorships were added in 1310 by Clement V. Subsequent pontiffs enlarged the ]}Ian by the introduction of scientific studies. The present building was finished in 1576 by Giacomo della Porta. Over a window above the entrance is the inscription Initinm Sapientiac tiinor Domini. The University was entirely remodelled by Leo. XII. in 1825, and by the Italian Govern- ment in 1871. It has faculties of Law, Medicine, Philology, and "Mathematics, and an Archaeological School. Eleven Professors are attached to the first faculty, 24 to the second, 13 to the third, 16 to the fourth, and 6 to the last. All lectures are gratuitous. Their salaries vary from JiOOO to 6000 fr., paid by the Governnicnt. The number of students is about 2000. The oblong court has a double portico, sup- ported in the lower tier by Doric and in the upper by Ionic pilasters. On the E. side is the Chapel of S. Ivo, now a class-room, with a twisted spire in the most fantastic style of Borromini. On the N. side is the University Library {Biblioteca Alessandrina), founded by Alexander VIL, and liberally increased by Leo. XII. It contains about 200,000 vols. The Museum has a very good collection of minerals, much increased by the purchase of that of Monsignorc Spada, particularly rich in Russian specimens ; a collection of gems bequeathed by Leo. XII. ; an extensive series of geological specimens illustrative of Brocchio's work on the ' Suolo di Roma ' ; a collection of fossil organic remains from the environs of Rome ; 600 specimens of ancient Roman marbles formed by Signer Belli : and a cabinet of zoology and comparative anatomy. The technical faculties have been removed to S. Pietro in Vincoli, and a handsome [Rome.] ' o 194 ROUTE 17. — PAL. OIU8TINIANI. [Sect. I. The City.] ROUTE 17. — PIAZZA NAVONA. 195 building for the study of physics and chemistry has been erected in the garden of S. Lorenzo in Panisperna. Opposite (at the corner) is the Pal. Maccarani, built for the Cenci family by Giulio Romano in 1526. Adjoining it (entrance round the corner to the rt.) is the Pal. Lante, began by Sansovino, but altered. In the Court are a few ancient columns, and a group of Ino nursing Bacchus. S. Eustachio, mentioned in the 8th cent., was restored and conse- crated afresh by Celestin III. in 1196. The bells of its ancient tower were brought from Castro, a city demolished by Innocent X. in 1649 because of the murder of its bishop. Beneath the high altar is a hand- some urn of red porphyry, containing the Saint's remains. Here was baptized, in 1557, the celebrated captain Aless. Farnese. Festa, 20 Sept. The Via Palombella leads hence immediately to the Pantheon. A short distance N. of S. Eustachio is the Pal. Giustiniani, begun by Giov. Fontana in 1580, and completed by Borromini. It is built on a portion of the site of Nero's Baths, and was formerly celebrated for its antiquities. The greater part of these trea- sures are now in the Vatican or in the Museo Torlonia. On the stairs are a few ancient statues. There are several reliefs in the walls round the court, belonging to the sepulchral urns, one of which represents a Bacchanalian procession, with Asiatic elephants, panthers, a giraffe, and a chariot drawn by lions. On the first floor are the rooms of the Virtuosi del Pantheon, an artistic Congregation, which invites young artists to compete for prizes in sculpture, painting, and architecture. Immediately N. is the Pal. Patrizi, with a good collection of Pictures and of Limoges enamel. On its N. side is the Piazza Ran- danini. Opposite stands the Church of S. Lui^i de' Francesi, erected in 1599 by Catharine de' Medici, from the designs of Giacotno della Porta. Rt. Aisle. — On the 1., Monument to the French soldiers who fell at the siege of Rome in 1849. The Church is full of tombs of illustrious Frenchmen. In the 1st chapel rt. is the Tomb of Card. d'Angennes (1587). The 2nd contains some fine ♦Frescoes from the Life of S. Cecilia, by DoDienichino. On the vault S. Cecilia expressing her con- tempt for idols, the Saint borne to heaven by Angels, and the Angel offering crowns to S. Cecilia and her husband Valerian ; on the walls the saint distributing her clothes among the poor (a masterly group), and her Death, 'cold and studied.' — K. Over the altar, copy of Raphael's S. Cecilia at Bologna, by Guido Reni. 3rd chapel, Tomb of Card. d'Ossat (1604), ambassador of Henri IV., with mosaic portrait. In the 4th chapel, frescoes by G.'.Siccwlante and others; on the rt.. Victory of Clovis over the Huns, during which the three toads on his flag were changed into lilies ; on the 1., Baptism of Clovis by St. Bemy ; over the altar, Dei:truction of idols. 5th chapel, Tomb of the painter Gu6rin, and of the art-historian S. d'Agincourt. Over the door of the Sacristy is a monument to Card, de la Grange d'Arquian, father-in-law of Sobieski, who died at the age of 105. The Assumption, at the high altar, is by Francesco Bassano. r* Left Aisle.— In the chapel of St. Matthew are pictures of the calhng and death of the Saint, and an altar-piece, by M. Caravagqio. The tomb of Pauline de Moutmorin (1st chapel 1.) was erected by Ch&teaubriand, who wrote the inscription. Opposite is a monument to Claude Lorrain, erected by the French nation. San Luigi is the national Church of France, and under the protection of the French Government. High mass with music every Sun. at 10. In the Court of the house on the rt. (apply in the Sacristy) are some very interesting sculptures and a good tomb from the demolished Church of S. Ivo. In the street which runs S. of this Church is the little chapel of S. Salvatore in Thermis, with a curious relief at a Tomb opposite the door. It represents St. Giles, patron Saint of the deceased, offering his Soul to God and the Madonna (1523). The name of the Church helps to identify the site of the Baths of Nero and Alexander Severus. These extensive and richly decorated Thermae stood between the Church of S. Eustachio and the Pantheon. The Baths of Nero were erected about a.d. 60; and restored by Alexander Severus about a.d. 229. Considerable remains have been discovered at various times under the Piazza di S. Luigi, the Pal. Giustiniani, and the Pal. Madama. The only remnant now visible is the hemicycle, which exists in the stable of an inn in the Piazza Randa- nini. The two columns added to the portico of the Pantheon by Alexander VII. were taken from the Baths. We next reach the Piazza Madama, in which is the front entrance to the Palazzo Madama, named after Margaret of Parma, natural daughter of Charles V., and rebuilt in 1642 by Catharine de' Medici, from the designs of Marucelli. It occupies a portion of the site covered by Nero's Baths, of which there remained standing in the second court, as late as 1740, an enormous arch of brickwork, and some massive walls. All this was wantonly destroyed by Benedict XIV., during his additions to the Palace. In the court and on the staircase are a few statues, sarcophagi, and reliefs. Within is the Italian Senate House, a beautiful semi- circular hall, with adjoining suites of offices, and committee-rooms. On the first floor are frescoes illustrative of Roman History, by Cesare Maccari (1888), and there is a valuable Library. We now enter the ♦PIAZZA NAVONA, officially called Circo Agonale, which occupies the site and preserves the form of the Stadium built by Domitian, and restored by Alexander Severus. Navona is a corruption of Agones the contests which are supposed to have taken place in the Arena. The official name is, however, a mis-nomer, as * the place was not a Circus but a Stadium ; nor were the games held in a Circus ever called Agonalia} — B. The Piazza is 250 yds. in length, and occupies 4^ Eng. acres. The Stadium could accommodate 33,000 persons. Some ruins of its arches may be seen under the Church of S. Agnese, and some remains of the Carceres were discovered in 1868, near the Pal. Braschi, in building a subterranean gallery for the Acqiia Vergine, as well as portions of the curve and seats at the N.E. extremity of the Piazza. It contains three Fountains. Those at the extremities were erected by Gregory XIII. That to the N., restored in 1878, represents Neptune o 2 196 ROUTE 17. — PIAZZA NAVONA. [Sect. I. The City.] ROUTE 17. - S. M. dell' AXIMA. 197 struggling with a sea-monster. That to the S. is adorned with the tigure of a Moor, Masks, and Tritons, by Bernini. The central fountain was raised by Bernini under Innocent X. in 1651. It forms a circular basm 73 ft. in diameter, with a mass of rock in the centre, to which are chained four river-gods, representing the Danube, Ganges, Nile, and Kio de la Plata. Above the whole rises an Obelisk of red granite, covered with hiero- glyphs and broken into five pieces. It was found in the Circus of Maxentius (Rte 42), and is supposed to be a Roman work of the time ?nST- u*""' ^^}t^ ?*.^^, °^ a^^tificial rock upon which it stands is about 40 ft high, and the height of the shaft is 51 ft. During the Papal rule the Piazza Navona was flooded every Sat. and Sun. in August, and turned into an artificial Lake for the amusement of the people. The Church of S. Agnese occupies the site of a much older build- ing, erected on the spot where St. Agnes is said to have been publiclv exposed after her torture, and to have struck with blindness the first person who saw her degradation. It existed in the 8th cent., was recon- secrated in 1123, and entirely rebuilt in 1652. The interior, in the form of a Greek cross, has eight fine columns of red Cottanello marble and is almost the only Church in Rome without pictures or painting upon its walls. In place of these are statues and reliefs by 17th cent sculptors. On the 1., St. Eustace amidst the wild beasts in the Amphi-* theatre; next, St. Sebastian, an antique statue altered ; Martyrdom of ; o!^^^* ' °^®^. *^® ^^^^ ^^^^^> ^^^y Family with Saints ; Martyrdom of St. Emerentiana ; St. Agnes, in the midst of flames ; Death of St Alexis. The monument of Innocent X., over the entrance, is by Maini In a recess behind the high altar is the sepulchral chapel of Princess Mary Talbot Dona (1857). Between the 1st and 2nd chapels rt. a stair- case descends to a Crypt, the altar of which is supposed to stand on the subterranean vault of the Stadium where St. Agnes was exposed Above It 18 a relief of the Saint miraculously covered with hair, by Alqardi An inner Chapel, supposed to be the cell wherein the youthful Saint was imprisoned, has a beautiful pavement of 14th cent, mosaic. S. of the Church stands the Palazzo Pamfili, erected in 1650 It was the residence of Olimpia Maidalchiui Pamfili, sister-in-law of Inno- cent X. The roof of the gaUery was painted bv Piciro da Cortona with the adventures of Aeneas ; there are also some frescoes by Rotnanelli and G. Poussi7i. Part of the Palace is occupied by the Collegio Pamfili, founded by Innocent X., for the education of youths connected with the family, who serve at the functions held in the adjoining Church. The College has a good Library, and numbers about twelve students. Here is established the Accademia Filarmonica Opposite is the Church of S. Giacomo degli Spagnuoli, founded by an Infante of Spain in the 12th cent., restored in 1450, and richly endowed by a Canon of Seville in 1485. Alexander VI., being of Spanish descent, further embellished it, and added a new front, the Church having formerly faced the Via della Sapienza, where is now the entrance to the College. Its numerous works of art have been removed by. the Spaniards. After remaining closed and out of repair for many years the Church has been bought and restored by the French Congi-egatiou of the Sacred Heart and is now called Sacro Cuore. Over the door. Angels, 1. by Paolo Rcynuino, rt. by Mino da Fiesole. The large *Chapel on the rt. is one of the best works of Antonio da Sangallo; the Statue of St. James is by Sansovino, From the N.W. corner of the Piazza Navona we reach the Church of S. M. deir Anima, so called from a marble group of the Virgin and two figures, representing souls, over the doorway. It was begun in 1400, and completed by Giidiano da Sangallo. The fine interior is supported on massive pilasters. Over the entrance, copy of a window by Guillaume Marsillac, introducing the two souls. On the rt. of the entrance is the Tomb of Card. Andrew of Austria (1600) ; on the 1., Tomb of Card. Encken worth (1534). Over the 1st altar rt., S. Benno, by Saraceni. The Saint was Bishop of Meissen, and had thrown the keys of his Cathedral into the Elbe, to prevent the excommunicated Emp. Henry IV. from entering. He now receives them from a fisherman, who had found them inside a fish. To the rt. is a tomb of 1518, with good arabesques. 2nd, Holy Family, by Qimignani. To the 1., Tomb of Card. Johann Slusius (1687). 4th, altered copy of Michel Angelo's Piet4, by Nanni di Baccio Bigio. The handsome monument of Adrian VI., on the rt. of the high altar, was designed by Baldassare Pcruzzi, and executed by M. Angela Sanese and Niccold Tribolo. Upon the urn lies the statue of this semi-barbarian pontiff ; above is a relief of the Virgin between St. Peter and St. Paul, and in the niches statues of the four cardinal Virtues ; the relief repre- sents the entrance of the Pope into Rome. Opposite is the tomb of the Duke of Cleves (1575). Modern paintings of (rt.) Charlemagne and St. Boniface, (1.) Henry of Bavaria and Leo IX. Oyer the high altar, *Holy Family with SS. James and Mark, by Giulio Romano, fine but much injured. On the 1. by the door leading to the Sacristy is the Tomb of Lucas Holstenius of Hamburg, the celebrated librarian of the Vatican (1661). In the passage is a relief belonging to the tomb of the Duke of Cleves, representing Gregory XIII. giving him his sword of command. In the Court beyond, leading to S. M. della Pace, are some interesting fragments of sculpture. 1st chapel 1., Mart}Tdom of St. Lambert, by Saraceni. S. M. deir Anima is the national Church of the German Austrians, for whom a large hospital {Xenodochiuni) is attached. Excellent music every Sunday at 11, sung by a choir of boys from the adjacent Scuola Gregoriana. Good Organ, built in Germany. At the comer of the street, S. of the Church, is the mediaeval Torre Mellini, marking the site of a Mansion which belonged to that once powerful family. Opposite S. M. dell' Anima is S. Niccola dei Lorenesi, the national Church of the Alsatians, rebuilt in 1636 with blocks of travertine found among the ruins of the Stadium. Behind S. M. dell' Anima is the Church of S. Maria della Pace, built by Sixtus IV. in 1487, to commemorate the Peace of Christendom, after it had been threatened by the Turks in 1480. The Church occupies the site of S. Andrea de Aquarenariis, so called from the water carriers who plied their trade in the vicinity. It was designed by Baccio Pontelli, and restored by Alexander VII. from the designs of Pi4'tro da Cortmia, who added the semicircular portico. It now belongs to the Seminario Romano. The interior 198 ROUTE 18.— S. APOLLINARE. [Sect. I. consists of a short nave followed by an octagonal domed transept, with chapels. Over the Chigi chapel (Ist rt.) are the celebrated *Sibyls by Raphael, painted in 1514 — the Cumaean, Persian, Phrygian, and Tiburtine. They are universally 'classed among the most perfect works of Raphael's maturer pencil combining grandeur and grace,' though so much restored that ' little remains of the original but the coraifosition.' (Best Ught, from 10 to 11.) The figures of Joshua, David, Daniel, and Jonah in the lunette above are by Timoteo Viti. Outside the 2nd chapel are some overladen reliefs, rich in arabesque designs, by Stnione Mosca ; by him also, in his best stvle, are the two ♦monu- ments of the Cesi family. The high altar has a miracle-working Madonna, famous for her jewels, and some graceful children on the vault, pamted by Albani when young. To the rt., Baptism of Christ, by Sermcnieta ; m the opposite Chapel fine guilded marble sculptures (1490). Over the next altar Adoration of the Shepherds, by Scnuoncta ' a pleasing picture.' ' 1st chapel 1., fresco by Baldassare Pcruzzi, discovered under a modern pamtmg, ' showing the influence of Sodoma. '—.!/. It repre- sents Card. Ponzetti kneeling before the Virgin and Child, with SS. Bridget and Catharine (1516). Above are Old Testament scenes, by the same painter. At the side, family ♦Monuments of 1609 and 1505. Turning to the rt. from the portico, a doorwav on the rt. leads to the ♦Monastery Court, with a double tier of arcades, built by Brattmnte in 1494. (Entrance also through the Sacristy.) On the E. side is the Tomb of Bp. Bocciacio of Modena (1497). Opposite, standing back in the little Piazza di Montevecchio, is a house of good early cinque-cento design. It consists of a rustic base- ment with three round-headed entrances and two upper stories with Ionic and Corinthian pilasters. To the 1. is another house in good Tuscan style. ROUTE 18. From the Piazza Navona to the Ponte S. Angelo, by S. Apol- Unare, the Palazzo Altemps, S. Agrostino, and S. Salva- tore in Lauro. [For plan of this Route, see p. 190.] [Omn. p. [28], 22.] Standing back on the rt., immediately N. of the Piazza Navona, is the Church of S- Apollinare, supposed to stand on the site of a temple of Apollo, converted into a Christian Church by St. Sylvester. It was entirely ROUTE 18. — S. AGOSTINO. 199 The City.] rebuilt by Benedict XIV., and consists of a large vestibule, and an undivided nave ; the choir and high altar were erected by the architect Fuga at his own expense in 1750. In the vestibule on the 1. is a 16th cent, painting of the Umbrian School, representing the Madonna with SS. Paul and Peter. Beneath the Church, which is celebrated for its sacred relics, is an extensive Crypt, with several plain tombs of martyrs. S. ApoUinare belongs to the Seminario Romano, founded by Pius IV. in 1560 as a Theological College for the diocese, and now one of the most important in Biome. f Close to this Church was the Static Rationls Marmorum, or central office for the regulation of imported marbles. In classical and even in mediaeval times, all the principal stonecutters of the Campus Martins had their shops in the vicinity.] Opposite is the Palazzo Altemps, built in 1580. The porticoes surrounding the court, by Baldasslonn» (conqueror at Lepanto).— 22 Pietra HcmOU: •BfiffMatottio III. Cc lonna.— 23 Muziatw : Vittoria Colonat,— ^4 L«r. />o(^; Ckrd. Pompeo Colonna. M V IV > "1 m MVO» VLAX OF Tine nnuiiJB cjOiUaiy AT TUX TkU OOOiOaaCA. 204 ROCTE 19. -GALLKRIA COLOXNA. [Sect. I. II. —Great Hall, one of the finest in Home, 150 ft. long. Lnder the window on the 1., relief of Selene in her chariot. Rt. wall, 38 Scipione Oaetano : Portraits of the Colonna family.— 36 Guercino : Martyrdom of S. Emerenziana.— 35 Vandyck (School of): Carlo Colonna, Duca de' Marsi, on horseback.— 34 C. Allori : Descent into Hades.— Venetian mirror, painted with wreaths of flowers, by Mario dei iiori, and Cupids, by Carlo Maratta. On the table are some antique bronzes, and a small bronze statue of.a faun, by Sansovino.—i9 Suster- 7nans : ♦Federigo Colonna.— 46 Bubens : *Assumption, in his best and most careful manner.— Colossal head of Minerva.— 89 Niccold da Foligno : Madonna liberating a child from a demon.— 31 Poussin • Shepherdesses.— 30 Tintoretto : Double Portrait. On the steps is a cannon baU fired during the bombardment of 1849. On the ceiling the Battle of Lepanto, 8 Oct., 1571, in which Marcantonio Colonna specially distinguished himself. III.— 54, 55, 56, 68, 69, 76, 77, 84, 85, 87, 88, 89 ♦Water-colour land- scapes, by Gaspar Poussin. Under the first window, Roman relief of numerous small figures. Cabinet, with reliefs in ivory of Michel Angelo's Last Judgment, and other subjects, by Fr. and Doni. SteinJuirt (34 years' labour).— 62 Nicholas Poussin : Apollo and Daphne. ^ IV.— 99 Bonifazio Veronese : Holy Familv, with SS. Anne and Jerome (by P. Bordone, il/.).— 90 Paolo Veronese': ♦Male portrait dressed m green.— 118 Holbein (?) : Lorenzo Colonna, brother to Martin V.— 119 Bassano: Body of Christ with two angels.— 116 Paris Bordone: ♦Holy Family, with SS. Mary Magd., Jerome, and Sebastian.— 115 An. Laracci : Greedy Bean-eater.— 114 Puligo : Virgin and Children, with angels.— 112 Spagna : ♦St. Jerome in the Desert.— Ill Albani : Rape of Europa.— 109 Girolamo da Treviso : ♦Poggio Bracciolini, the Florentine historian.— 107 Titian (?) : Onofrio Panvinio, the celebrated antiquary as an Austin friar.— 106 Brc/nzino : Holy Family.— 104 Giov. Bellini: Head of St. Bernard. On the ceiling, Apotheosis of Martin V.. bv Lull and Pornpeo Battoni. v.— Throne room with a handsome old carpet. In the Roman palaces of the nobility it is customar}- to set apart a room for the reception of the Pope. The reversed chair in the centre of the room IS reserved exclusively for His Holiness. -.o/^^nT^^l f^"\^^"^^ ^« Tmola: Holy Family, with St. Francis.— lAO Dutch bchool : *Two pictures of the Virgin, surrounded by small medaUions of her Seven Joys and Sorrows.— 122 Parmigianino : Holy ±amily.--127 Albani : Two Landscapes with groups of figures.— 130 btefano da Zevto, att. to Gentile da Fabriano : Madonna surroimded by angels.— 131 Catena : Holy Family, with St. Francis.— 132 Giulio Bomano : ♦Madonna and Children, an early work.— 134 Jacopo degli Ay ami of Bologna : Crucifixion (signed), one of the only two known pictures by this artist.— 135 Giov. Santi (father of Raphael) : Portrait of a Boy in a red cap.— 136 Bugiardini : Virgin and Child.— 138 Luini : Virgin and Children, with St. Elizabeth, a charming work, much repainted —140 School of Botticelli : Virgin and Child.- 141 Luca Longht: Virgin and Children, with a monk. In two of the private rooms are some Tapestries, seldom shown. Ascending the Via Nazionale, in front is the Teairo Nazicnale, ROUTE 19. — S. CATARINA. 205 The City.] behind which rise the Colonna Gardens. Following the tramway, we pass on the rt. the mediaeval Torre delle Milizie, a lofty brick tower, long called the Tower of Nero, and pointed out to " unsuspecting travellers as the place from which Nero beheld the fire of Rome. It is generally attributed to Paudolfo della Suburra, senator in 1210. In the second half of that cent, it belonged to the Annibaldi family, and thence passed into the hands of the Gaetani. The Church of S. Catarina (1565-1640), attached to an extensive convent of Dominican nuns, is only remarkable for the rarity and variety of its coloured marbles. Every altar is lavishly decorated with the choicest kinds of breccia, jasper, and (so-called) alabaster. Festa, 30 April. Opposite this Church is the Pal. Antonelli. On the rt. of the court may be seen a fine ♦Archway, supposed to be the Porta Fontinalis, though it appears very small for so important a Gate. Near this spot in 1885 were discovered a number of fluted tufa columns, probably belonging to a corridor which led to the Campus Martius (b.c. 193), together with the statues of an athlete and bearded gladiator, now in the Museo delle Terme (Rte. 21). In the middle of the street, facing the house, is an interesting fragment of the Servian Wall. Higher up to the rt. stands the Dominican Church of SS. Domenico e Sisto (1611), formerly attached to a Nunnery, whose- buildings are now used for the Court of Accounts. The pretentious front is approached by a double flight of steps. The interior is highly decorated with stucco and costly marbles. At the 1st altar rt. are two handsome columns of Sicilian jasper, almost the only ones in Rome which are entire. The 2nd altar has a fine copy of Titian's St. Peter Martyr, by a Sienese painter. To the 1., conspicuous by its charming Garden raised above the street, stands the Villa Aldobrandini, rebuilt by Carlo Loinbardo for Prince Borghese. In its Coffee House was the celebrated fresco of the Nozze Aldobrandine^ now in the Vatican Library. The street between the Church and ihe Villa leads to S. Agata in Suburra {Rte. 21), and S. Lorenzo in Panis- penia (Rte. 14). We now turn 1. into the Via del Quirinale, and pass on the 1. a doorway, from which a double flight of stairs leads up to the Church of S. Silvestro al Quirinale, formerly Thcatine, now belonging to the Mission Priests of St. Vincent de Paul. The Church is entered at the corner of the 1. transept, the cupola of which is remarkable for its four circular paintings on the pcndentives by Domenichino. They represent Judith snowing the Head of Holofemes, David dancing before the Ark, the Queen of Sheba sitting with Solomon on the Throne, and Esther in a swoon before Ahasuerus. The Assumption over the altar by Scipione Gaetani is painted on slate. Facing the entrance door is the Tomb of Card. Guido Beutivoglio (1644), historian of the war in Flanders. The ^lartyrdom of St. Stephen in the 1st chapel 1. was painted by Cav, d' Arpino, and the landscape on the walls by Polidoro da Caravaggio and Maturino. They introduce the Marriage of St. Catherine and the Noli mo tangere. Very interesting pavement of enamelled tiles. Nearly opposite is the Tomb of Prospero Farinacci, the celebrated lawyer (1618) who defended Beatrice Cenci. In the rt. 204 ROUTE 19. GALLKIUA COLONNA. [Sect. I. ROUTE 19. — S. CATARINA. 205 II.— Great Hall, one of the finest in Home, 150 ft. long. Lnder the window on the 1., relief of Selene in her chariot. Rt. wall, 38 Scipione Gaetano : Portraits of the Colonna family.— 36 Guercino : Martyrdom of S. Emerenziana.— 35 Vandyck (School of): Carlo Colonna, Duca de' Marsi, on horseback.— 34 C. Alhri : Descent into Hades.— Venetian mirror, painted with wreaths of flowers, by Mario dei iiori, and Cupids, by Carlo Maratta. On the table are some antique bronzes, and a small bronze statue of.a faun, by Sansovino.—^'d Suster- mans : •Federigo Colonna.— 46 Rubens : *Assumption, in his best and most careful manner.— Colossal head of Minerva.— 39 Niccold da Foligno : Madonna liberating a child from a demon.— 31 Poussin : Shepherdesses.— .SO Tintoretto : Double Portrait. On the steps is a cannon ball fired during the bombardment of 1849. On the ceiling, the Battle of Lepanto, 8 Oct., 1571, in which Marcantonio Colonna specially distinguished himself. "^ III.— 54, 55, 56, 68, 69, 76, 77, 84, 85, 87, 88, 89 ♦Water-colour land- scapes, by Gaspar Poussin. Under the first window, Roman relief of numerous small figures. Cabinet, with reliefs in ivory of Michel Angelo's Last Judgment, and other subjects, by Fr. and Dom. Steinhart (34 years' labour).— 62 Nicholas Poussin : Apollo and Daphne. T IV.— 99 Boni/a^io Veronese: Holy Family, with SS. Anne and Jerome (by P. Bordo^ie, M.).—90 Paolo Veronese : ♦Male portrait dressed m green.— 118 Holbein (?) : Lorenzo Colonna, brother to Martin V.— 119 Bassano : Body of Christ with two angels.- 116 Paris Bordone : Holy Family, with SS. Mary Magd., Jerome, and Sebastian.— 115 An Caracci : Greedy Bean-eater.— 114 Puligo : Virgin and Children, with angels.— 112 Spagna: *St. Jerome in the Desert.— Ill Albani : Rape of Europa.— 109 Girolamo da Treviso : *Poggio Bracciolini, the Florentine historian.— 107 Titian (?) : Onofrio Panvinio, the celebrated antiquary as an Austin fn&r.— 106 Bratizino : Holy Family.— 104 Giov. Bcllint- B.ea.d of St. Bernard. On the ceiling. Apotheosis of Martin V by Lutt and Pompeo Battoni. ' v.— Throne room with a handsome old carpet. In the Roman palaces of the nobility it is customarv' to set apart a room for the reception of the Pope. The reversed chair in the centre of the room IS reserved exclusively for His Holiness. lOA^n'r^^o f""^^"^o ^« Iviola: Holy Family, with St. Francis.— 120 Dutch School : *Two pictures of the Virgin, surrounded by small medallions of her Seven Joys and Sorrows.— 122 Parinigianino : Holy family.— 127 Albam : Two Landscapes with groups of figures.— 130 btefano da Zevio, att. to Gentile da Fahriano : Madonna surroimded by angels.— 131 Catena : Holy Family, with St. Francis.— 132 Giulio Bomano : *Madonna and Children, an early work.— 134 Jacopo de.gli Ayanzi of Bologna: Crucifixion (signed), one of the only two known pictures by this artist.— 135 Giov. Santi (father of Raphael) : Portrait of a Boy m a red cap.— 136 Bugiardini : Virgin and ChUd.— 138 Luini : Virgin and Children, with St. Elizabeth, a charming work, much repainted —140 School of Botticelli : Virgin and Child.— 141 Luca Longhi : Virgin and Children, with a monk. In two of the private rooms are some Tapestries, seldom shown. Ascending the Via Nazionale, in front is the Teairo Nazicnale, The City.] behind which rise the Colonna Gardens. Following the tramway, we pass on the rt. the mediaeval Torre delle Milizie, a lofty brick tower, long called the Tower of Nero, and pointed out to unsuspecting travellers as the place from which Nero beheld the fire of Rome. It is generally attributed to Pandolfo della Suburra, senator in 1210. In the second half of that cent, it belonged to the Annibaldi family, and thence passed into the hands of the Gaetani. The Church of S. Catarina (1565-1640), attached to an extensive convent of Dominican nuns, is only remarkable for the rarity and variety of its coloured marbles. Every altar is lavishly decorated with the choicest kinds of breccia, jasper, and (so-called) alabaster. Festa, 30 April. Opposite this Church is the Pal. Antonelli. On the rt. of the court may be seen a fine ♦Archway, supposed to be the Porta Fontinalis, though it appears very small for so important a Gate. Near this spot in 1885 were discovered a number of fluted tufa columns, probably belonging to a corridor which led to the Campus Martins (b.c. 193), together with the statues of an athlete and bearded gladiator, now in the Museo delle Terme (Rte. 21). In the middle of the street, facing the house, is an interesting fragment of the Servian Wall. Higher up to the rt. stands the Dominican Church of SS. Domenico e Sisto (1611), formerly attached to a Nunnery, whose" buildings are now used for the Court of Accounts. The pretentious front is approached by a double flight of steps. The interior is highly decorated with stucco and costly marbles. At the 1st altar rt. are two handsome columns of Sicilian jasper, almost the only ones in Rome which are entire. The 2nd altar has a fine copy of Titian's St. Peter Martyr, by a Sienese painter. To the 1., conspicuous by its charming Garden raised above the street, stands the Villa Aldobrandini, rebuilt by Carlo Lombardo for Prince Borghese. In its Coffee House was the celebrated fresco of the Nozze Aldobrandine, now in the Vatican Library. The street between the Church and the Villa leads to S. Agata in Suburra (Rte. 21), and S. Lorenzo in Panis- perna (Rte. 14). We now turn 1. into the Via del Quirinale, and pass on the 1. a doorway, from which a double flight of stairs leads up to the Church of S. Silvestro al Quirinale, formerly Theatine, now belonging to the Mission Priests of St. Vincent de Paul. The Church is entered at the corner of the 1. transept, the cupola of which is remarkable for its four circular paintings on the pendentives by Dornenichino. They represent Judith showing the Head of Holofernes, David dancing before the Ark, the Queen of Sheba sitting with Solomon on the Throne, and Esther in a swoon before Ahasuerus. The Assumption over the altar by Scipione Gaetani is painted on slate. Facing the entrance door is the Tomb of Card. Guido Bentivoglio (1644), historian of the war in Flanders. The Martyrdom of St. Stephen in the 1st chapel 1. was painted by Cav. d' Arpino, and the landscape on the walls by Polido7-o aa Caravaggio and Maturino. They introduce the Marriage of St. Catherine and the Noli me tangere. Very interesting pavement of enamelled tiles. Nearly opposite is the Tomb of Prospero Farinacci, the celebrated lawyer (1618) who defended Beatrice Cenci. In the rt. 206 ROUTE 19. — PALAZZO PALLAVICINI. [Sect. I. transept, portraits of the Theatine Saints, Gaetano and Andrea Avellini, by Barbalunga. Good ceiling. The main entrance and its adjacent chapels were destroyed during the prolongation of the street. In this Church the Sacred College used to assemble before going in procession to the Quirinal to elect a new Pope. At No. 15, a little further up the street, is the entrance to the *Colonna Gardens (50 c). They extend along the western slope of the Quirinal, and consist of a series of terraces rising to the summit, well planted in avenues of box and ilexes. There are considerable ruins of a double staircase and iliassive brick walls belonging to the Temple of the Sun, built by Aurelian after the Palmyrene war. At the end of the terrace are two portions of a gigantic frieze and entablature in white marble, one measuring 1490 cubic ft. and weighing upwards of 100 tons. In point of size they are the most stupendous fragments of marble in Rome. Their style and exaggerated ornamentation would certainly refer them to a period when art was in a state of decay. There is a fine view from the terrace. In lowering the Piazza del Quirinale in 1864-65, part of the massive foundations of the Temple were discovered, composed of broken lava and Pozzolana cement, and covering a fine fragment of the Servian wall. The best-preserved portion is to be seen over the modern washing-troughs in the Gardens. On the rt. of the Terrace, as we look towards the city, are the remains of the vast staircases, which afforded a direct communication between this part of the Quirinal and the field of Agrippa in the Campus Martins, at the foot of the hill. The extensive vaults under the staircases, which were employed as cellars for wine sold to the people, are now used as store rooms for the gardener's tools. Opposite the Colonna Gardens rose the immense Baths of Con- stantino, extending over the ground now covered by the Consulta, the Pal. Rospigliosi, and the Villa Aldobrandini. They were erected alDout A.D. 326, and, according to an inscription in the Pal. Rospigliosi, were restored by Petronius Perpenna, a praefect of the city, in the 4th cent. Considerable remains of them existed until the 16th cent., when thev were removed by Paul V. to build the Pal. Rospigliosi. Opposite is the PALAZZO ROSPIGLIOSI, now PALLAVICINI, built 1603, by Card. Scipio Borghese, on the site of the Thermae of Constantine. It afterwards belonged to Card. Guido Bentivoglia, and was purchased from him by Card. Mazarin. The Casino (Adm., p. [34]), consists of three halls on the garden floor. Outside are some reliefs from ancient sarcophagi. At the entrance, most unfortunately buried in the partition wall, are two fine columns of rosso antico, and four of breccia corallina. On the ceiling is a celebrated ♦Fresco by Guido Reni — Aurora scattering flowers before the chariot of the sun, drawn by four piebald horses ; seven female figures, in the most graceful action, surround the chariot, and typify the advance of the Hours. The composition is extremely beautiful, and the colouring brilliant beyond all other examples of the master. A large mirror has been so arranged as to enable the visitor to view the fresco with greater facility. On the frieze. Triumph of Fauna and Cupid, by Tempesta, and landscapes by Paul Bril. By the door is a The City.] route 19. — palazzo pallavicini. 207 statue of Athena, with a Nereid and an owl. On the wall, Male Portrait by Vandyck. Room on the right.— 36 ♦Juno, Venus, and Cupid, by Lor. Lotto. 43 Fall of Adam, by Domenichino. 52 Holy Family, by Ltica Signorelli. 55 Death of Samson, by Lodovico Caracci. In the centre a bronze horse from the Baths of Constantine. Room on the left.— 60, 67, 68, 69, 73, 74, 75, 94, 95, 96, 102, 103, 104, Thirteen pictures of the Saviour and Apostles, by Rubens (Copies — originals at Madrid). 100 Andromeda, by Guido Reni. 99 Portrait of himself, by Poussin (Copy — original at the Louvre). 61 Christ bearing the Cross, by Daniele da Volterra. In the corner, bronze bust of Sept. Severus. 70 Triumph of David, by Dotnenichino. In the garden are several fragments of antique sculptures, found chiefly among the ruins of the Baths of Constantine. The private apartments of the palace contain several good paintings, and an interesting bust of Scipio Africanus in green basalt, said to have been found at Liternum ; they are only shown by special permission. In the centre of the Piazza di Monte Cavallo (so called from the Horses mentioned below) stands an Obelisk of red granite, erected in 1786, without hieroglyphics, and broken into several pieces. It formerly stood in front of the Mausoleum of Augustus, being the fellow of that in front of S. Maria Maggiore, and was brought from Egypt by Claudius, a.d. 57. The height of the shaft, without the base, is 45 ft. At the sides are the celebrated ♦Horse Tamers — colossal marble statues of two youths, each leading a restive horse ; they are Roman copies of a very fine bronze group of the 5th cent. B.C. Possibly the originals stood in front of the Porticus Metelli (p. 245). The names of Pheidias and Praxiteles on the pedestals were renewed and interchanged in 1589, but there is no reason to doubt that the one is copied from a late work by Pheidias, and the other from one by the elder Praxiteles. These noble statues once stood in the Thermae of Constantine, probably flanking the entrance to the Baths. The Fountain, placed here by Pius VII., is a simple but pretty jet, flowing from a basin of grey Oriental granite, 25 ft. in diameter, found in the Forum. N. of the Pal. Rospigliosi is the Palazzo della Consulta, built in 1730. It was formerly the seat of the Supreme Court of the Papal States, and is now the residence of the Minister of Foreign Affairs. S.W. of the Piazza is the Palazzo della Dataria, built in 1615 by Paul V. as a residence for the Cardinale Pro-Datario, who administered the patronage of the Holy See, decided questions of ecclesiastical pre- cedence, and granted dispensations of marriage. It still belongs to the Vatican. In lowering the ascent to the Quirinal by the Via della Dataria in 1866, a very interesting fragment was discovered of the Tomb of the Sempron!! (1st cent. B.C.). It lies at a considerable depth below the surface, covered by extensive constructions of the Empire of two distinct periods, the latest belonging probably to the Baths of Constantine, and by an ancient road, with its pavement in blocks of lava. The ruin consists of a massive front of rectangular blocks of travertine, in finely fitted courses, pierced with a handsome arch, and surmounted by a cornice on which are sculptured palm-branches, and 208 ROUTE 19. — PALAZZO REGIO. [Sect. I. an inscription. It marked the limits of the Servian Wall on the W fvt^ K r'/ • .^ Q^^^^al Hill and the position of the Porta Sammalis, which led into the Republican city from the Campus Martius. It is situated withm the palace of the royal household, on the rt. of the -&a ito ^ZZa Datona, and can be examined by applying to the Minister© to the Corso ^ descent leads hence by the American College On the N. side of the Piazza stands the PALAZZO REGIO, better known historically as the Pal. Apostolico ai y uinnale and supposed to occupy the site of the Temple of :\Iars Quirinus and of the Capitolium Vetus. Several inscriptions belonging to the latter were discovered in 1626, under Urban VIIL, in laying out the gardens. ' ^ © v^"u .• '^^'Ln^"*i^^^^P?^^''° ^^^ become the residence of the King of Italy since 1870. Paul III. was the first Pope who retired to this spot during the summer months, inhabiting a Benedictine Monastery which then occupied the summit of the hill, and which he afterwards exchanged with the monks lovS.Calisto (p. 266). It was begim by Gregorv XIII. n ^ ; ^°^^^^Y^d by Sixtus V. and Clement VIIL. from the designs of D Fow^a/m enlarged by Paul V. and Innocent X., and completed under Olement XII. by Bernini. The garden was added by Urban VIII It was the favourite residence of Pius VII., and was inhabited by his successors during a part of every summer, until Nov. 1848, when Pius IX iett It for Oraeta, and never occupied it again. It was the seat of the conclaves for the election of popes for manv years ; the new Pontiff's name was announced to the people from the balcony over the principal en ranee. Gregory XVI. and Pius IX. did much to embellish this palace, and opened several new apartments, decorated with fine speci- mens of tapestry and other gifts from different sovereigns to the Head ot tlie Church. Since the change of government the Palace has been entirely refurnished and modified in accordance with the requirements of a modern royal residence. Adm. dailv, in the absence of theKin.^ and Queen ; but the visitor cannot depend upon being allowed to seS the whole. On the landing of the great stairs (see Plan No. 1) is a remarkable l^resco of Christ surrounded by Angels, which formed part of an Ascension, painted in 1472 by Mehzzo da Forli in the tribune of SS Apostoh, and removed hither in 1711. Other fragments are in the sacristy of St. Peter's. ' One of the most grand and daring feats of foreshortening that art has bequeathed. '-Z. At the top of the stair- case is the Sala Regia (2), a grand hall 150 ft. long, built by Paul V The ceihng is richly decorated but heavy. The escutcheons of a hundred cities of Italy are painted round the frieze, under the frescoes, un the bj. wall is a large picture, painted by Delfino in 1672, re- presenting in characteristic costumes and on horseback the two wives of Curio Emanuele, Francesca di Valois and Maria Giovanna Battista. i)uches3 of Savoy who was regent during the minority of Victor Amadeus II. At the W. extremity is the Pauline Chapel (3), with a relief by Landini, representing the Saviour washing the Apostles' feet. Here the Cardinals used to assemble m conclave for the election of a new Pope. It is divided by a screen with eight short columns of ^rta santa, on the left of which is a large \ The City.] ROUTE 19. — QUIRINAL PALACE. 209 CARD £:i\i 5 1. Stairs. 2. SalaBegia. 3. Pauline Chapel. 10. Entrance. 4 to 11. Suite of Saloons. 12. Keceptlou-hall. 13. Throne-room. 14. Ambassadors'-hall. 15 to 21. King's private suite. 22 to 31. Queen's private suite. 32. Smoking-room. 34. Private dining-room. 35. Saloon. 36. Chapel. 37. New Saloon. 38. Ball-room. 39. Banquet-room. 40. Corridor. 41. 42, « Room I.— 8 Powarancio: Adam and Eve driven from Paradise — ParST'^'^^'-' ^^^o^^^^^-ll ^^^^^^^.- Studies forthe convent';^ Infa^°°TeeJL7^ft^?r^^^ .^^^ ^^^-^^ Gm^ iJent; AnnrColonnf "^f' p' ^ f^^T""' Land8cape8.-52 Spanish School : ^".iSlrStTtdfeTs^^^^^^^^ ^^^^^^^^ ^^ bis^daugbter.-65 Boom III.-71 Innocenzo da Imola : Marriage of St. Catherine.- The City.] route 20. — palazzo barberini. 213 72 Francia : Virgin and Child, with St. John and St. Jerome. — 73 Claude Lorraine : Lake of Albano. — 76 Palnia Vecchio : * La Schiava ' — a portrait ('probably an imitation by Pietro Vecchio in the 17th century.'— JlforeZii).— 79 Albert DUrer : *Christ disputing with the Doctors ; painted in Venice. — 83 Baldassare Peruzzi : Pygmalion (' by Pontormo.* — Morelli). — 85 Raphael : ♦Fornarina (' probably by Giulio Romano.' — Morelli.) — 89 Parmigiano : Marriage of St. Catherine. — 90 Rondinelli : Virgin and Child. — 93 2V''. Poussin : Death of Germanicus, 105 Sodoma : Virgin and Child (* probably by some painter of the Bolognese school.' — Morelli). — 107 Claude Lorrain£ : Sea View. — 108 Andrea del Sarto : Holy Family.— 109 Claude Lorraine : Acqua Acetosa. Room IV.— 125 Guido Reni: David with head of Goliath. —126 So-called ' Beatrice Cenci,' a celebrated picture, long attributed to Guido Reni. It has probably no connection with either the artist or the parricide. Guido Reni first came to Rome several years after the execution of Beatrice, who was 22 years of age at the time of her death, when this portrait was alleged to have been taken. 127 Caravaggio : Mother of Beatrice Cenci. — 128 Scipio^ie Gaetani : Lucrezia Cenci, step-mother of Beatrice. — 133 Mosaic from the Temple of Fortune at Palestrina : the Rape of Europa. There are a few pictures in the private apartments, not easily seen. Among them is a *Portrait of Federigo da Montefeltro on his ducal throne, with his boy Guidobaldo before him, by Melozzo da Forli. — M. The Barberini Library, with its valuable manuscripts, was purchased in 1902 by Leo XIII. and added to the Vatican Library. Nearly opposite on the 1. is the Scots College, founded in 1600 by Pope Clement VIII. for the training of Scottish students preparing for the priesthood. Part of the present site was purchased for the College by Miss Plummer, an English lady. Pope Pius IX. sanctioned the transfer to the College of an indemnity paid by the Bavarian Govern- ment for the College connected with the suppressed Scots Benedictine Monastery of Ratisbon. On the enlarged site the present building was erected in 1869. The College is governed by a Rector, and has 24 students. In the interior Chapel is a painting by Francesco RoJiden, Our Lord among the Doctors in the Temple. The Library (about 12,000 volumes) was enriched by the collection of Abp. Smith of Edin- burgh. On one of its walls hangs the original Manifesto delivered at the Cross of Edinburgh by Prince Charles Stuart in Oct. 1745. Of the old College, the Church of St. Andrew alone remains. It was built in 1645 by the Marchioness of Huntly, and decorated in 1676 by Count Leslie. The Martyrdom of the Apostle, over the high altar, is by Gavin Hamilton. The Virgin and Child with SS. Ninian and Columba, is by Alex. Seitz. Four oblong paintings hy Jamieson, a Scottish artist and fellow-pupil of Vandyck, represent saintly Kings, Princesses, Prelates, and Religious Women, among whom is the Foundress, Lady Huntly. The street still descends to the Piazza Barberini, in the midst of which is the Fontana del Tritone, by Bernini, composed of four dolphins supporting a large open shell, upon which sits a Triton. 214 ROUTE 20. — CAPPUCCINI. [Sect. I. From the Piazza Barberini the busy Via Tritoiie leads S.W. to the Piazza Colonna, while the Via Sistina continues N.W. to the Piazza di Spagna. Turning rt. into the Via S. Niccold da Tolentino, which leads N.E. to the Ely. Stat., we pass on the 1. the Church of S. Niccold da Tolentino (1614), richly decorated with marbles. At the high altar and in the transepts are eight handsome fluted columns of bardiglio. The Church is attached to the Armenian College, and services are held on festivals according to the peculiar Eastern rites. High Mass at 4 p.m. on Easter Eve. Here lives the General of the Cappiiccini. The large building opposite is the German College {Collegia Germanico-Ungarico), with a handsome Chapel dedicated to S. Giov. Berchntann (entrance from the Vicolo de Falcone). Above the end of the long street rises the Casa SpitJUiver, whose foundations rest upon a fine piece of Servian wall, visiole on the 1. of the road. Returning to the Piazza, on the N.W. rises the Church of the Cappuccini, or S. M. della Concezione, founded by Card. Fran- cesco Barberini, a member of the Capucliin Order, brother of Urban VIII., in 1624. On the wall above the entrance door is a cartoon by Fr. Beretta, of St. Peter walking on the waters, used in restoring the Navicella which Giotto executed in mosiac» now under the portico of S«w PMor*«. At t^ Itt ftlt«r tt. ks iho c€Jt^<*t«d 'AkIuai^cI Mi>ch«Al, by (htiJ0 BfmL Kortyth oUli Si U}# Cftthulic A(ki11u. ' • lSk% %h0 bQ\\'tf\fin godl.' be mj% * thg arclMngtl h€m$hm ihhi d\iu\&9d rtoMmam vfeiSc^ aalmaiwi wltluMit dioortiog; wbik tho \trr 6tfxil itahm iaipo«teM0 from hSt amfOU advMMty, and atcttpca Uio laugh irtdeb hk flflon OMnllf fiorokit.,* Looifor b wkl lo b« a HkcoMa ci Card. PaadUi, aftesvarai InnoMot X^ who bad dlcplaiMd tbe f«intec by hit rriii«liiiyL On tiM I., Cbria ccowMd wtth tbom»w by Oherordo diUa JivUe* In ibe Strd uammk^no, r^fraMMUng %km death of St. FrmDcia. Ill frtitit o^ tha high Altar 1* U>e KoundM^t Tomb, maHiod by iha lamale inaoriaiioii en ib<< j»%«naol: Hit jncti pmhi*»€iMu,M nikii. To ibe 1. la the tomb ci [pctDM Aks. SoMoiki, aon ol Johm III., King ol Vn\mnA (1714). Vn&m tbt find alur L ia BCiMWtd iba bodv of Si. Ftlix of Cauiaiic^ <161$-9T), ona off iba prawifal 8aln4aol ib« Ordkr. Hik Coll, ^(iib rDllo*. ia thfown in tho Coairsnt. In ibo m chtyal 1. U Iht Oovrtiaion ol 8i. Fanl, ono ol ilia teii woriM cd S*itira tU CarUmna. FiroM Iba oboir, a narrow alairaMe l«adf. to four tow vauUad obambaia, whioh oomiiluiad iha CmmUryof the Friai*. Tba aiHb waa orlglaalfy hrfWMht from Jm— Imii Tba «all« aro toxtftd wilb booai and akuU» Citttaaically atraiuMd ; atvtcal >«k#4tlaii» art KtandSng ON0tiA iht Tohm of iba oc^cr. Tbe Vanita are ilhiaiiaaled on tho araniaiil of ibo Sod Kor. and tbraagboiu tba Oeiavaw Until 18T0, iba adjoUuDg ocowni wan tbo beadquartfta ol Iba CbfoobiD Frinrs aad tho fMMMMO of tbodr General. Froooa tba ofwo wt a wdt ol tht Ptaaaa tbo Vka df4 Cappocctai to iho Choreh oi S. liidoro, loundad by Snuuardb in iCdS. asd mom attached io «^ oott%^at <4 IrMb Obtarrant rrancliicim. Tba ptotvrc of Bt. Iildoro, The City.] ROUTE 20. — PORTA PINCIANA. 215 over the high altar, is by Andrea Sacchi. On the rt., Virgin and Child, well coloured, by Carlo Maratta. The monument of Luke W. dding (1588-1657), founder of the Church, near the centre of the pavement, consists of a marble slab with a long modern inscription. Wadding is best known for his voluminous histor>' of the Franciscan Order, ' Annales Ordinis Minorura,' in 8 large folios. In the 1. transept is a handsome monument to Miss Brj^an, a young Irish lady (1846) ; and in the rt. a memorial to Amelia, the daughter of John Philpott Curran, who died at Rome, placed there by the late Lord Cloncurry in 1848. Two of the handsome chapels belong to princely families of Rome. The festival of St. Patrick is celebrated here on the 17th of March. In the Monastery is a fine academic hall, decorated with frescoes and severa historical curiosities. Its highest Loggia commands an almost un- equalled *view of Rome. The Via Liguria now runs in a straight line to the Via Veneto, on the opposite side of which is tho Palazzo Mar^herita, formerly the Palazzo Boncompagni-Ludovisi, since the assassmation of King Humbert in 1900 the residence of the Queen Mother. The celebrated collection of ancient sculptures has been removed to the Muzeo Nazionale delle Terme. Ptixw«ding up tho Via YanaCo wa taaoh tiM Pacta Pindana. a fisa iktth in tfa\>ertiiM. with a kind ol oreat oo tha Uyttooia, flankod kj toui^ tovon 1b bcielM. It i» mcMtkocd by PnKopiu«. and Nup(>tiMd to hftTo b««n built by lWIi>duim, who btd hB haadi^uAJtori on the Pincian doriflg iht mm 6y ViiiM: H %nu ol •foottdMy iiufortaiica, at no ^roat road antorad Koma hj it. For a long time it ^Rraa vallad uf^. but ^'vby io tba tiaAo ol tbo ttow Luduvbi qaattar. It waa roofened \m Iw. Hore tiaditiott plac<«i tha acf«M> of tbo jirio/ M tbtyyaitad thu \^U} thnHi|^ wbScb ha bod led blatreopain tmuupb. Tbo U g c a d ia of mcdifteral owgia, and ba» aa TM ig oof tn>ib. Towardt ihii and ol bU oofocr, wuuxy jmn after bo bad left Romo for over, Bolhionuft waa for a low nioitlba aaopoelod by iho Kxnpctor Jnattnion and imnitonfd at On— tiiMtnonla. Finding bi^ MiupieSonA fpronndkoo JnstlBJon tvalovod bla lyitbAu ^racial to aU bix f'^i^n^r boovoni. Jui4ont«SdothaPOftaPtoelaji*liiaMtolaibowaUol lia Boc)^fio«v from vrbicb an Elccinc Tminw^T (10 c) ruaoi ai llmu^ «bau tlpi^UicAlMU ko tbo VlUa aro ^iilblo, oonToylng travelkra up to tbo door. BttwMo ibiN aod tbo Porta galaria la oiio of ibo booft fooocrvcd poctioea ol ibo *Avdtea Wail, includini; tbe arrbea ^^ the hall and one of its niches reach the level of the present ^^^a%n^Z ^^'t. ^'f "^^H^ ^^^ ^"^ reticulatum and brick facing, 70 ft. high. They formed a house of several stories, surrounded Sppnrl?!/ ^l^^* P'^Jm?*'"^>^^^"y supported ou travertine corbels linTn^l "^rn '*"''°- P? V''^'''^ ^*^-^^« ^^^^ staircase with mosa o Landings IS stiU vep' perfect, but caution is necessary in descending it There was a large front staircase towards the W. side ^ ROUTE 2L From ih© Railway Sutlon to the Torrt deUe Mlllzie, by the ■usM NtztomUo (l€U6 Termo. S. M. de^ll AngelU the Fontana del Termini, S. Bemaitlo. the Via NazlooalcL and th9 Irish Collccge. Jn front <^JfjfJ^n;^ b iU Obelisk of the I«eam And S«f •- MM. «t«oo|ycff«d tn 1888, ta ibe coBQATrntiooA of ibai doatte tomrtt in ibt VlooJo dl ft. IgtmHo. •A^cinism Ite tpM of S. U. Mfm lOMmT II M ^ OritnUl grmniUi. 19 fi, e in. long, tadl bmltIv 8 ft. mii» a Hi teM. ik^ ooTwcd ^ih bleroglyiUct. II «m wwicd ia tU quftnk* of ^JPMM, Um modoni if mmam, ftteujl 1«00 d.c, tad ooomnonomiM (be iiPoUieoM of lUtnir* IL Tho Ohtiitk wm T«.«notoa ott lu piMnt rt«d to inmaory of the herolo eond^x* ol tt>elulkn twoH iibe^ by lb« AbTMOMM At th0 dimlrooi bMlli of DogiU ^«n. 1887). Th« tT" ISa^ "*" '^^ ^ Ctnf iwwiito, titer tbc «» eeliicn who .9mg. The City.] route 21. — museo delle terbje. 217 W. of the Station is a small public garden, and facing it the large Liceo Massimi, built by Prince Massimiliano of that family, with about 400 boarders or day-boys. In the Via Virainale, which leads S.W., is a fragment of a round structure belonging to the Thermae (see below). Further W., in the hemicycle at the top of the Via Nazionale,iB the copious Fountain of the Acqua Marcia, remarkable for its powerful jet, effectively lighted at night by electricity. The last appeai-ance of Pius IX. in public was to witness the first burst of water from this fountain on the 18th Sept., 1870. In 1900 were added the four groups, in bronze, of water nymphs, by Rutelli. When first exhibited they were thought improper, and covered up for a time. To the N. stretch the ruins of the Baths of Diocletian, bc^un by Diocletian and Maximian about a.d. 302, and finished by Conutantlua Chlorus and Maximianus Galerius in 305. It is probable that, tho tradition that Christians to the number of 40,000 were forced to do the work, may have led to the consecration of the ruins, and tha preservation of the finest Hall which has been left to ua from ancient times. The Thermae were upwards of a mile in circumferonco, and furnished 3200 baths, double the number which those of Caracalla could Mffly. The b^ildij^ occupied • roetangular k|«c», bating ia bmi a ■finlmttmkr pro^etftko, with two ctreoiv bmlii »i ibe aq^m^ vihi6h, {mm^intotUntm. Both of IImm ttUl «iiift : oqdo lonM Ibft Ctett^ 01 S, Bernardo ; tbo othior, iinioh dll«pldiited, xnty fet tmix in lb6 Vi» VSminal*. Th* Baibi tbcmtc^vM formal an obloqg nc»r9 in ibe c ol lb* tra^ Tbo gvint ecotriLl b^U w«« oottrorttd dv Michel Ai«tlo Ittto tbt Bobli dtactili of ^. If. d^ti ^ij«l«M (MO bcikm}. BMwMmlbt ckStltr MBd lWob«KhM«M«MOtbttrniiuor t«dbribk«ark. witb ctCQM ooorbeUw Somo of tho bAlls Mill roU&n jittt of ibm vik\ilt ft On the dru landing ii a »Moio of two bcowtt flgTiro>i ofTi.Ting n. Oga Ibo ftrxt Honr ar^ % nctit^ "ime and Justice. Through Van^ufor r^Zd^eV'Lrd^vJith'cal^d"'."' i'''' '''^°^' « '• -^ere attendant behind her This ^«nt,^,?f ^ standing at her feet, and an we know it on the whiri P**"''/"^ P'e'"e recaUs Greek pa ntinc as represents the BirtLlBacctus'TJ^''/^ •''^"' =-<=-^00- ^^ finely drawn compositions ' ^"** " * ^""""^f ?»»«' with inteTes'ti^^a'^exlVosShaiTursUr^^ ^^^^ '° "'-"^ -"">«. Head of a girl rPalal^nnlrf P'"® "* ^"a° "mes (Palatine) ornaments aSglifsTessei ""'' containing amber ' and golS an/vSd.Ynl^oLngVom'oTe'smaU^!^'*?' ^Tt'* ^«"'«- ^™P«d injured, but the head anHeet of tt« I ">to another. E 5 is much finely they were drawnlS thrtrulor etCann^? """^ '° '^°" ^°- GIa^crctSug^-fc^^^^^^ Sisto. XS91,. Cmta Lavinia. withfaVrehe1st.^°r-IJ.g^7hrwSi7o', JXa^ D M>°",'E.^em"f;;rteCtm:ieV"""^'°"«i P"-''''' - -'<>-. statue of Bacchus inVutUne on ;itgS.''"''^^ ° ' represents. a cr^rportiT^^ifb'rwo S' ^"1"^^ '"Sri^- '^'"^ -- -- female figure. We returntoXom vTfor '" "'' '"*'"'"' °' "^^^^ pu"^" Hi?fi^&es"'kSf 'rtr '"?^"/"'="«-' - -Wte torso of a youth, in green basS^pltoe) ^^^''""''' ^■'""^ ^i"* Piu^abi^vUe'^oYSadri^n) ° HeXorin'f''"" ^^""'"' ^»'--- Gallienus, Clodius Albinus Pmm^ , Antoninus Pius, Sabina, Nero, facade of the Temple orVenu^Tdlomr"" °' '"""' '«P'«-"ting the Rom^n-ifa'"tl2cronnThrvt'^Cali^anr "■"• ,'°-^ « "^ charioteers in the races of the Circus Maxunusf n'fT)f' "?""« ^»'"^<^ factions, each standing bv his horJlf .tfj '• °* ""^ ^""f Principal colour of his faction^re^ /^aS hhf.T"?^ * 1"°''= *^'th the white (albata). Seven herile^Li^*'-'*^'?*' "^*'* ('''"M'a), and fragment of 1^00^ in hSnou/ of «T»n ^ charioteers. Filmed Teres (Trastavere iaUway Station" "«* (charioteer) AvUius the'^Po^r^af ala^Ta' W'^^rit'of' mS^^^^^ ?'^'^^r P'^- °-' origin of Eome. Cine/arv urn «f pf ^ ' pamtings illustrating the initiation into the ^^i^yt^^X:^^^:^^^ f The City.] route 21. — museo delle terme. 221 busts of Caracalla and Geta. Heads of Lucilla, wife of Lucius Verus • and the elder Faustina. Fresco of woman dancing. ' From Room XIV. two galleries are entered containing busts showing styles of hairdressing in Imperial times, and also cases of Lombard work. These specimens were found in a burial-ground above Ascoli Piceno, where 250 tombs were opened; and at Nocera Umbra Various objects from the tombs of warriors. Gold saddle-bow ornamented with reliefs of lions, eagles, and dragons ; heads of bronze nails with which these were fastened to the wood. A dagger only the gold part of the handle remains ; the rest was of leather, which has perished. The gold cross was worn on the left shoulder. Gold ornaments and pendants for ornamenting robe and cuirass. The gold fibula weighs 52 grs. Bronze bowls used for horses' corn. Pruning hook shears and the point of a lance. Glass bottles of exquisite shape' Beautiful blue rhijton, or drinking horn. Pieces of chain armour for a horse, spurs, and bits, parts of a helmet, the silver band of a bow and arrow heads. Swords, iron plates of cuirasses called brigantine, bows four shields, the leather part restored. The shields were held on the fist, not on the arm, thus the hand was protected. In each tomb was found at least one chain formed of bits of quartz, smalt, coral, and occasionally shells strung together. This barbaric style, contrasting with the beauty of the gold ornaments, is traditional among the Lombards, and goes back to Egyptian and Phoenician times Smalt ornaments ; gold Byzantine solidi. Large gold brooches of fine filagree work. Silver fibulae, two of which were found in each tomb Gold rings, and large gold earrings, some with pearls and amethysts' Gold crosses (of Greek shape) to ornament dresses. A silver clasp with the words Rustica Vivat. The little trefoil ornaments were made up into nets for the hair. Bottles, and drinking-glasses of lovely shapes combs, pins, &c. The fine gold fibula was found near the Stadium on the Palatine, and is of the 9th cent. a.d. The marble reliefs date from the 8th to the 12th cent. No. 3 formed the front of an altar of a church. In these galleries also are two glass cases, containing coins found in the House of the Vestals, adjoining the Forum. In one case are 830 ♦English coins of Alfred the Great, Edward I., Athelstan, and Edmund I • they had been sent to Rome as Peter's Pence. Returning to the staircase we descend to the entrance and pass through the glass door to the Carthusian Cloister, designed by MicJiel Angela. It is surromided by 100 Doric columns in travertine. On the West side of the Cloister are : — 1, 3, 4 Statues from the tomb of Sulpicius Platorinus, alreadv mentioned. 8 Characteristic portrait statue of a Vestal. 23 Headless goddess, with drapery of deeply-cut and finely-composed folds, probably a copy from a Greek original of about 420 B.C.; the ' manner in which the drapery falk over the bosom recalls the Fates of the Parthenon in the Elgin room of the British Museum. In the North side are Cells used by the Monks. Cell A is an office. Cell B contains marbles and inscriptions found at Ostia, includino- in the centre, a beautiful *Altar, sculptured with reliefs of Mars and 222 ROUTE 21. — MUSEO DELLE TERME. [Beet. 1. Venus, and of the wolf and twins. Also to be noticed arc : 198 Cinerary urn with relief of the struggle betw.een Ulysses and Diomede for the arms of Achilles. 200 Colossal head of Gordian III. 200 Colossal head of Septimus Severus. 205 Head of Plotina, wife of Trajan. Cell C.^The Acta Fratrum Arvalium, with other inscriptions and fragnients, found in the Sacred Grove of the Arval Brotherhood at Magliana (p. 515). Cell D.— Room I. — More inscriptions from the Sacred Grove. Room II.— Inscription from the tomb of the baker at Porta Mag- giore (p. 176). The famous Tabula alimentaria Ligurmn Baebianorum, a bronze inscription relating to the maintenance of poor children under an edict of Trajan (found at Campolattaro). Room III.— Marble mosaic. Fragments illustrating the woi-ship of Mithras. Cell E.— Room I.— 316 Mask of horned river-god. 318 Part of sarcophagus with relief of Tritons and Nereids. 322 Sacrifice to the Lares. 324 *\\'arriors in ambush. 325 Cupids racing in a circus. 327 Apollo and Artemis. 330 Helen with the Dioscuri. 340 *Head of a youth. 366 Head of Medusa. 368 Carriage drawn by dromedaries driven by a monkey. 371 In the centre, Three-sided base of a cande- labrum. Room II.— 353 Well head, with Maenads. 359 Hermes leading back Eurydice to Orpheus. 360 Prometheus gnawed by the vulture. 362 Satyr. Room III. — 344 Pediment, with Jupiter, Juno, Minerva, and busts of the Dioscuri. 345 ♦Head of a nymph, or of a dancing girl. Room IV. — 337 Fragment of sarcophagus, with procession of Cupids. Cell F.— 385 Satyr playing on flute. Room I. — 386 Fragmerlt of a group, Hermes supporting on his hand the infant Dionysos. 387 Head of Apollo Sauroctonos. 393 Torso of a Satyr pouring liquid from a vessel. 394 Penelope (so-called). 407 Charioteer or athlete. 408 Head of Apollo. Room II.— 400 Head of Meleager. 401 Youthful Mercury. 404 Mercury. 406 Greek warrior. Room III. — 396 Torso of a naked youth crowning himself. Room IV. and Loggia. — Archaic and Egyptian types. In the Cloister on this (N.) side. — Mosaic pavement, with scenes on the Nile (Aventine). 48 Apollo. 49 Aesculapius as a youth. 50 Arte- mis. 74 Venus at the bath. East side of Cloister.— 82 Sarcophagus, with relief of Cupids making weapons. The cover is from the sarcophagus of Lucius Julius Athenacus, a potter. 90, 92 Two sarcophagi bearing reliefs of the vengeance of Medea. 97 Sarcophagus, with relief of Bacchus finding Ariadne. Fragments of the Ara Pacis. South side op Cloister.— 134 Statue of a Roman wearing a toga ; beside him a case containing the records of a corporation. On the left is the entrance to the rooms containing the famous col- lection of antiquities, formerly in the ViUa Ludovisi. Ludovisi Collection.— Room I.— 7 *Marble chair found in 1887, in the grounds of the Villa Ludovisi, and decorated with reliefs representing on the back a female figure rising like Venus from the sea and being The City.] route 21.— mused delle terme. 223 received by two female figures who stoop towards her with much grace. These two figures may be the Horae who received Venus and clad her in immortal vesture as described in the Homeric Hymn to Venus. On the rt. a closely draped female figure sits before an incense burner ; on 1. a nude figure sits with legs crossed playing on double flute. The relief is very low and flat, as in the archaic Greek sculpture of about 500 B.C. ; but together with this there is an intensity of expression in the attitudes of the two side figures which does not occur in true archaic Greek art, e.g. the forcible manner in which the cushion is doubled up under the figure on rt., and the almost violence with which the figure on 1. crosses her legs. Oloserve also that the face of the figure on the rt. thins down towards the profile in a manner unknown to archaic art, or indeed to Greek in any very good period. This work, therefore, with all its charms, cannot well be true Greek sculpture, but belongs rather to Graeco-Roman times. Some however maintain that it is Greek of about 470 B.C. 33. Colossal female head, of archaistic style. 46 Hercules. 62 Theseus. Room II. — 10 Aristotle. 16 Demosthenes. 37 •Mars reposing with Cupid at his feet, found within the Portions of Octavia, and restored by Bernini. The restorations — head, arm and rt. foot of Cupid ; rt. hand, arm and rt. foot of Mars— are very bad ; but the statue itself has been finely conceived, probably by a Greek sculptor of the age of Praxiteles. The bodily forms are beautifully rendered, and the drapery has much of the master}^ of the Greeks in the beginning of the 4th cent. B.C. 38 *Youth resting. Right foot, both hands, nose, restored. A grandly composed figure, admirably executed. Room III. — 59 Hermes. The hands are wrongly restored ; the left hand should hold a caduceus or herald's wand, not a purse. Room IV.— 43. *Gaul and his wife : right and part of left arm of the Gaul, left arm and right hand of his wife, restored. The finely con- ceived figure of the Gaul displays the same accurate knowledge of bodily forms under strong excitement as are seen in the Laocoon group and the torsQ. of ApoUonius. It probably formed part of a group with the dying Gladiator. 86 ♦Relief-head of sleeping Medusa ; tip of nose restored ; grandiose in expression ; in its type of face and tangled hair this head is suggestive of a dead Gaulish woman, rendered in the art of the Pergamene School. Room V.— 66 The fine colossal head known as the * Ludovisi Juno. Apparently this head has been enlarged from a Greek original, and has lost in refinement thereby. 57 Badly restored copy of the Parthenos of Phidias ; by Antiochus, early Empire. Returning to Room I., we enter Room VI. — Trunk of a tree, with twining grapes and ivy; on the top was a fir cone. 32 Youthful Satyr. School of Praxiteles. The rt. hand should hold a jug, not grapes. Room VII.— 26, 28 Two graceful, small, draped female figures. 75 ♦Sitting Senator ; the name of the sculptor, Zeno of Aphrodisium, is cut on the toga. 25 Sitting statue of Apollo. 39 ♦Group known as Orestes and Electra, among other names, in- scribed on the support with the name of the sculptor Menelaos, who 224 fiOUTE 21.-~S. M. DEGLI ANGELI. [Sect. L M^AOuT^JI-^^ir^^P^?'^ ""^ Stephanos (MENEAAOZ ZTE0ANOY r^ W If n^^"^'^.'^- /""''r^ ^- l^^^d of Electra. rt. armandpart of T^'/k« V^ii Aiu^''®'*°'®^' '""'^^^^ ^^ *^^ ^^«1« g'-oup much repolished iJtrJl^^ ^}^^''' V '***?' °^ ^ y°^°« ^*^l«t« by the sculptor Stephanos here referred to, who in his turn had been a pupil of Pasiteles the latter half of the 1st cent. B.C. But the style of the Albani statue is rr^J:^"'t^^K^'^ ^.^'^^ ^^ '^'' g^^^P' it adheres closely to what s Irnown as the characteristio of the Pasiteles school, viz a senthnontal StoTpnf' rf ' 'T '.'i«^^^ ^^^^^ strongly ;ecaih the oirGroek for^^, Twr^^*'''' ^.°^ ^th great subtlety in modelling the bodily tmTitinna nf yf- ^''f "^ 1 ^°7 *^' '"^^P*^^ Menelaos has abandoned the traditions of his school in almost all but the conception of the group • his types of figures and style of art are both different; he has cfst of! the peculiar mannerism of his master. Room VIII.— 67 ♦Bronze head of Julius Caesar, a verv fine nortraifc S^d^nrrVTa^AT^'^^^V ^^"i^.^.«t-en Romans SurbXri^n!; rfia cent. a.d. 83 Antoninus Pius. 37 Colossal bust of Marcus Aurelin^ with modern copy of the head of the equestrian statSe^ the V^ Campidogho, on the Capitol. tuu m i.ue > m GARDEN.-WingI.--2 Centre of a fountain in the shape of a ship L^i '^''; i^ Colossal head of an Empress. 28 Sarcophagus Cup^Ts* V^te^i^^^^^^^^^^^ ^^^i-ted t^o tL Emp^r fK. r-Ifi -^^^ *"^ 25 Columns of .CipoUino marble from the Villa of for handle? ^o^^'^^i' ^^^APPi^' Greek vase, with heads of anima?s for handles 35 Sepulchral monument of Republican times. witSLVkTarm?""'^^^ '''' '''''' '''''' ''''' Sarcophagus. In the centre is the last of the cypresses, all of them at one time of great size planted by Michel Angelo.^wo of them existed tiuLbTuao' 1905, when one was blown down in a storm. Round the fountain 7 heads of animals which stood originally in the Forum of Trajan InThe N.W corner a tomb brought from the Via Labicana. belonging t^ he last years of the Republic; the tomb is of tufo, while the feliefrand mscription are of travertine. reutis ana Vi Jvl?fill"^K^°'^^?'^.(9r^^ ^* Tmnint), entered from the Via Venti Settembre, was founded by Leo XII. in 1824, in the old Papal The W« InT ^^T"!'"'^ ^^J'"^' ^" ^i«^f«^^ parishes of the citv. Jn^w^ ^- ^""^mJ ^^^^ ^"^ ™^^^^' *«d ti»e girls brought up for fbp la ^ '^'^''^- l^^ establishment is supported entirely by the Ci y ^fZT^ fv""^? ^ ^'""^ ^^'^ ^'' (12.000f.). An addition has been Se Blfnd hv'nT n ^^«^^^?*^°^ ^y t^e foundation of a Hospital for the Blind, by H.M. Queen Margaret now the Queen Mother) whose 'hTpV^Pr Th:c\^^u?cror^' '^ "^^^^ suitable Wrs, outside ^f ^?* !^:- DEGLI ANGELI (170 ft.) occupies the Tepidarium of the Baths of Diocletian, which was altered by Michel Angeh duiing the pontificate *ihe City.] routje 21. — s. m. deqli angeli. 225 of Pius IV., to adapt it to Christian worship. It is one of the most imposing sacred edifices in Rome, and was consecrated on Aug. 5th, 1561. The great hall was converted into a Greek cross by the addition of the present vestibule, and of the tribune opposite. Vanvitelli in 1749 reduced the Church to its present form by adapting one of the circular hot-rooms {Laconica) as a vestibule, and lengthening the tribune and choir on the opposite side. The hall, which Michel Angelo had pre- served as a nave, thus became a transept ; the chapels opening out of it, in the intervals of the columns, were closed up ; and the transept was lengthened, by converting two halls of the baths into chapels. On account of the dampness of the ground Michel Angelo was obliged to raise the pavement about 7 ft., so that the original bases of the columns are buried. Of the 16 columns, only those actually within the transept are antique, of granite, and even they have been painted with white- wash. The others are of brick covered with painted stucco, by Vanvitelli. Vestibule— At the corners, Tombs of Salvator Rosa (1673), Carlo 3Iaratta (1713), Card. Parisio (1604), professor of jurisprudence at Bologna, and Card. Fr. Alciati (1580), the learned chancellor of Rome under Pius IV. Further on, to the rt.. Statue of S. Bruno, by Houdon, much admired by Clement XIV. * ItVould speak,' he said, * if the rule of his order did not prescribe silence.* In the opposite Chapel, Delivery of the Keys, by Muziano. This hall had once a circular opening in its dome. Transept (99 yds. long, 30 yds. wide, and 84 ft. high ; length of the entire building, 112 yds.).— The granite monoliths are 45 ft. high and 16 ft. in circumference. The ancient capitals, four at the ends Corinthian, and four central Composite, are of white marble, as is also the entablature, although the whitewash gives them the appearance of stucco. The gilt bronze rosettes arranged regularly in each compart- ment fof the vault are part of the original decoration, and probably served as points of support for clusters of hanging lamps. — M. Most of the large paintings were once altar-pieces in St. Peter's, where they have been replaced by copies in mosaic. At the end of the rt. transept is represented a miracle of the BeatoNic. Albergati, whom the Pope had sent to England in the hope of converting Henry VIII. • I will believe,' said the king, ' if you will turn black one of these white loaves which my page is bringing me.* The ambassador performed the wonder, but the king remained unconverted. At the corner next the Chancel, St. Jerome among the Hermits, by Muziano, with landscape by Paul Bril. In the 1. transept. Raising of Tabitha, by Costanzi ; Fall of Simon Magus, by Battoni; Mass of St. Basil, by Subleyras. Valens had commanded Basil to perform mass according to the Arian rite, but he refused. The Emperor advanced with his offering to the altar, hoping to overawe the bishop, but fainted. On the pavement is the meridian line traced by Bianchini and Maraldi, in 1701. Chancel.— On the rt., Presentation of the Virgin, by Ronianelli. St. Sebastian, by Damenichino, * deficient in composition.' — K. Opposite, Baptism of our Lord, by Carlo Maratta. Death of Sapphira, by Eon- calli. Tombs— 1. Pius IV. (1566), rt. Card. Serbelloni (1591). This Church is no longer Carthusian, having been transferred to the Minims in 1891. lRome.'\ Q 226 ROUTE 21. — AGRARIAN MUSEUM. [Sect. I. The Pope's oil-cellar, as it is called, adjoining the Church, is a low- arched hall of the ancient Baths, containing several cisterns or reservoirs sunk deep in the ground,, where the supply of oil for the city was formerly preserved at an equable temperature. Continuing N.W., we pass the Grand Hotel, and the Fontana dell* Acqua Felice. Sixtus V. made use of the old Tloman Aqua Alex- andrina of Severus Alexander (a.d. 226) as the basis for a new aqueduct which was called Acqua Felice, from the baptismal name of the Pope (Felice Peretti). He entrusted to Domenico Fontana the design of this fountain. In the central niche is a colossal statue of Moses striking the rock, by Prospero da Brescia, who is said to have died of grief at the ridicule excited by his work. In the side niches are figures of Aaron andGideon. In front, modem lions. We now enter the Via Venti Settembrc, so called because by this route the Italian troops marched from the Porta Pia to the Quirinal on the 20th September, 1870. Opposite is the richly-decorated Church of S. M. della Vittoria, erected by Paul V. in 1605 for the bare-footed Carmelites, and dedicated to St. Paul. It received its present title after the Battle of Prague (8th Nov., 1620), because of a miraculous picture of the Virgin (burnt on 29th June, 1833), which interceded to obtain the victory over the Protestants for Maximilian of Bavaria at the * White Hill.' The fayade was added from the designs of G. B. Soria, at the expense of Card. Borghese, in return for the statue of the Hermaphro- dite found in the gardens of the convent, and now at the Louvre. The interior is by C. Maderno. The Virgin and Child with St. Francis in the 2nd chapel rt., and the Stigmata on the walls, are by Domenichino. In the 1. transept is a statue of the S. Teresa in ecstasy, vrith the Angel of Death descending to transfix her with his dart, by Bernini^ in his most affected stvle. On each side are portrait statues of the Venetian family of Cornaro. '8rd 1., Trinity, by Guercino ; the small Crucifixion on the 1. is a copy of that by Guido Rmi in the gallery of the Duke of Northum- berland. The surface marbles at the altars are among the most costly and beautiful in Rome. The adjoining Convent (entrance at No. 1, Via S. Susanna) has been turned into a Stazione Chimka Agraria SperimentaU', in connection with a Government scheme for the cultivation of the Campagna. Here also is an Agrarian Museum, comprising a well-arranged comprehensive col- lection of botanical and geological specimens. On the Ist and 2nd floor, alimentarj' substances ; substances used in the arts and manufactures ; natural history in relation to agriculture. Specimens of silk, cotton, wool, and flax, from difierent parts of the world ; samples of cereals, gums, oils, woods, and tobacco. Stuffed birds, fungi, and wax models of the Phylloxera insect in the various stages of its development, with maps designed to elucidate the subjects on the walls. There is also a small herbarium and collection of minerals. On the 2nd floor is a Geological Museum (daily, except Sun., 9 to 12, and 2 to 6). Lectures are delivered here during the smnmer months, and occasionally in winter. Close to S. M. della Vittoria is the Church of The City.] ROUTE 21. — S. BERNARDO. 227 S. Susanna, attached to a convent of Cistercian nutis. It is dedi- cated to the daughter of S. Gabinius, a relative of Diocletian, whose son she refused to marry because he was a Pagan. For this she was beheaded in her own father's home, which stood on the spot ; and a \ Church W81S built here in her honour and consecrated by her imcle Pope S. Caius, who lived next door, in 290. St. Ambrose in 370 refers to these two hou.ses as known by the name ' ad duas domos.' After several restorations it was reduced to its present state in 1603. On the walls of the nave are four large frescoes of Susanna and the Elders, by B. Croce. The chapel dedicated to St. Lawrence, on the 1., was erected at the expense of Camilla Peretti, sister of Sixtus V., who brought hither the bodies of SS. Genesio and Eleuterio from S. Giov. della Pigna. In the semi-cr}'pt are remains of ancient buildings, on foundations of tufa blocks from the Servian walls. Opposite is the Church of S. Bernardo, a circular building of considerable interest, as one of the halls which stood at the angles of the outer circuit of the Baths of Diocletian. It has been preserved entire by the pious care of Catarina Sforza, countess of Santa Fiora, who in 1598 converted it into a Church and presented it to the Cistercian monastery which she founded and endowed within the peribolus of the Thermae. The beautiful roof, with its sunk coffers, is ancient, and has been well restored, but it was originally open, like the Pantheon. There are several inscriptions to members of the Sforza family placed here by Catarina ; among them, on the rt., is that of Boherto, brother to the foundress, who died a Cardinal at 18. The Via Torino, terminated by the W. front of S. ^I. Maggiore, now leads S.K. Following it for a short distance, we turn rt. into the Via Nazionale, passing on the 1. the handsome American Church (see p. [10]). No. 230 on the rt. is the PaL Tenerani (1871-73J, with a fine gallery on the ground-floor, containing casts of the works of the late Comm. Tenerani. Further on to the rt., standing below the level of the street, is the Church of San Vitale, a very ancient foundation retaining its basilical form. It was dedicated by Innocent I. in 416 to SS. Gervasius and Protasius, sons of S. Vitalis, and was restored in 1475 and 1595. In the latter year Clement VIII. gave it to the Jesuits. It was the titular Church of Card. Fisher, Bp. of Rochester. The carved doors of walnut wood are worthy of notice. Festa, 28 April. Beyond the Church, on the rt., is the PaL delle Belle Arti, built as a Hall for Exhibitions in 1880-83. It contains modern pictures and sculptures in the Galkria d' Arte Moderna ; and in the spring an annual EsposiziQiui di Belle Arti. (Adm., p. [34].) The entrance to the Galleria d' Arte Moderna is on the left of the portico. The sculptures and pictures have their subjects, and the names of the artista, printed upon them. The sculptures are mainly on the ground floor. Amongst the pictures on the first floor am:— * Giuseppe Ferrari : Christ in the garden of Gethsemane.— Fawre : Studies of Old Rome. — Bi- taceia : Tasso.— ♦i?. Botnpiani : Scene in ancient Rome.— ♦Zfe Sanctis ; q2 228 ROUTE 21.— BANCA t)' ITALIA. [Sect. I. Donna Olimpia Pamfili. — Carlandi : Roman sunset. — Vannutelli : Funeral of Juliet. — Boggio : Transport of Travertine. — BaraMno ; Studies.— *iSr. Costa : Pine wood at Bocca d' Arno.— * Mice fwtti : The vow.—Favretto: Venetian scene.— *iVb7ii ; Refugium Peccatorum.— Vertumni : Campagna di Sa.lerno.—Sartorio : Gorgon and Heroes!— Sartorio : Diana of Ephesus and the Slaves.— ♦Jgraph« at Spithover's, 236 ROUTE 22.— S. GIROLAMO DELLA CARITA. [Sect. I. was in former times the anteroom to the state apartments. In it are preserved a few of the sculptures of the Farnese Collection— some good ancient architectural fragments, and recumbent statues of Piety and Abundance, by Giacomo delta Porta, which once belonged to the tomb of Paul III. in St. Peter's. The second hall has also a heavy panelled roof ; the walls are covered with frescoes of subjects connected with the Farnese family, painted by Vasari, Salviati, and the two Zuccfieri. The colossal group of Alessandro Farnese crowned by Victory, with the Scheldt and Flanders at his feet, was sculptured by Moschino out of a column taken from the Basilica of Constantine. At the N.W. corner of the Piazza is the Church of S. Brigida founded by Boniface IX. upon the site of the House of St. Bridc^et of Sweden, where she died in 1373. It was restored in 1513, and again in To the 1., by S. Brigida, the Via di Monserrato leads to the Church of S. Girolamo della Caritii, said to occupy the site of the House of the Roman matron S. Paola, who entertained here St. Jerome, when summoned to Rome by Pope S. Damasus in 882. Originally belonging to the Observants, it was given by Clement VII. to a Brotherhood of Charity, oQiBpotedl ilUo^ f^^ of Cantalioe^ •ad o4h«n. Tb« rooms vhidl bo KnhiibMMttSckino'ao«kbc»Ud ComttimSon « ^ 'j5?!!!^*"'8io*Uy ptlniod tor UiU Cbureb» ^ FWU, 80 8«pi. On the 1., Sn U10 aaj^cvnt PUta, sUadi Um Ctetvli of Sw CAUriiia delU Roota, bc4oii«in^ to tbe C«noni. d Uui Vatic«a. 1( ^flordt a carious xnataoot oi tbi oomtpiion ai ntnww. bating btm 4 H t imti >d in tbo l:^tb e«nt. 10 5. If. ^ CaiMariM, * tftk drtrivtd frxMn tte fjitim te«if#t««) fauair up in aa a^jdalngOrMoffsr I7 captives NdMOMd fran tfie mrtefT plratM. CtamarixM, o a n ltwly firMMOOMod, teeaoKi CatoHiui. KmU. 25 Nov. Offofito is Sw Tomfit4«o desi' logksi. tho Cbnck of tha Buouui Coulmil Tb« (ItmI Rngladi ookxny Ln liouio wna* (b« Aoslo-Saxon SobodS to«ndcd 117 Ijm King d Womsx, whMb. aflor floufkbuw for abotu 400 T«an. eama to an «id bi IW lima of InDOMOt ITT. Thai Pope atiiirnad iba aoanty romaiu o( ita poMcuiutui to Urn Hotpiul by John SbMbccd and bit wlto ABea. Tba Hinnioa vm ^^ht'J'tiJi St, Tbomaa ol Cantsrlftiry, and many oOoccs in tbo arm!^ of Edward III. and tba Blark Prinoa bid a tbaro la lu aodb^manl. In tb« reign oif qu$m Elnabtib tbo Hoqpiea «M ooaTwted uito « The City.] ROUTE 22.-8. M. DI MONSERRATO. 237 College for the education of candidates for the Priesthood, which tho change of religion had made it impossible to maintain in England. The College was rebuilt in 1675, and continued to supply England with priests (44 of whom apoear to have suffered martyrdom in their own country) \mtil suppressed under the First Empire by the French, who destroyed the Church, and quartered their troops in the building. It was re-opened in 1818, and was subsequently placed under the Rector- ship of Dr. Nicholas Wiseman. In an upper Corridor of the College are portraits of all the English Cardinals, from Wolsey to the present day. The fine Library was augmented in 1890 by a bequest of the valuable books belonging to Card. Howard. The Church was built in 1866-88, but contains several interesting memorials of an earlier structure. Among them is the beautiful *Tomb with recuml)ent effigy of Card. Bainbridge, Abp. of York and British Envoy to Julius II. (1514). Sir Thomas Dereham, a follower of the Stuarts (1739), has also a monument here. The Holy Trinity over the altar, with SS. Thomas of Canterbury and Edmund, is by Durante Alberti of Borgo S. Sepolcro (cir. 1580). In the gallery are 36 paintings in tempera, repro- duced from frescoes by Pomarancio, representing for the most part English martyrdoms. Further 1. Ia 1^ Oburrb of S. M. di Mon5opM od tba Bocgia family— CsUxim Ilf . a»d Alaiandar VI. Thuir bc>ii#a wara brought bitbcr Ircnn tbe Crypt ol 8t. P<(M^B in Idia 3fd I. Statoacl St. Jamct, by Giac. S&mtsviHo. la tho «0Uft. «tttor^«> Vitt. BniaiMMW, in wbicb aianda tba Pal. Ce<»nni Sfocza, v^nth a good £ady RiMianince Umw ootvi. It ynu tho rMidcnoa of Card. Bodicte Lil ly Giulio itaaao, witb an bnpmiiiK fnuii in InmuiM and many Inloaf ting details. Oppottta ia the Pal. Niccobo', by aiatumo da SaMaorino (16Si^— bia btit vs'Otk in Roma. Wo noxt roach tbo Church o! SSw Celso e Giulixno in DoMcMi, m 238 ROUTE 23. — CHIIESA NUOVA. [Sect. I. called because the street in which it stands was formerly occupied by moneychangers and lawyers. It is oval in form, and was rebuilt in 1731. Festa, 9 Jan. Close to this Church was an Arch, erected by the successive Christian iLmperors Gratian, Valentinian, and Theodosius, as an entrance to a magnificent Porticus which passed over the Bridge, and extended as far as bt. Peter s, to protect pilgrims from the weather. Many fragments of its rich marbles adorn the neighbouring Churches In mediaeval times, the S. side of the Ponte S. Angelo was the place of public executions. Here were executed, in 1699, the Cenci lamily. ROUTE 23. From the Ponte S. Angelo to the Piazza Ara Coeli, by the Chiesa Nuova, the Cancelleria, the Campo dei Fiopi. the Theatre of Pompey, S. Carlo ai Catinari, and S. Cata- rina dei Funari. [Omn., p. [28], 24 ; Tramway, p. (27J, 8, 16. J Walking S from the Ponte S. Angelo. and turning 1. into the Corse Vitt. Emauuele, we soon reach the v^»«>w •S^if ^ Nuova, or S. M. in Vallicella, erected by S. Pilippo Neri assisted by Gregory XIII. and Card. Cosi,'from the designs of^fartT^ Lmighi, in 1575. It is also called S. M. in Vallicella, bectuse of a little valley which once existed here, whereon St. Gregory the Great had bmlt a Chapel dedicated to the Virgin. The interior is rich in marbles and ornaments, but is badly lighted. The ceiling, cupola, and vault of the tribune were painted by Pietro da Cortona l8t chapel rt., Crucifixion, by Scipione Oaetano. 8rd, Ascension, by ^"**^T, ?*• *^/^'!fP> Coronation of the Virgin, by Cav. d'Arpino The richly decorated Cappella Spada has a good picture of the Virgin with SS. Carlo Borromeo and Ignatius, by Carlo Maratta. In the Chancel, on the rt.. Tomb of Card. Baronius, the learned annalist (1607). Over the high altar, the Virgin in glory ; on the 1., SS. Gregory- Maurus and Papias; rt.. SS. Domitilla, Nereii, and Achilleus; aU t]h;ee *early works by Rubens (1606). L. transept, Presentation of the Virgin bv ^'^F^n ^ ^^^.^}'f *u^ Choir is the highly. decorated CappeIlI di b. JJiLippo beneath the altar of which the Saint lies buried. Above is his portrait m mosaic, after the original by Chiido Heni (see below) «k- u°°^*u .®°? **^ *A® *• *^^^® "^^ ^^^^"^ ^be Sacristi', on the vault of which is the Archangel bearing the symbols of the Passion, by Fietro da GoTtona. Colossal statue of S. Filippo, by Algardi. On the first floor ^w.^tV'^'^l ^''\ ^^^"^^ ^^ *^® ^^"*' «*^" retaining the furniture which he used, and his portrait, by Gmdo lieni. Other relics may be seen m the Cappella Interna. Festa, 26 May. . ^ S«otion 14. Rte.Za BdwBMl Stamfnrd. 12, 13 A U. Long Aer*. W. C. 238 ROUTE 23. — CHIESA NUOVA. [Sect. I. called l)ecaiise the street in wliidi it stands was formerly occupied hv moneychangers and lawyers. It is oval in form, and w*as rebuilt in 1731. Pesta, 9 Jan. Close to this Church was an Arch, erected hv the successive Christian l.mpcrors Gratian, Valentinian, and Tiieodosius, as an entrance to a ma<,niificent Porticus which passed over the Bridj?.., and extended as far as bt. Peter s, to protect pilgrims from the weather. Many fragments of Its rich marbles adorn the neighbouring Churches. In mediaeval times, the S. side of the Ponte S. Angelo was the pla<;e of public executions. Here were executed, in 1699, the Cenci lamily. ROUTE 23. From the Ponte S. Angrelo to the Piazza Ara Coeli, by the Chiesa Nuova, the Cancelleria, the Campo dei Fiopi, the Theatre of Pompey, S. Carlo al Catinari, and S. Cata- rina dei Funari, fOinn., p. [281, 24 ; Tramway, p. (27J, 3, 15.] Walking S from the Ponte S. Angelo, and turning 1. into the Corso Vitt. K.inanuele, we soon reach the Chiesa Nuova, or S. M. in Vallicella, erected by S. Filippo Neri assisted by Gregory XIII. and Card. Cesi, from the designs olMartino Liinghi, m 1575. It is also called S. M. in Vallia-lla, bet^use of a little valley which once existed here, whereon St. Gregory the Great had built a Chapel dedicated to the Virgin. The interior is rich in marbles and ornaments, but is badly lighted. The ceiling, cupola, and vault of the tribune were painted by Pu'tro da Cortona **' *^ ' 1st chapel rt.. Crucifixion, by Scipume Gaetano, 8rd, Ascension, by Mtmano Rt. tran^pt, Coronation of the Virgin, by Cav. d\irjH,.o. Z^^x "^^^ly^,d«corated Cappella Spada has a good picture of the Virgin with SS. Cario Borromeo and Ignatius, by Carlo Mnratta. In the Chancel, on the rt.. Tomb of Card. Baronius, the learned annalist (1607) Over the high altar the Virgin in glory ; on the 1., SS. Gregorv, Mai^ui* and Papias; rt., SS. Domitilla, Kerens, and Achilleus; all three *early works by Rubens (1G0(J). L. transept. Presentation of the Virgir by Baroccio. On the 1. of the Choir is the highly-decorated CappellI di S. t iLippo, beneath the altar of which the Saint lies buried. Above is his portrait m mosaic, after the original by Guido licni (see below) ^Ki.rTfK A^'^u ""^ *i^u ^' ^''^^'''^ ^"*^^ ^^« Sacristy, on the vault of which is the Archangel bearing the symbols of the Passion, by Pietro da C^tona. Colossal statue of S. FUippo, by Algardi. On the first floor are the rooms and Orator>' of the saint, still retaining the furniture which he used, and his portrait, by Guido licni. Other relics may U seen in the Cappella Interna. Festa, 26 May ^ S«otion 14. Rte 23 I«lw.r4 MlaMlVml. I*. U « I4.L«^ A»»*. W.V. ■ 'i ;■'■ fe k The City.] route 23. — ss. lorEnzO e damaso. 239 The adjoining Convent, formerly the headquarters of the Oratorians, but now devoted to the Assize and other law courts, is one of the best works of Borromini. The flat roof of the Oratory is an imitation of that of the Cella Solearis at the Baths of Caracalla. The BibliotecaVallicelliana contains 20,000 vols. The Enarratio^ies m Psahnos, by St. Augustin, on parchment, is the oldest MS. A Latin Bible of the 8th cent, is attributed to Alcuin. Several inedited MSS. of Card. Baronius are also preserved here, as this library is now the seat of the Roman Historical Society. Turning to the 1. beside the Church and then to the rt., we reach on the 1. the Pal. del Govemo Vecchio, with a good Renaissance doorway in white marble. Opposite is the elegant little *Casa Turci, built by a scholar of Bramante, for Pietro Turci, one of the Pope's secretaries in 1500. ' Continuing along the Via del Governo Vecchio, the Via del Parione turns 1. to S. Tommaso in Parione, a little Church consecrated in 1139, and restored in 1582. A Cardinal's title was assigned to it in 1517, and here St. Philip Neri was ordained priest in his 37th year At the end of the street is seen the porch of S. M. della Pace (p. 197). Returning S., the Vicolo Savelli leads us back into the Corso Vitt. Emanuele. The second block on the rt. is the Liceo Ginnasio Mamiani' a large School formed by extensive restorations of the Pal. Sara. Turn- ing 1., we pass on the rt. the imposing Cancelleria (see below) and reach on the rt. the Church of SS. Lorenzo e Damaso, forming the N. side of the Cancelleria, and erected in 1495 by Card. Raffaele Riario, nephew of Sixtus IV., from the designs of Bramante. In 370 Pope St. Damasus, under the invoca- tion of S. Lorenzo, built a Basilica in the centre of the barracks or stables of the Factio Prasinor— the green squadron of charioteers and riders of the Circus Maximus— and attached to it a Library modelled on that of Pergamon. Its documents were taken to the Lateran, as the central deposit of Church records, in the 7th cent., and the building levelled to the ground in 1486, when Card. Raff. Riario founded the present Basilica, 200 ft. east of the old one.— Z>. It has a fine entrance door by Vignola, but the interior was ruined in the French Revolution and the Church re-opened, after being closed for 22 years, on Aug! •7th, 1820. At the end of the rt. aisle is a Monument to Count Pellegrino Rossi who was murdered in the adjoining palace in 1848, with his bust by Tenerani. Over the high altar is the Coronation of the Virgin with SS Peter, Paul, Lawrence, and Damasus, by F. ZuccJiero. The baldacchino is supported by four beautiful columns of Egyptian alabaster. At the end of the 1. aisle, Tomb of Luigi Patavini, Patriarch of Aquileia (1505). Nearer the door, Monument to the accomplished scholar and poet Annibale Caro (1566). To the 1. of the door, copy of the statue of St* Hippolytus in the Lateran Museum. This Church is always held by the Vice-Chancellor of the Pope. It ranks as one of the minor Basilicas, and has a College of ten Canons, six chaplains, and 16 henejiciati. The * Palazzo della Cancelleria, one of the most magnificent in Borne, was begun by Card. Mezzarota, and completed in 1495 by Card, 240 HOUTE 23. — PALAZZO BELLA CANCELLERIA. [Sect. I. Kiario, patriarch of Aquileia, from the designs of Bramante. It was built with travertine from the Colosseum, and marbles from the Arch of Gordianus; the 44 columns of granite which sustain the double portions of its court were taken from the old structure of S. Damasus, and belonged originally to the Theatre of Pompey. The gateway was designed by Dom. Fcnitana. The great saloon is decorated with frescoes by Vasari, representing events in the history of Paul III. and other subjects, by Salviati. In June, 1848, this palace was the place of meeting of the Roman Parliament, summoned by Pius IX. In the next month the mob burst into the chamber while the deputies were sitting, and demanded an immediate declaration of war against Austria. Soon afterwards it was the scene of the assassination of Count Rossi, prime minister of Pius IX., on going to re-open parliament. The inner court is very beautiful, its Doric porticus being surmounted by an elegant attic, ornamented with Corinthian pilasters. The roses on the capitals are those of the Riario heraldic shield. This Palace is the residence of the Cardinal Vice-Chancellor, and is still occupied by offices for the administration of papal affairs. S. of the Cancelleria is the lively Campo dei Fiori, where the vegetable market is held every morning. On Wednesday a fair is held, worth visiting, when antiquities and curiosities of various kinds are for sale. In the centre is a bronze Statue (1889) of the Dominican free-thinker Giordano Bruno, born at Nola in 1550, burnt hero by the Inquisition in 1600, The eight portrait medallions represent champions of religious freedom, of whom the best known are Paolo Sarpi, the Venetian Servite (1623), Michael Servetus, burnt by Calvin (1553), John Wiclif (1384), and John Huss (1415). In 1900, the tercentenary of the burning of Bruno, the statue was covered with wreaths. E. of this Piazza stood the Theatre of Pompey, the first erected in stone at Rome. It was built by Pompey the Great (b.c. 55), restored at great expense by Augustus, repaired by Tiberius and Caligula, injured by fire in the reign of Titus, and again restored by later Emperors. It was also repaired by Theodoric in the middle of the 6th cent., but by this time the number of its seats had diminished from 40,000 to 27,000. In the middle ages it was converted into a fortress, and was a stronghold of the Orsini during the troubled times of the 11th and 12th cents. It is recorded by ancient writers that the opening of this new place of amusement was regarded by the older citizens as a corruption of morals; and that Pompey, to evade their opposition, and especially to appease their prejudice against the employment of stone instead of wood, added to the theatre a temple dedicated to Venus Victrix, and pretended that the seats of the theatre were mere steps leading to the temple. The site lies between S. Andrea della Valle on the N., the Campo dei Fiori on the W., the little Church of S. Barbara on the S., and the Via dei Chiavari on the E. The Palazzo Pio was built by the Orsini upon its ruins. The semi-circular form of the theatre may be traced by walking E. from the Campo dei Fiori through the Pal. Pio to the little Church of S. M, di Grotta Pinta (see below). The Via dei Chiavari follows the line of the scena. In the cellars and vaults of the Palazzo Pio some arches and frag-- The City.] route 23.— s. carlo ai catinarl 241 ments of massive walls may be examined (entrance at 95 Via del Biscione). Here the colossal bronze statue of Hercules was found in 1864, now m the Vatican. -.rJ^}^^^^ °^ f¥ ^^ea^^^e, extending E., was the famous Porticus of 100 columns, celebrated by many of the poets, adorned with paintings statues, and plantations, and containing a Basilica. In this porticus Brutus, as we are told by Appian, sat in judgment as praetor on the mornmg of Caesar's death. Close to the theatre was the memorable Curia, m which Even at the base of Pompey's statue, Which all the while ran blood, great Caesar fell. The celebrated statue of Pompey, now in the Palazzo Spada, was found hereabouts, as well as the Torso Belvedere, now in the Vatican IJearly fifty granite columns were removed from the Theatre and Porticus to build the old Basilica of S. Lorenzo (see above). f 'i^; ^* P**®^ Pinta, consecrated in 1343, was anciently called &. balvatore m Arco. It derives both names from an archway belonging to the ruins of the Theatre, by which it was approached from the Piazza del Biscione, and which may probably have been painted. Quitting the Piazza Campo dei Fiori by the Via dei Giubbonari we soon reach a Piazzetta on the 1., where stands the little Church of S. Barbara. It was founded in 1306, and formerly gave a title to a Cardinal. In 1600 it was restored by a Confraternity of Booksellers who added to its dedication the name of their patron saint Thomas Aquinas. Festa, 4 Dec. Continuing S.E. we reach on the 1. the Barnabite Church of S. Carlo ai Catinari (1612), so called from the manufacturers of catini or dishes and earthenware in general, who lived in the vicinity. On the spandrels of the cupola, which is high in proportion to its diameter, are frescoes of the Cardinal Virtues, Prudence, Justice, Temperance, and Fortitude by Dotnenwhim. In the choir, behind the chancel, opening out of the sacristy, is a colossal half-figure of S. Carlo at prayer in fresco by Ouido Rent. Over the high altar S. Carlo ministering to the sick during the Plague at Milan, by Pietro da Cortona. The death of S Anna, in the 2nd chapel 1., is by Andrea Sacchi. Festa, 4 Nov. The Piazza Benedetto Cairoli, in front of the Church,' was laid out at the expense of Mr. William Huffer in 1890. On its W. side stands the Pal. Santacroce. Close to it on the W. is the Monte di Pieta and on the S. the old quarters of the Ghetto. The street now forks 'and we bear 1. into the Via dei Falegnami. On the 1. is the Church of S Anna del Funari, which belonged to the Templars in 1297, and was restored in 1675. Opposite is S. M. in Publicolis, probably so called from one of the Publico Santacroce family. It was rebuilt by Card. Marcello Santacroce in 1643, and has a good slab tomb with effigy of Alfonso Santacroce (1472). We now reach the Piazza delle Tartarughe, so named from the ♦Fontana delle Tartarughe, a graceful fountain by Giac. della Porta (1585), ornamented with tortoises. Four bronze youthful figures, by Taddeo Landini, support a tazza, from which the water flows into the basin. On the W. side is the Palazzo Costaguti, built by C. Lombardi in [Rome.] g fl 242 ROUTE 23. — PALAZZO MATTEL [Sect. I. 1590 (admittance only by private introduction). On the Ist floor are six ceilings, painted in fresco:— I. Albania Hercules wounding the Centaur Nessus. II. Domenichino. Apollo in his car ; Time discovering Truth. III. Guercino. Rinaldo and Armida in a chariot drawn by dragons. IV. Cav. d'Arpino. Juno nursing Hercules ; Venus with Cupids and other divinities. V. Lanfrmico. Justice and Peace. VI. Roman- elli. Arion saved by the dolpbin. [From the S.E. comer of the Piazza a crooked street leads to the Benedictine Church of S. Ambrogio della Massima, built in 423 upon the site of the house inhabited by St. Ambrose and his sister Marcellina, and rebuilt by Card. Luigi Torres and his sister Beatrice in 1606! There are fine columns of Serravezza 1. and Porto Venere rt., in the transept. The interesting rooms of St. Ambrose are open on the 7th Dec. The origin of the title Massima is attributed to the Particus Maximae of the 5th and 6th cent, which ran close by. At the entrance doorway within the court on the rt. is a fresco of the Deposition. The Church belongs to the Monks of Subiaco.] Nearly opposite is the Palazzo Mattei, built on the site of the Circus of Flaminius by Asdrubale ^lattei (1615). The gallery of pictures and statuary, once celebrated, has been dispersed. The Palace formerly included within its area the Pal. Caetani (see below) and the Pal. Longhi, by Vignola, in the Piazza Paganica. The court and staircase of the Pal. Mattei are decorated with reliefs from sarcophagi and other fragments of ancient sculpture, the only relics of the once famous Monumenta Matheiana, besides the few in an avenue of the ViUa Mattei (p. 129). Further on is the Church of S. Catarina dei Funari, erected at the expense of Card. Cesi, by Giac. della Porta in 1563, with a curious tower and a white marble doorway. A Church dedicated to S. Rosa of Viterbo stood on its site in the 13th cent. In 1536 it was given to S. Ignatius Loyola, and now belongs to an Augustinian Nunnery. 1st chapel rt., St. Margaret, with the Coronation above, by A^m, Caracci. Festa 25 Nov. ' The Flaminian Circus has entirely disappeared, though consider- able remains existed in the 16th cent., when the foundations of the Pal. Mattei were laid. It was founded by C. Flaminius Nepos, the Censor, who fell at Lake Trasimene, B.C. 217. A part of it was long used as a rope-walk, whence the name Funari. In its longest diameter it extended from the Pal. Mattei and the Piazza Paganica to the Pal. Massimo in the Piazza di Ara Coeli. The street running N. beside the Church leads to the Pal. Caetani the residence of the great baronial family of Caetani, Dukes of Sermoneta. It was built by Bart. Ammanati for Luigi Matteo in 1560. The archives are perhaps the most complete preserved in any of the great Roman Houses, some deeds of donation being of the 9th and 10th cent. The Caetani were once lords of all the country from Velletri to Fondi ; they gave two popes to the throne of St. Peter, Gelasius II. and Boniface VIII., and were the rivals of the Colonna and Oreini princes in their long contests with the popes in the 11th and 12th cent. Their vast. estates were confiscated by Alexander VI. in J I The City.] route 23.~s. m. in campitelll 243 favour of one of his bastard sons, but subsequently restored, with a ducal title. Opposite is the ancient Church of S. Lucia alU Botteghe Oscure, so called from the dark arcades of the Circus upon which it was built About 1630, Card. Dom. Ginnasi founded here a College for twelve students whence the Church took the name of S. L. dei Ginnasi. Festa, 13th Dec A few yds. E. is thellittle Church of S. Stanislae del Polacchi (1580). Festa, 7 May. The Via Delfini leads hence to the Ara Coeli. Our street bears to the rt., and passes the Church of S. M. in Campitelli, rebuilt in 1659, by Rainaldi, to receive a miraculous image of the Virgin, which is said to have stayed a pestilence m 1656. This image, originally at S. Galla, and now preserved over the high altar, is a precious and unique specimen of ancient intarsio in pvetra dura. In the 2nd chapel rt. is the Descent of the Spirit upon the Infant Jesus, by Luca Giordam). In one of the ovals at the base of the dome are two portions of a spiral column of translucid oriental alabaster, m the form of a cross, found in the neighbouring Porticus of Octavia. In the rt. transept is a monument to Card. Bart. Pacca, the minister and companion of Pius VII. in his exile, by Pettrich of Dresden The altar of the 2nd chapel 1., beneath which is buried B Giov Leonardi, was consecrated by Card. York in 1759. In the 1st chapel h are two monuments resting on four lions in rosso antico, and bearing the inscription Nihil and Umbra. The name of Campitelli appears to be derived from Campus teli, the area before a temple of Bellona which stood hereabouts, where, on war being declared, a javelin or telum was hurled, to indicate the impending hostilities. The Church belongs to the Clerics of the Madre di Dio, and is remarkable for its ingenious distribution of light and effective treatment of colours. Turning 1. into the Via di Tor de' Specchi, we pass on the 1. the Convent occupied by S. Francesca Romana (open on March 9th). In the richly decorated Chapel are some plain but tasteful stalls, and in the Oratory an old fresco of the Virgin and Child with SS. Benedict and Scolastica. Nearly opposite is the little Church of S. Andrea in Vincis (osiers), belonging to the Scarpellini, or stone-cutters. The name is derived from the mats and ropes of withy once made in the neighbour- hood. Festa, 8 Nov. Higher up the street is the Church of S. Orsola (1607), formerly S. Niccold de Funariis, with a slab-tomb of 1313 Hence the Vicoh della Rupe Tarpea leads to the foot of the Tarpeian Rock. A few steps further is the Piazza d' Ara Coeli (Rte. 4). ! ! E 2 244 ROUTE 24. — S. M. DEL PIANTO. [Sect. I. ROUTE 24. From the Ponte Sisto to S. M. in Cosmedin, by the Portieus of Oetavia, the Theatre of MareeUus, S. Nicola in Car- cere, and the House of Crescentius. [Tramway, p. [27], 10.] > 2 min. N.W. of the Ponte Sisto is the Church of S. Trinitd dei Pellegrini (Rte. 22). Here we turn to the rt., and soon reach S. Paolo alia Regola (a corruption of arenula, from the sand deposited by the Tiber). The Church was formerly Augustinian, but was given in 1619 to Sicilians of the Third Order of St. Francis. From the rt. aisle a few steps descend to the Scuola di S. Paolo, a large chamber in which the Apostle is said to have instructed his converts. Festa, 25 Jan Passing the Church, the first street on the 1. leads to S. M. in Monticelli, restored in 1101, 1143, and 1725, when it was given to the Padri Dottrinari. In the tribune is an early 11th cent, mosiac of the head of the Saviour, much renewed. Ten fluted columns of pavonazzetto have been barbarously encased within the pilasters. At the end of the street is seen the planted Piazza Bene- detto Cairoli. From the Church the Via della Stufa leads into the Via Arenula. Crossmg it we turn 1. under an archway. On the 1. are two columns and an architrave supposed to have belonged to the cryptoporticus of the Theatre of Balbus, erected B.C. 13, by Cornelius Balbus, African pro- Consul, at the desire of Augustus. The ruiq is called the Crypta Balbi. Near this the colossal statues of Castor and Pollux, now on the Campi- doglio, were found in 1556. At the end of the street on the 1. is the Church of S. M. del Pianto, so called from an image of the Virgin which stood over* the door of a neighbouring house, and is said to have wept visibly at the sight of a murder in 1546. For this reason it was removed into the Church, then called S. Salvatore in Cacaberis, from the cacabi (saucepans) made largely in the vicinity ; and the Church itself was re-dedicated to the Virgin in 1612. It now belongs to the Brotherhood of the Dottrina Cristiana, We now turn into an open space once covered with the hovels of the Ghetto, which was entirely destroyed by street improvements in 1886 It was assigned to the Jews as an exclusive quarter by Paul IV in 1556, and was formerly closed by gates at Ave Maria. The Jew'ish colony has migrated partly to the district of SS. Cosma e Damiano in the Trastevere, partly to the neighbourhood of the Lateran. In 1903 a large new Synagogue was erected near the Ponte Quattro Cape. On rising ground formed by the ruins of the Theatre of Balbus stands the Pal. Cenci Bolog^netti, an immense and gloomy pile of Ssction 15. Rte. 24.25. LotLdon < BdvrMrdL Sumfbrd, 12, 13 & 14. Lon^ Aex«, W.C 244 ROUTE 24. — S. M. DEL PIANTO. [Sect. I. S«ction tS. ROUTE 24. From the Ponte Sisto to S. M. in Cosmedin, by the Popticus of Octavia, the Theatre of Marcellus, S. Nicola in Car- cere, and the House of Creseentius. [Tramway, p. [27], 10.] > 2 min. N.W. of the Ponte Sisto is the Church of S. Trimtd dci Pellegrini (Rte. 22). Here we turn to the rt., and soon reach S. Paolo alia Regola (a corruption of arenula, from the sand deposited by the Tiber). The Church was formerly Augustinian, but was given in 1619 to Sicihans of the Third Order of St. Francis. From the rt. aisle a few steps descend to the Scuola di S. Paolo, a large chamber in which the Apostle is said to have instructed his converts. Fcsta, 25 Jan Passing the Church, the first street on the 1. leads to S. M. in Monticelli, restored in 1101, 1143, and 1725, when it was given to the Padri Dottrinari. In the tribune is an earlv Uth cent, mosiac of the head of the Saviour, much renewed. 'Ten fluted columns of pavonazzetto have been barbarously encased within the pilasters. At the end of the street is seen the' planted Piazza Bene- detto Cairoli. From the Church the Via della Stnfa leads into the Via Areniila. Crossing it we turn 1. under an archway. On the 1. are two columns and an architrave supposed to have belonged to the cryptoporticus of the Theatre of Balbus, erected B.C. 13, by Cornelius Balbus, African pro- Consul, at the desire of Augustus. The ruin is called the CryptaBalbi. Near this the colossal statues of Castor and Pollux, now on the Cami)i- doglio, were found in 1556. At the end of the street on the 1. is the Church of S. M. del Pianto, so called from an image of the Virgin which stood over* the door of a neighbouring house, and is said to have wept visibly at the sight of a murder in 1546. For this reason it was removed into the Church, then called S. Salvatorc in Caeaberis, from the cacabi (saucepans) made largely in the vicinity ; and the Church itself was re-dedicated to the Virgin in 1612. It now belongs to the Brotherhood of the Dottrina Cristiana. We now turn into an open space once covered with the hovels of the Ghetto, which was entirely destroyed by street improvements in 1886 It was assigned to the Jews as an exclusive quarter by Paul IV in 1556, and was formerly closed by gates at Ave Maria. The Jewish colony has migrated partly to the district of SS. Cosma e Dainiano in the Trastevere, partly to the neighbourhood of the Lateran. In 1903 a large new Synagogue was erected near the Ponte Quattro Cape. On rising ground formed by the ruins of the Theatre of Balbus stands the Pal. Cenci Bolognetti, an immense and gloomy pile of Rte 24 25. Loudon : Bdward Stanford, 12, 13 & 14, Long Acr«, W.C. *^/ ;'- -1 The City.] route 24. — porticus of octavia. 245 massive architecture, once the residence of the famous Cenci family. Shelley notices the court supported by granite columns, and adorned with antique friezes of fine workmanship, and built up according to the ancient Italian fashion with balcony over balcony of open work. The German painter Overbeck had his studio here. Opposite is the little Church of S. Tommaso a' Cenci, founded in 1113 by Cencio, bp. of Sabina, and granted by Julius II. to Bocco Cencio, whose descendant, the notorious Count Francesco, rebuilt it in 1575. It is decorated with frescoes and marbles, but, though built as a sepulchral chapel, it contains no monuments of the family. There is a smaller Oratory on the Ist floor. In the middle ages this Church was celebrated as the official residence of the Caput Romanae Fraternitatis, a powerful and important body of ecclesiastics, who appear to have been originally charged with the obligation of saying frequent Masses for the Dead. Cola di Rienzo was born and lived for many years in a house close by, of which no trace remains. Crossing the open space, we reach the interesting remains of the Porticus of Octavia, erected by Augustus on the site of that raised by Quintus Metellus, B.C. 148, near the Theatre of Marcellus. This consul brought from Macedonia, the scene of his conquests, the twenty- five bronze horsemen executed by Lysippus for Alexander the Great in commemoration of the battle of the Granicus, and placed them in front of his Porticus. They were afterwards transferred to the Porticus of Octavia. The bronze horse, excavated in 1849 in the Vicolo delle Palme in Trastevere, and now in the Capitoline Museum, is supposed to have belonged to one of these groups. It formed a parallelogram, surrounded by a double arcade, supported by 270 columns, enclosing an open space, in the centre of which stood the Temples of Jupiter Stator and Juno Regina, built by Aemilius Lepidus and Quintus Metellus, and re-erected by the Greek architects Batrachos and Sauros, for Augustus. The ruins which now remain formed the entrance to the porticus. A brick arch at the S. angle, substituted for two fallen columns, is probably a work of repair after the great earthquake in a.d. 442. To the 1. of it are remains of a good square-headed doorway. The vestibule had two fronts, each adorned with four fluted columns 3^ ft. in diameter, and two Corinthian pilasters of white marble supporting an entablature and pediment, parts of which are still preserved. The entire group of buildings was destroyed by fire in the reign of Vespasian, and restored by Sept. Severus and Caracalla, a.d. 203. On the architrave is an inscription recording the above restora- tions. Near the middle of the Via della Tribuna have been discovered remains of the Scliola Octaviae^ which stood behind the Temples, with its valuable collections of statuary and painting, among which were the Cupid of Praxiteles, presented by that sculptor to Phryne, Venus by Pheidias, and Aesculapius and Diana by Praxiteles. Most of these doubtless perished in the fire ; but the group of Mars and Cupid, in the Villa Ludovisi, is said to have been discovered here. Behind the Schola were the Greek and Latin Libraries, and between them stood the Curia Octaviae, which was frequently used for meetings of the Senate. In 1878, opposite the side door of the church of S. Angelo, 246 BOUTE 24. — PORTicus OF OCTAVIA. [Sect. I. was found a block of marble, 6 ft. by 4, much injured by fire, bearing the inscription : — OPUS TISICRATIS CORNELIA • AFRICANI " P GRACCHORUM. This is supposed to have been the base of the celebrated sitting statue o O V) o o o -; °? oc o** o o o o o o o lo VIA DEL PORTICO Dl OTTAVIA VESTIBULEviA 0£L TtATRO 01 MARCCLLO PORTICO 01 OTTAVIA ! I i k 1 1 10 20 30 40 50 60 yards. PORTICUS OP OCTAVIA. of Cornelia mentioned by Pliny as placed in the portions of Metellus, afterwards of Octavia. It is now in the Capitoline Museum. The entire circuit, and the sites of the four-fronted arches at the angles of the Portions of Octavia, may now be recognised, the most distinct being at No. 4, Via della Catena di Pescheria. The three fluted columns of white marble in front of the Church belonged to the The City.] route 24. — theatre of marcellus. 247 angle of the pronaos of the Temple of Juno. One of the side walls of the cella of the Temple of Jupiter has been discovered under the Church of S. M. in Campitelli, so that the Via della Tribuna di Campitelli, behind S. Angelo in Pescheria, shows pretty exactly the ancient space between the two temples. The following curious inscription on a tablet inserted in the pilaster at the S. angle of the vestibule records the right of the municipal authorities to the heads and shoulders of all fishes beyond a certain dimension, brought to this market : — CAPITA PISCIUM HOC MARMOREO SCHEMATE MAJORUM USQUE AD PRIMAS PINNAS INCLUSIVE CONSERVATORIBUS DANTO. The Portlcus of Philippus stood N.W. of that of Octavia, and sur- rounded the Temple of Hercules of the Muses. Remains of it may be seen in the cellars of the Pal. Lovatelli (Lorenzana) and of S. Ambrogio alia Massima. The Church of S. Angelo in Pescheria, rebuilt on the site of the Temple of Juno Regina, by Stephen III. in 752, and restored in 1610, 1700, and 1866, is chiefly remarkable from its connection with the history of Cola di Rienzo. It was upon the walls of this Church that he exhibited the allegorical picture of Rome which first roused the people against the nobles. It was here also that he assembled the citizens by sound of trimipet to meet at midnight on the 20th May, 1347, in order to establish the ' good estate.' Adjacent on the rt. (entered from the Church) is the Oratorio di S. Andrea, for the use of fishermen in the market. Continuing to the rt., we soon pass on the 1. the little Osteria della Catena, standing back at the entrance to the Via della Tribuna. Here in 1878 Comm. Lanciani and Father Corrado discovered, in the cellars of the tavern, the basement of a temple, in solid opus quadratum, the position of which tallies exactly with that ascribed to the Temple of Apollo, one of the most ancient and highly revered in Rome. Opposite is the *Theatre of Marcellus, the second opened in Rome. It was begim by Julius Caesar, finished by Augustus, and dedicated by that Emperor to the young Marcellus, son of his sister Octavia, whose name he gave to the magnificent Portions adjoining the theatre, which he restored as a place of shelter for the spectators in unfavourable weather. The ruins, though encumbered by superstructions and disfigured by the dirty shops which occupy the lower tier of arches, are still highly interesting, and the details are in a purer style than those of the Colosseum. The basement, now half-buried beneath the street, is Tuscan, or Romanized Doric ; the capitals of the columns and the entablature, though much mutilated, still supply many interesting details. The second story is Ionic, treated in its original Greek beauty and simplicity, with volutes and egg-and-dart mouldings carefully worked, not left in the rough as at the Colosseum. The third was probably Corinthian, but it has been replaced by the upper stories of the modern houses. Vitruvius praised the beauty of the whole structure, and the existing fragment supplied Palladio with models for 248 ROUTE ^4. — S. NICOLA IN CARCERE. [Sect. I. the Roman Doric and Ionic orders. The whole is built of travertine, once covered with opus albarium. Many valuable fragments are concealed by the mass of houses between the outer wall of the theatre and the Tiber. The building was capable of containing 20,000 spectators. In 1086 it was converted by Pierleone into a fortress, and the Pal. Savelli, purchased in 1742 by the Orsini, dukes of Gravina, was built upon its ruins by Bald. Peruzzi in 1526. In the Via dei Saponari, a few yds. N. of the Piazza Montanara, is the little Church of S. M. in Vincis, restored by the Soapboilers in 1607. On the pavement is the slab- tomb of a priest with effigy — early 14th cent. At No. 35, in the Vicolo della Bufola, which leads out of the Piazza on the 1., are some scanty remains of a Colonnade which surrounded the Forum Olitorium, or great vegetable market. In 1875 the travertine pavement of the forum, covered with fragments of marble and sculpture, was brought to light for a length of 120 yds. On the S. side was found a paved street, 24 ft. wide, which was traced for nearly 180 yds. In Dec. 1879, during the demolition of a block of houses, between the Vicolo della Bufola and the S. extremity of the Piazza Montanara, a travertine pilaster of the second Porticus of Minucius, consul a.u.c. 644, was discovered in its place, and with its Doric capital. It was in this porticus that gratuitous distributions of com took place, for which tesserae were issued. Facing the end of the Vicolo della Bufola is the little Church of S. Omobuono, built by the Tailors' Guild in 1573 on the site of S. Salv. in Portico. Over the altar is a tolerable painting of the Virgin and Child with SS. Stephen and Omobuono, and Christ above. On the 1. wall, *Tomb of a benefactor to the earlier church, with busts in relief of his wife and child. In the Sacristy, good Ciborio in white marble. Festa, 13 Nov. The broad Via della Consolazione leads hence in 5 min. to the Forum, passing S. M. della Consolazione (1471-1585), contain- ing a much venerated Madonna (high altar), out of gratitude for whose benefits the Church was foundea. Attached to it is an extensive and well managed Hospital (1085-1600), which receives yearly 3000 patients of both sexes for surgical operations and accidents. The number of permanent inmates is about 90. To the 1. of the altar in the main ward is a white marble Tabernacle (1493). An artificial cavern is accessible from the street leading out of the Piazza on the left. It extends some hundred feet beneath the Capitoline Hill, and opens into large chambers, several of which are now used as wine cellars. On the rt., just beyond the Piazza Montanara, is the Church of S. NICOLA IN CARCERE, interesting from its position over the substructions of three temples, dedicated probably to Spes, Juno Sospita, and Pieta>s, which stood side by side. The two on the rt. were Ionic, the other Tuscan. The Temple on the 1., the smallest of the three, may be that vowed to Juno Sospita by Cn. Cornelius Cethegus in the year B.C. 196. The central, largest, and best preserved is that of Piety, built by the son of M. Acilius Glabrio, in fulfilment of a vow made by his father at the battle of Thermopylae, B.C. 180. The temple on the rt. is believed to be that of Hope, consecrated by Aulus Atilius Calatinus, B.C. 254, and twice burnt down and restored. This very ancient Church derives its name from a Byzantine prison The City.] route 24. — casa di rienzo. 249 built close by after the fall of the western Empire, and supposed to be the original scene of the ' Caritas Romana.' One of the cells shown to strangers beneath the Church is said to be that in which a starving prisoner, an old man, was kept alive by milk from his daughter's breast, an incident which inspired some beautiful lines in the fourth canto of * Childe Harold*.' The Church is mentioned as early as the 6th cent., and has given a title to a Cardinal deacon since 590. In 1599 it was restored by Gia£. della Porta, and under Pius IX. it had a thorough renovation in the gaudiest modern style, at a cost of 12,000/. On the front is a part of the ancient entablature of one of the Ionic Temples, with three of its fluted travertine columns, two others being built into the wall of a room on the 1. In the nave on the 1. are remains of the cella of the Temple, to the pionaos of which these five columns belonged. In the rt. aisle are five other columns, and a pilaster, which belonged to a second Temple. Two more columns may be seen in the wall of a house to the rt. To the 1. of the Church are six half-exposed columns, and some remains of an entablature. On the 2nd column rt. is a curious 9th cent, inscription in red letters. Beneath the high altar, under a modern tabernacle, supported by four columns of Egyptian alabaster, is an urn in very rare green porphyry. The entrance to the *substructions of the ancient temples, which are well worth a visit, is from the sacristy (60 c). Festa, 6 Dec. A few yards beyond S. Nicola is S. Galla, formerly S. M. in Portico, where S. Galla, a Roman widow, founded a Hospice and Sisterhood about 543 in her own adjoining house (S. Greg. Dialog. IV. 13). It possessed a miraculous Madonna, and gave a title to a Cardinal deacon until 1601, when Clement VIII. removed the image to S. M. in Campitelli. The Hospice was enlarged and re-endowed by Marcan- tonio Odescalchi, cousin of Innocent XI., in 1679. Further on, at No. 37 in the Via della Bocca della Verita, is the Locanda della Gaiffa, a corruption of Caiaphas — the starting point of the Processions in the Passion Plays of the middle ages. Their next stage was the so-called House of Pilate (see below), and their culminat- ing point the Calvary on the summit of Monte Testa^cio (Rte. 40). Further on is the picturesque *Houseof Crescentius, better known as the Casa di Rienzo, and sometimes called Casa di Pilato, because it formed one of the Stations of the Cross in the Passion Plays. It is a remarkable brick building in two stories, covered with capitals, friezes, and ancient ornaments of various periods, capriciously thrown together, without any regard to architectural uniformity. It has no connection with Cola di Rienzo, but was erected by Nicholas, son of Crescentius, and built up of ancient scraps, * in order that his contem- poraries might appreciate the artistic skill of their ancestors.' — L. On the E. side, away from the river, is an arch, bearing a long inscription in the worst style of the old rhyming verse, and ending with the lines : — Primus de primis magiius Nicolaus ab imis, Erexit patrum decus ob renovare suorura, Stat Patris Crescens matrisque Theodora nomen, Hoc culmen clarnm caro de pignore gessit, Davidi tribuit qui Pater exhibuit. The family of Crescentius was powerful in Rome in the 10th century. 250 ROUTE 24. — TEMPLE OP FORTUNA VIRILIS. [Sect. I. Further on is the so-called *Temple of Fortuna Virilis, now the Church of S. M. Egiziaca, dedicated to the Virgin by John VIII. in 872. Pius V. gave it to the Armenian Catholics in 1570, when it obtained its present title. The clergy of that nation having removed to S. Biagio, this Church now belongs to a confraternity dependent upon S. M. in Cosmedin. On the 1. is a model of the Holy 'Sepulchre (open on Holy Thursday). The Temple was originally erected by Servius Tullius, and was probably dedicated to Fortuna. The adjective Virilis appears to have arisen out of a mis-translation of Dionysius. After having been destroyed by fire, it was rebuilt in the time of the Republic, and has undergone many restorations. The employment of tufa, the absence of marble, and the sparing use of travertine, point to the first half of the first cent. B.C. It is an oblong pseudo-peripteral building, of tufa with travertine columns, standing on a basement of travertine, which has been laid open to the level of the ancient road. The front had a portico of four columns, the intercolumniations of which have been walled up ; the only flank now visible has seven columns, five of which are engaged in the walls of the cella. These columns are Ionic, and support an entablature and frieze, ornamented with heads of oxen, festoons supported by candelabra, and figures of children. The whole building was covered with opus alharium, a hard marble-like stucco, some portions of which remain. This little Ionic temple is generally regarded as the purest specimen of that order in Rome. ' The decorative work is completed in stucco, travertine being too hard a material for the finer mouldings of the Ionic capital, and marble being probably at this time a rare luxury. The architect had, therefore, some excuse for this inartistic device.' — B. Here stood the Pons Aetnilius, called in later times P. Senatorius and Lapideus, because it was the first stone bridge thrown across the Tiber. It was begun by M. Aemilius Lepidus and Marcus Fulvius Nobilior, B.C. 181, and finished by P. C. Scipio Africanus and L. Mummius Achaicus, the censors, in B.C. 143. From it the body of the Emp. Heliogabalus was cast into the Tiber. It is mentioned in the middle ages under the name of P. di Santa Maria. In the 13th cent, it fell down, and was rebuilt by Pope Honorius III. It was restored in 1554, and again in 1575. In 1598 the two arches nearest the left bank of the river were carried away, and were never restored, thus earning for the remaining sections the name of Ponte Rotto. One arch still exists. The new iron bridge, called the Ponte Palatine, is a few yards lower down stream. The new quays have hidden the ancient embank- ment of tufa and peperino, which resembled portions of the Servian Walls ; but the mouth of the Cloa^n Maxima can yet be seen from the modem bridge, as well as the three remarkable outjutting corbels, in the form of lions' heads, in a very ancient style, pierced with holes for moorings, on the rt. bank. The elegant little * Round Temple, formerly assigned to Vesta, but now more generally believed to be a Temple of Matuta, has been for ages the admiration of travellers. Pictures, engravings, photo- graphs, and models in bronze and marble have made it better known, perhaps, than any other ruin in Rome. It consists of a circular cella surrounded by a peristyle of 20 Corinthian columns, of which only one The City.] route 24.— s. m. in cosmedin. 251 has been lost. The entablature and original roof have entirely disappeared, and are now replaced by a mere covering of tiles. The diameter of the cella is 26 ft.; the circumference of the peristyle, 156 ; the diameter of the columns about 3, and their height 32. The' edifice appears to have been rebuilt during the reign of Augustus, and is formed entirely of Parian marble, except the circular ^i?^m, which is of tufa, and a block of travertine at the base of each column. ♦ This Temple and the Regia (p. 71) afford almost the only examples of the use of marble in solid blocks among the ancient buildings of Rome — the usual practice having been to face the wall with thin slabs of marble.' — M. As a Church, it was first consecrated under the patronage of S. Stefano delle Cairozzc, so called from a marble chariot found close by! It afterwards obtained possession of a miraculous Madonna, from which it took the name of S. M. del Sole. The picture was 'found floating in the Tiber, and is said to have shed rays like the sun. In the centre of the Piazza is a Fountain with a group of Tritons (1715). On the S.E. side stands the Church of ' *S. M. IN COSMEDIN, or Bocca della Verita, which was an early foundation upon the site of a Roman Temple, restored by Adrian I. in 782, in the form of a basilica. Being intended for the Greek colony in Rome, and having a Schola, or hall of meeting, attached to it for their use, it acquired the name of S. M. Schola Graeca, and is thus mentioned by Siric, Abp. of Canterbury, who visited Rome in 990. The name of Cosmedin, a derivative of Koa/ieTy (to adorn), was probably derived from a Church in Constantinople. S. M. in Cosmedin is Collegiate, and ranks as a minor basilica, giving a title to a Cardinal deacon. Clement XI., in 1715, raised the level of the floor, which had become lower than that of the Piazza, and consequently damp. Cardinal Albani erected the facade in 1718. The whole building has been judiciously restored in 1900-3, its mediaeval character being revealed as far as was possible. Under the Portico are several mediaeval inscriptions, and a canopied tomb of Card. Alfano, who laid down the mosaic pavement in 1123. On the 1. is the marble disk, 5 ft. in diameter, which has given to the Church the name of • Bocca della Verita.' It represents a large round face, with an open mouth, and possibly served as the mouth of a drain for the escape of rain-water. In the middle ages a suspected person was required, on making an affirmation, to place his hand in the mouth of this mask, in the belief that it would close upon him if he swore falsely. The Nave has 20 ancient marble columns. Before the high altar is the raised floor of the ancient choir, with ambones of the 11th cent., and a twisted mosaic candelabrum of the 13th cent. ; the pavement is of Cosmatesque mosaic. The Gothic canopy over the high altar is supported by four columns of red Egyptian granite ; beneath is a red granite sarcophagus; and behind, an Episcopal Chair (early 12th cent.). The Virgin and Child in the tribune bears a Greek inscription, and is said to have been brought by the Greeks from Constantinople, but is more probably an Italian work of the 13th cent. The tabernacle of white marble and mosaic is by Cosma Deodatus, and • displays a good antique feeling for composition.'— 5". The recent restorations have exposed the remains of interesting old frescoes on the upper part of the waiiSt 252 ROUTE 24.— s. M. IN cosMEDiN. [Sect. I. crro!;r..i^1 '^''I'X '^ ^° ^^0^^*^^^ ^f the Kings, in mosaic on gold ground, brought here in 1639 from Old St. Peter'8, to which it had Wrn.T'Af*'^ ^J John VII. in 706. In the choir i's the tomb of the Academy%'28) ^^"^'"^ '' ^"^^^^ ^""^ historian of the Arcadian The Crypt is of classical construction, with two tiers of marble- lined arches, and contains a curious collection of relics. It was closed and forgotten for two centuries, but re-opened in 1717 (open on ^ent ^^®^''^'^*>')- T^® «l«ga"^' ♦Campanile is of the 12th or 13th The Temple, near whose site the Church was built, has been 1 Entr«ac« U Oypt 2 MarMt disk 3 Tomb of Cirri Alfan* PIA22A BOCCA O. VERITA 8. MARIA IN COSMEDIN. indentified as that of Ceres, Liber, and Libera, originally dedicated in 494 B.C., but rebuilt after a fire by Augustus. Ind finished by Tiberius, a.d. 17 Three columns of the peristyle, in white marble, and finely fluted, are partly walled up in the modern portico, and three others in the sacristy and passage leading to it. In the nave on the 1. are four columns of the pronaos, or front, which was turned towards the Janus, or at right angles with the modem facade. By ascending to the gallery above, the admirable chiselling of the composite capitals may be examined. The great width between the columns-nearly four times their diameter, is remarkable. « Behind the Church are some remains in peperino and travertine, with later additions in bnck-faced concrete, which are evidently no part of the iemple, but may be portions of the Carceres.'—M. The City.] route 25. — janus quadrifrons. 253 ROUTE 25. From S. M. in Cosmedin to the Palatine, by the Janus, the Cloaca Maxima, S. Giorgio in Velabro, and S. Teodopo. [For plan of this Route, see p. 244.] [Tramway, p. [27], 10.] Close to S. M. in Cosmedin rises the handsome front of a large Macaroni Factory. Passing it we soon reach on the left the Church of S. Giovanni Decollato, granted by Innocent VIII. in 1490 to the Florentine Confratcrnitd della Misericordia, a pious Brotherhood founded in 1468, who comforted the condemned in their last moments, remaining with them from midnight until their execution, and burying their bodies. The Church was formerly called S. M. della Fossa, and the term Decollato is supposed to refer less to St. John the Baptist than to the beheading of criminals near the spot. Over the high altar is a good painting of the Death of St. John, by Vasari, and there are some tolerable wall-paintings (Life of St. John) in the adjoining Oratory to the 1. Further on to the rt. is S. Eligio del Ferrai, belonging to the Guild of Blacksmiths, with a good doorway (1550). It was fonncrly dedi- cated to SS. James and Martin. All three Saints are included in a picture by Sermotieta, over the high altar. S. Ursula, at the 2nd altar 1., is said to have been painted by Vanni when he was only 12 years of age. Retracing our steps for a short distance, and turning £. wc reach the * Janus Quadrifrons (Area di Giano), one of the numerous arches which were constructed at the junction of different streets, either as places of shelter or as covered exchanges. It is a high, square, solid mass, pierced in each front with a large arch, forming a vault in the centre. On it is scrawled the name of Constans. — L. The base is composed of huge blocks of white marble, with reliefs on their inverted surfaces, belonging to earlier edifices. The fronts are hollowed into niches intended to receive statues, and separated by short pilasters. Each front is 18 yds. wide. All the proportions and details are in a degenerate style of art, usually assigned to the ago of Sept. Severus. The inside has a simple quadripartite vault, which is constructionally of interest as the prototype of mediaeval vaulting. — M. On the summit are some remains of massive brickwork, the ruins of a fortress erected upon the arch by the Frangipani in the middle ages. This Janus marks one of the entrances to the Forum Boarium, or cattle-market. To the 1. is the smaller Gate of Septimius Severus, also called Arco degli Argentieri (Arch of the Moneychangers). The inscription on it shows that it was erected (a.d. 204) by the silversmiths and cattle-merchants of the Forum Boarium to Sept. Severus, his wife Julia Pia, and their sons Caracalla and Geta, but the name and titles of the latter were removed 254 ROUTE 25. — CLOACA MAXIMA. [Sect. I. after his murder by Caracalla and replaced (at the end of the first line) by the words fortissimo felicissIxMOQVk principi— as on the Arch in the Forum. This gateway consists of a mere square aperture, formed by a straight lintel or entablature, su [orted on broad composite pilasters. The front is of marble; the basement and cornice at the back are of travertine. The pilasters are loaded with ornaments and military trophies ; on the inner face are reliefs of sacrifices offered by the Emperor and his sons, the figure representing Geta having l>een effaced ; and high up between the pilasters, the figures of Hercules and Bacchus. Some of the decorations are elaborate, but the style and execution of the whole indicate the decline of art. The inscription fixes the site of the Forum Boarlum, stating that the persons who erected it lived on the spot (argentarii et negotiantes boarii Hujus LOCI QUI INVEHENT DEVOTi NVMiNi eorvm). The gate probablv stood across a street leading from the Forum Boarium to the Vicus Jugarius and the foot of the CapitoUne hUl. In the Forum Boarium (oattle-market and shambles) was appropriately held the earliest gladiatonal show given in Rome, at the funeral of D. Junius Brutus* father, B.C. 26i.—M. In the centre stood a bronze Bull brought from Aegma— either as a symbol of the uses of the Forum, or to mark the spot where the plough of Romulus, driven -by a bull and a cow first started in tracing out the Palatine Pomoerium (Tac. Ann. xii. 24).— B. A few paces up a lane, opposite this gatoway, win Wfaw Utttjatog to an opening, from which he may conveniently exaniiiio ibo Cloaca Maxima.— This main drain of Anci««t Ronid fcknnt a lasting memorial of early Roman architecture. U Vfttt bwlt by Tar- quinius Priscus (b.c. 603), for the purpose of dmlniaff tho iMnlby ground between tho Palatine and Capitoline biHs {llvy, i. o. Ml Pliny says that a waggon laden with hay might UhV n««d IhffOoS the Cloaca in some places; and records that AgriMs, mhuk tttSSm. inspected the drains by going a long way up them »n aboat. Dfomm describes the Cloaca as one of the most striking evidflOM* Ot the mat- ness of the Romans in his time ; and Pliny expreiMia nnrpriM) l£al i| had endured for 700 years, miaffected by earthquake*, by %im inunda- tions of the Tiber, by the masses which had rolled Ittio Sin tt nmml aal by the weight of ruins which had fallen over it. Nearly )S ecoturiw have now passed since its foundation, and this nolOe «tnielttt« of tho Roman kings could still serve its original purpose for ao MmI lapM of time. The discharging archway towards the Tib«r (vWUd teoMibo Ponte Palatino) is composed of three concentric coofMfl of Sptwmu in large blocks, put together without cement. The intrvior of lb© Mvcr It constructed of red volcanic tufa, similar to that ol iht t^mttan rock. Many of the blocks arc more than 5 ft. in length, am! x>f«rly 9 Ctw III thickness. The length of the drain, from this point to tba Tlhtr H 270 yds. ; it forms two bends, passes beneath th© front of 8. Il/in Cosmedin, and a little to the N. of the roimd TempJ*. In conMon#eeo of the rise in the level of the bed of the Tiber, two-tluMf «tf tKtohanatl has been choked up. The Cloaca Maxima starts from Iba loei oi the Carinas, a spur of the Esquiline, near the N. and of Ibo Via dal Colosseo, and crosses at rt. angles the Via Alessacdrina. Ita oooraa through the Forum was discovered in 1872 under the f1cx)r of , tha Basilica Julia, at which point the channel seems to ha?a bean anb^ The City.] route 25. — s. Giorgio in velabro. 255 over at a period long posterior to its first construction. A considerable section was laid open in 1889 under the Forum of Augustus (p. 95), built of peperino, with pavement of basaltic lava. Close to its extremity, in the Velabrum, there springs a copious stream of beauti- fully clear water, called the Acqua Argentina, still held in repute as a remedy in certain maladies. Lower down the river, and between it and tho site of the Pons Sublicius, are openings of two other drains, less remarkable for their size and masonry. S. Gioreio in Velabro dates from the 4th cent. It was rebuilt in the 7th, imder Leo II., who united to it tho name of St. Sebastian. In the 13th it was restored by Card. Jac. Gaetano Stefaneschi, who added the portico, with its metrical inscription in Gothic characters upon the front ; the last line of which (round the corner to the rt.) Hie locus ad Velum, praenotnine dicitur A^iri, gives a wrong etvmology of the name Velabrum. f The Campanile is of the 12th cent. The interior has 16 columns, of different materials and styles, taken from ancient edifices. At the extremity of the 1. aisle several early Christian inscriptions, and a curious circular relief with Runic knots, are built into the wall. This formed the screen of the 7th century. Schola Cantorum, which was afterwards cut up for pavement, and laid face downwards near the Sacristy door. At some later restoration it was discovered, a&d placed in its pr<>«^nt position. Tbc vault of tho tribuno waa oovarfd with iretooof ky G^&Uo. at tho axpanwotf Cmtd, ^tuiMehi, now ao sadly oxmr-ftdw^^ that fcumtly a toMo of tho ockriiMl wctk Tfitni Btatalh tho high alur and iu niarblo tabtcnada of tho IBlh cont. Im p r a m i oi tb© bead of St G«or«o, dopoiiM bar* by Py>po St. Zaaharia*. Tho C(mfeA$km ik adornod wiib good CoamatttKiQo xnotaiea. On tho lint day of I^it» ia47» Cod on Si. Goorjpstf Day (28rd April), i« expcwd ov«r tbo altar the red n^k bannor, or t-txiiltim, of St. Geof|^. Card. NovnaMD fvaa Utular uf thin Chtirrh. A alight aecanti »J(lrtinj; tho Uiool tka PliktuM hiU. bcwn ua to tka wmA 0lraif4 of S. Teodoro^ ooounottly odled 4S. Tata. Tbeire Is no ovtdette« to slio w that thU Unlding oeoapiea the sito of any tcamplo; ' tiul ihn bricltt«««k oi which it is oonstnioiod fPpMn to ba anoSeai. and may vcvy poeiibly belong to the Inndal Ma.— i?. It k suffOMd to bava bMtt c«tord by Adnan I. in 7t4«scbdlt br Nie^eSia \' In 1460. and ndmed to ita prmot alito by OinMnl XI. Sn ITOO. Tbo ^MouAicts of the triboM (7T^7«S) rmaoMitonr Sa^-kmr between 8S. Potor and Paul, eaoh o j t^ j The adjoining Convent, now a Lazzaretto for infectious diseases, contains an extensive 13th cent, ♦cloister, surrounded by 103 small marble columns that support narrow Lombard arches. From the small garden overlooking the river there is a magnificent view. The Temple of Juno liegina was founded by Camillus after the fall of Veii. Further S. stood that of Jupiter Libertas, erected by Caius Gracchus, and restored by Augustus. Asinius Pollio added to it an extensive Atrium, in which he placed the library of Varro, the first opened to the public in Rome (b.c. 36). A part of the Church, and of the garden, is probably on the site of the latter ; while the Temple of Juno stood farther back, extending to the Clivus Publicius. On these sites in the middle ages rose a fortress of the Savelli, and the residence of Honorius III., part of which he made over to the Dominican friars. Many Popes lived here, and the turreted walls which served to defend the precincts may still be traced out. Here Honorius IV. died, and his successor Nicholas IV. was elected, in 1287. S. Alessio is supposed to mark the site of the Dolocenum, or Temple of Jupiter from Doliche, whose superstitious worship had gained great hold upon the Romans in the 2nd and 3rd cent. The subterranean Church was traditionally dedicated by Aglais (318), a noble Roman lady, to St. Boniface, and to this was united a handsome building raised in the 9th cent, by Euphemianus, father of St. Alexis, on the site of his own senatorial house. These legends however, though picturesque, have been proved to be groundless. The Church was reconstructed by Honorius III. in 1217. The Convent was founded by Sergius, Metro- politan Bp. of Damascus, who had fled from persecution in 977, and I I 258 ROUTE 26. — S. M. AVENTINENSE. [Sect. I. became first Benedictine Abbot. This office was afterwards held by Otho of Cluny. In 1231 it was bestowed upon the Premonstratensians, and was given to the Jeronymites in 1429. In front of the Church is a square courtyard, and there is a fine border of Cosmatesque ornamen- tation around the door. The interior was modernized in 1750, and only a small portion of its beautiful mosaic pavement remains. To the 1. of the door rises the staircase under which St. Alexis is said to have lived as a pauper for seventeen years, unrecognised by his family (see p. 136, S. Clemente'j, and in the 1. aisle is the weU from which he drank. The high altar is rich in marbles (1582). On the pavement of the choir is the tomb of the Spanish Jeronymite, Lopez de Almedo (1453). Two ancient columns in mosaics, beside the episcopal chair by Jac. Cosmos^ belonged to a series of 19 which once surrounded the choir. Over the altar in the rt. transept is a very ancient Madonna, and in front of it a good slab tomb of Pietro Savelli (1288). In the crypt are the remains of SS. Boniface and Alexis. Through the Sacristy, or by a door in the 1. aisle, we enter the Cloister, on the S. side of which are some interesting sepulchral in- scriptions, including that of Crescentius, son of Theodora, and murderer of Benedict VI., who retired to this Convent, and died in 984. Further on is a curious epitaph to a member of the Massimo family (1011). From the N.E. corner we pass into the Garden, which commands a fine view. On the slope of the hill below it was the so-called Cave of Cacus. The elegant campanile is of the 13th cent. The Church now belongs to the Somaschi fathers, and the adjoining convent is an Asylum under their charge for blind children. Station on Ash Wed. ; Festa, 14 May, 24 Oct. In 1849, during the French bombardment, the Romans had a battery in front of the Church, from which they canon- aded the French battery at Monte Verde, on the opposite side of the Tiber. S. M. Aventinense, called also S. M. del Priorato, from a priory of the Knights of Malta to which it was attached, was restored in 1765 for Card. Rezzonico by O. B. Firanesi, ' who created an assemblage of monstrosities inside and out.' — L. It is supposed to stand near the site of the Temple of the Bona Dea, mentioned by Ovid, where Remus consulted the auguries respecting the building of Rome. The omens were not favourable, and the fact that the Aventine became thus con- sidered as an unlucky hill, may perhaps account for its not being in- cluded within the Pomoerium, or Sacred Circuit of the Roman Walls, until the time of Claudius. In the first recess on the rt., an antique marble sarcophagus, with reliefs of Minerva and the Muses, serves as the tomb of Bp. Spinelli. Further on is a statue of Piranesi the engraver (1778). The 3rd tombs rt. and 1. are very interesting early Christian monuments with rude reliefs, brought from the Catacombs. Ist 1., tomb of Seripandi (1465) ; behind the altar, a good slab effigy ; in the Sacristy, a model of the Church of St. John at Malta ; by the Sacristy door, tomb of Fra Bart. Carafia, chamberlain to Innocent VII., by Magister Baulus (1440) ; opposite, tomb of Riccardo Caracciolt (1395). This Church occupies the site of the house of the patrician Alberic, who gave it to St. Odo of Cluny, the great monastic reformer of the 13th cent. ; here Gregory VII. (Hildebrand) passed his early days with The City.] ROUTfi ^6.— g. PRISCA, 259 I his uncle, who was prior of the Convent ; and here took place the election of Card. Octavian to the papacy, as Victor II. The residence of the Grand Master of the Maltese Order forms part of the same building. On the upper floor is a fine hall where the chapters of the order are held. Portraits of the Grand Masters hang on the walls. The picturesque garden commands a fine *Vip:w of the city with the Tiber winding below. A remarkable glimpse of St. Peter's framed m a long avenue of box and laurel, may be gained through the keyhole of the gate which leads into the grounds. (Adm. on Thurs afternoons.) /lo^.f^'^^^ opposite is the large new Benedictine Convent of S. Anselmo (1900). Returning, a road on the rt. leads past the Ristm-ante Costantino (which has an excellent ♦view of the Palatine) to S. Prisca, supposed to occupy the site of the house in which St Peter dwelt with Aquila and Priscilla. The Church was originally dedicated to SS. Aqutla e Priscilla, the latter being a mere diminutive of Prisca. It was consecrated by Pope S. Eutychianus in 280 in the name olS. Prisca, Virgin Martyr, who was also buried here, and ?™ ""^^^.^y ^^''?- 5'^^^""^"' ^'^''^ *^® designs of Carlo Lcmibardi in 1600 and again by Clement XII. in 1734. It was ruined and plundered m the time of the French occupation, but was afterwards purchased by a Cardinal 'and given to the Augustinians. There were originally 24 ancient columns of marble and granite in the nave, of which only 14 remain built into the piers. Over the high altar is the Baptism of the Samt, by Passignam, and on the 1. wall an inscription in 18 elegiacs by Callixtus III. (1455) relating to the foundation of the Church In the crypt IS a curious Font, in the form of a fantastic capital of a column having a large basin in the centre, and smaller ones at the angles It IS said to have been used by St. Peter for the baptism of his host and hostess. The inscription bactismum sci petri is of the 13th cent Festa, Jan. 18 ; Station, 6th Tues. in Lent. On this site stood probably the Temple of Diana Aventina near which Licinius Sura, the friend of Trajan, erected his Thermae Between the Baths and the valley of the Circus Maximus was the house of Trajan himself, before he became Emperor. The vineyard on the opposite side of the road was partly covered by the Tfiermae Deciatuic. Descending the lane beyond S. Prisca we reach a broad carriage-road which leads from S. Gregorio to the Porta S. Paolo, and the new quarters of Testaccio. On the rt. are some well-preserved specimens of the * Wall of Servius Tullius, chiefly in massive blocks of soft yellow tufa admirably adjusted, on which rest an arch of hard red tufa and the start of another. ' A thin stratum of pure lime mortar is laid on the joints and beds.'— 3/. The mass of concrete behind the walls is probably the earliest instance of its use in Rome. Crossing the road ^e ascend S. to *S. Saba, on the site of the Barracks of the 4th battalion or cohort of Roman policemen (Fioi^s) Recent excavations and renovations have exposed the lower church which 18 as old as the 6th cent., and has remains of 8th century frescoes! Gregory XIII. gave 6. Saba to the German College. On the 1 in the fortioo, IS an ancient sarcophagus representing o, wedding feast, and s 2 260 ROUTE 27. — 8. BALBINA. [Sect. I. there is somfi good Cosmatesque mosaic work round the doorway. A similar fragment may bo seen at the altar of the semi-crypt. At the high altar are two fine columns of black and white granite, flanked by two of black and white Egyptian marble— the latter extremely valuable and rare. The passage and rooms opening out of it on the 1. of the Church once formed a second and third aisle on this side, added to the original building. Festa, Dec. 5th, on which day a curious piece of tapestry, representing the Virgin and Child with seven female Saints and St. Nicholas, is affixed to the front of the altar. On Thurs. afternoon some students of the German College are generally in the garden, and the traveller may obtain admittance by knocking at the door. Good view from the loggia al)Ove the portico, at the end of which, on the outside, is a window framed in scraps of white marble. Beneath the monastery is a large quarry of hard reddish-brown tufa. Descending from S. Saba, and turning twice to the rt. and then to the 1., we reach the ancient Church of S. Balbina, consecrated by Gregory the Great in 600 upon the site of an Oratory dedicated to the Saviour in 386. It was formerly Augus- tinian, and now belongs to the Chapter of St. Peter's. There are three small round windows in the front. On the 1. is the *recumbent effigy of Stefano Surdi, by Joh. Cosmos (1295), adorned with mosaics. Over the altar on the rt. a ♦relief of the Crucifixion with tlio Virgin and St. John, by Mino da Fiesole (1460), brought in 1650 from an a^tar orootcd by Card. Pietro Barbo, afterwards Paul II., in th(! old IiomUIoa of St. Peter's. In the tribune is an old Episcopal Chuir with beautiful Cosmatesque mosaics. The wooden roof was put up by Marco Barbo, Patriarch of Aquileia, in 1489. The Church is surroundi>d by mo4"«'« From the side-door by the apse on the rt. is reached the Church of * ?u ^l?^' 4^* Genovesi, with a Hospice. On the rt. is the ♦Tomb ?iJ , /'"frV^^'^M ^^"^^ ^'"'^^^ ^^^^1)' ^" ^^^ 1- a beautiful tabernacle for the holy oil. Picturesque Cloisters in two stories, planted as a garden. Turning 1. from the apse of S. Cecilia, we soon reach ,j. ^: ^' ^f^^' prto, which derives its name from a miracle-working Virgin found painted on a garden-wall in 1497. The edifice built to contain it was commenced in 1512 by Giulio Roviano ; the Choir was added in 1762. The interior is richly / M the 4th altar 1. are two fine columns ni nisUo anHeo ; otvr tbo Mgh hIi^t 18 the miraculous image from the garden, vtall Ufiirtcn l«o vmbur some columns of affricano. Annco^d ia a llMpiUl in Xhfi p. .- members of the Guilds, and l)ehind Iho Chtti«h a hiM Tbtmoeo Fa^s built m 1868, and employing 1000 handa. Walking E. from the Church fronl, and ibco turning ri.. >ax roach on the 1. the large Ospizio di San Michele, founded Vr Toaoninjuo OdoM^lciii Sn IfB^ and since much enlarged. It is sOMMMd lo oocupr tho «>4o oi the sacred grove dedicated to the godde« Vxinuk. ilk wliicb Caiua Graoehtti was kiUed b.c. 121. It now includes « hooM of indwtn* lor €Aiildl«0 ol both sexes, a house of correction for woittieit ajad jnw filfc nffcudccw. mad. schools of the industrial and fine iirU, in «hkh ara la«^Ura«ic«r. painting, mu.sic, and sculpture : in ibo UMliutriAl poctioiittpvank^ 800 persons are employed at their ao^^ral UadodL Wood <«rviiiir engraving, and tapestry weaving ara alw> Iti^cly bcactML uSi School of Arts has produced some umii «I ODiiiiMiiM, aocoMpBt o<^ca Ih* engravers Calamata and Mercuri. Aniu}x««l» hxil cnciroly^dMoc*. if a large Prison. The Chapel (6*. Michcir a Uipai hat fMTblindfoaui marbles. Neariy opposite are the Barra^-k* ci Out Bnmkeri, t^ »Q«i picturesque corps of the Italian army. On the other side of this vast bulWKnif, nmikiiig tha whole Icmrih of Its front towards the river, is the Porto di Ripa Grande, zoduoMto Ha present state in 1692. At its N.E. «Dd wmo ibe mini, iif Iho i>MM Sublictuf (Rte. 40) ; at the S.W. is iht Ocatocy «. Continuing to the rt., we soon reach on the 1. the outer gateway of ^"""""^^g SS. Cosma e Damiano in Trastevere (corrupted into S Cosimato) onginally Benedictine, but attached in 1243 to a large convent of Poor Section 18 Rte.28, London • Bdsrard Stanfitvd. 12. 13 * M, Loga^ Acre. W. C. 270 BOUTE 28.— PONTE GARIBALDI, [Sect. I. fn^Vd^T^M^'* ^.^^^^'^^^'-^ «f coliort II. wore discovered by Ficoroni. A/i! ^\^r r "*•' ^'^'''^^^" ^^'^ ^-eaUed Trophies of Marius and the YrX"'r ^''^'''" ^^^^'"^ "^ "I- ^^«^« discovered by the Mu ici m! R V S^rn^^'^Vv" !" i^^-'' ^^^^'"""" ^^^^ ^''''^' '>f Diocletian and the ±ly Station. IV. stood near S. Saha, V. iM.tween 8. Stefano Rotondo 8rtlof'vrZl'vJ?^^^'^\^^^^^^<^^^^^^ "^ 1735 and 1820. The bii/cs oi VI. ana VII. arc unknown. In the Via della Lungaretta, on the right, is the Church of th.. Vi^f^^^^?!:^ '" ^°^^' ^"^ ''^"^^ ^^""^ ''^ vicinity to the Cohorts of the Mgiles. It was given to the Minims in 1721), and restored The Church ,s also called the Madonna della Luce, after a miraculous Virt^\! Sn^\tt^ri' '*^? "^"r. r"-^f ^-^-^^^-^-^ "^^eh surrounded'by Duiiamgs, but well seen from the bridge. bridge oTsL^^Lf- °' ^; Crisogono te the Ponte Garibaldi, a «-ido bridge of stool arches on stone piers, opened in lasS. It was lesianed Its centra pier, a hnc bronze statue was discovered in l«So Ivinir head oZra'rotirtf "• '^•-^^ "■" '-'• °' *'"' --• "-^'^^ -- -^ sudden rnS' nf^J".'"", "' '■''" '^''^' "' '' "PProaches the sea, and the isro ^^ ?.^'!ttnVt*' •* T* ""-^TSh. of which, hi ui» M*mU»o in Trotrrere (earmnted into ;>;. CMtmaM oc%u.*ll3r lk«icdkti«e, but .lUcbed iu l!84^ to • Ur|f ^v^ttt^fFS!; Section i8. Rt«- C8 ujjxmrr' / ! / ^i The City.] route 28.— cemetery op s. pontianus. 271 Clares. The gateway leads into a fore-court, in which stand a large granite tomb once used as a bath, and a Fountain of 1731. The Church was rebuilt from designs attr. to Baccio Pontelli. It has a good doorway, with carvings in relief, and a handsome terra-cotta cornice over the gable. Over the high altar is a miracle-working image of the Virgin from old St. Peter's, and on the 1. a fresco of the Virgin and Child, with SS. Francesco and Chiara (Umbrian School). In the 1. aisle i's an altar decorated with good Renaissance reliefs brought from the CappeUa Cibo in S. M. del Popolo. The fine 'Cloisters (10th to 15th cent.), now attached to a Workhouse, are surrounded by nearly 120 arches, with double shafts of white marble. They contain a few architectural fragments and inscriptions, with remains of ancient pave- ment in mosaic. From the larger Cloister beyond is gained a view of the good brick Campanile. Festa, 27 Sept. A little further on, our street falls into the wide Viale del Re, which leads in 10 min. to the Trastevere Ely. Stat. (Rte. 59). Before reaching it, a road winds up the hill to the rt., affording a pleasant walk outside the walls of Urban VIII. to the (20 min.) F^rta 8. Fancrazw (Rte. 34). „ , .^, ^, Continuing S., the modern road runs almost parallel with the ancient Via Portuensis, which issued from the Aurelian Porta PoBTUENsis, destroyed by Urban VIII., and led to Partus Augusti (Porto). In the Vigna Jacobini, near the Stat., Lord Savile discovered, in 1887, an interesting tomb containing richly sculptured sarcophagi, columbaria, and loculi with urns. The inscriptions belong chiefly to the pagan period, but the coins to the age of Constantine, with the exception of a fine Aureus of the Emp. Galba— a rare coin. The chief works of art discovered were a relief, in marble, of Pentheus king of Thebes, and a mosaic pavement of the Rape of Proserpine. Excavations of still greater importance have been made in the neighbouring Gardens of Caesar. \ On the rt., just before reaching the Strada di ^lonteverde, at a spot called Ad Ursum Pileatum, is the Cemetery of St Pontianus, exca- vated in beds of yellow sand and conglomerate, instead of tufa. It may probably be named after the Roman soldier who sheltered St. Callixtus. Above the arch at the foot of the first staircase is a large head of Christ. A second staircase leads down to a curious baptistery, with a stream of water running through it, the channel of which has been diverted into a reservoir to form a font. Behind it is painted on the wall a cross with flowers and leaves, and two candle- sticks, to which are attached by chains the letters A and n. On the arch over the font is the Baptism in the Jordan, probably of the 6th cent. At the sides are interesting paintings of various Saints. Here were buried the martyr Quirinus, who was thrown into the Tiber, and subsequently Popes Anastasius I. and Innocent I. A Church was built over their graves, and was afterwards dedicated to SS. Abdon and Sennen. Further on, in the Vineyard of the Missione, are some ruins of reticulated work, extending to the Massimo vineyard, near the Chapel + An account of the numerous discovered Tombs will be found in the ^^otizie degli Scavi and the BtUletiiw detla Commisidone A rcheologtca— both puUlisnea at Intervals in numbers. 272 SOUTH 29.— CASTfittO 8. ANOHILO, [gect, I. C JL'/"*'""" *' ^'^"'' ""-^ ^"PP^^-l '° >»l<>''g 'o the Garden, of Tib« * oltheM^'ii'^nl '^* ^J^i "j;"* '««° afterwards reaches the tiJZ \i. , . * 8°°'' ^'"W °f •S- Paolo fuori le Mura ■ on the rf mFlt'^u^L:*''™""" "'^'*""^' f°-d«>n„.,>. tu ? • 5- world. In this he was abun- aantiy successful, though the building was not quite flnUhed in his Rte. 29,30.31.32. nr^i^ ; London > Bdwwrd StanfMrd. 12. 13 * 14^, Long Acre, W. C . 272 ftouTB 29.— CASTKLto s. angelo, [Sect, I. 'catan^'"^"'""' ^'^ ^''^"'' ""^ ^"PPO^-J '« ''«1°°S to the Ganlens of Tiblr*" oif thoTl rr', '!'" "*!>■•;. ^"'' '«»" afterwards reaches tho rassera, founded by Theodora, a noble Roman ladv in 400 and rledi celebrated here bj crowds of peasants on the 21st of July Festa also tsvA^:^:^' "!-• High:- urerv;s^'!./=eari^ ROUTE 29. From the Ponte S. Angelo to the Vatican, by the Mausoleum or Hadrian and the Borgo. [Oiiin., p. [28], 22; Tramway, p. [27], 3, 16.] ^^.^;lt:nfotZi4'^^^' '" ^^- ^«) ~ "- Tiber i™™e, dantly succe^fu,, though the^b'ui!Si.^^^v^lfot auit^'ltTi!."!";. / Rtp ?9 303I3?. / London . Bdward Stan&rd. 12. 13 & 14, Lung Acre . "W. C . "• vr { ■\ )'■ The City.] route 29.— castello s. angelo. 273 lifetime. Here, however, ho deposited the ashes of Aelius Verus his adopted son, prematurely deceased. On the death of Hadrian' his tZTfu A'if°^^7l,P;^8 completed the mausoleum, and placed there the ashes of Hadrian, brought from Puteoli, whither they had been taken froni Baiae where Hadrian died. After Hadrian all his successors up to Caracalla were buried in this mausoleum, viz • Anto- mnus Pius, Lucius Verus, Marcus Aurelius, Commodus, Septimius Severus Caracalla (ad. 217). The mausoleum is a massive circular tower, 80 yards in diameter, cased on the outside with courses of peperino, and standing on a basement, 110 yards square, and 160 ft high. Procopius, who saw it in the 6th cent., before it was despoiled* 18 the oldest writer by whom it is described. ' It is built,' he says * of Parian marble ; the square blocks fit closely to each other without any cement. Its basement has four equal sides, each a stone's-throw in length. On the summit are statues of men and horses, of admirable workmanship, m Parian marble.' He goes on to state that it had been converted into a fortress considerably before his time, but without injury to the decorations; and he tells us that, when assailed by the Goths under Vitiges, in 537, the statues were torn from their pedestals by the besieged, and hurled down upon their assailants. Among these were the Dancing Faun (Uffizi) and the Barberini Faun (Munich) which were found in the 17th cent, in the moat surrounding the base' ment, where several statues probably lie buried stiU. The Tomb was tiret nfled by the Goths under Alaric in 410. Its first conversion into a fortress dates probably from the time of Honorius, about a d 423 In the wars of Justinian it was successively held by the Goths and the L^reeks, and at length passed into the possession of the Exarchs and became their citadel in Rome. ' In 590, whUe Gregory the Great was conducting a procession to St Peters to avert the pestilence which followed the inundation of 589* the Destroying Angel is said to have appeared to him on the summit of the fortress sheathing his sword, to signify that the plague was stayed In commemoration of this event. Pope Boniface IV., in 610, erected on the summit the Chapel of S. Angelo inter Nuhes, which was superseded by successive btatues of the Archangel. The name of S. Angelo does not however appear to have been applied to the Castle for several centuries, and the present figure (the sixth) dates from 1743 In the 10th cent, the mausoleum was the fortress of Marozia, and the scene of many of those events which have rendered her name and that of her mother Theodora, the widow of Count Alberico of Tusculum so cele brated m the history of that lawless period. Here in 928 Johii X was suffocated by order of Marozia in a dungeon, his brother Pietro having previously been kiUed in the Palace of the Lateran before his eyes • and here in 974 Crescenzio son of Theodora, in Uke manner murdered Pope Benedict VI. John XII about a.d. 960, was the first Pope who occupied the Castle as a place of military strength. In 985 it was seized and strengthened by Crescentius Nomentanus, the consul, against theEmp Utho 111., who had marched into Rome in defence of the Pope Thence It acquired the name of Castellum Crescentii. The history of the fortress from this time would be an epitome of the history of Rome through the Middle Ages. In the 11th and 12th cent., it was held by io?Q iP^* -r ^^ supposed to have been reduced to its present form in TbJ!wT ^^ °^<^"Pied by the French cardinals who opposed the 274 ROUTE 29. — CORTILE DELLE TALLE. [Sect. I. election of Urban VI. Boniface XI. repaired the fortress, and Alex- ander VI. about the year 1600 raised the upper part, and strengthened the base by erecting the bulwark of travertine between it and the bridge ; he completed the covered gallery which leads from the castle to the Vatican, begun by John XXIII. on the foundations of the Leonine walls. Urban VIII., in 1644, constructed the outworks of the fortress from the designs of Bernini, and completed the fortifications with cannon made of bronze stripped from the roof of the Pantheon. The ancient portion of the building, forming the central mass below the brickwork, may easily be distinguished from the latter additions of the Popes. All the upper part is mediaeval. The entrance for visitors is opposite the bridge. After passing the turnstile we enter a hall in which is the lift erected early in the sixteenth century for the use of Leo X., who was not able to walk any distance. We now enter a passage which makes a com- plete circuit of the building. It is 400 ft. long, 9 ft. broad, and 17 ft. high, and is built of brick in the best style. The walls were originally faced with marble, the ceiling ornamented in stucco, and the floor inlaid with black and white mosaic, of which some traces remain. In the drain below the floor have been found human bones. Having made a complete circuit until we are exactly above the point o'f entrance, we ascend a passage which traverses the building in a diametrical direction. In its centre is the Tomb of Hadrian, crossed by a modern bridge. The sepulchral chamber is in the form of a Greek cross, and is lighted by two windows. Walls and floor were originally of marble, of which some traces remain. The porphyry sarcophagus, which contained the ashes of Hadrian, was removed by Innocent II. to the Lateran, for his own tomb, 1143. The cover, according to tradition, is that now used as a baptismal font in St. Peter's. Proceeding over the bridge, to the N. part of the building, and ascending a staircase constructed by Samjallo the younger for Paul III., we reach the Cortile delle Palle, so called from the large cannon balls it contains, some of them made out of the old Roman statues. Here is the marble statue of the Archangel, converted by Raffaello da Mo7itelupo, from one of the original statues that adorned the Mausoleum. It stood on the summit of the building from 1530 to 1743, when it was removed to make way for the bronze figure now there. At the end of the Court is the Chapel of St. Michael, said to have been designed by Michel Angelo, with a tasteful front of white marble. At the left of the Chapel of St. Michael is the entrance to the ground floor of the Papal Apartments, commenced by Alexander VI., continued by Julius II., Leo X. and Clement VII., and finished by Paul III. The first room, or Large Hall, has frescoes, much damaged, by the pupils of Raphael, and the arms and name of Paul III. On the right is the entrance to the chapel already mentioned. It contains a marble sculpture in high relief of the Virgin and Child, attributed to Raffaello da Montelupo. On the left of the large hall are three smaller rooms, which have been recently restored (1906). They had suffered much, especially the coffered ceilings, from smoke, and the walls had been whitewashed. A handsome frieze in fresco has been cleared, and the arms and name of Clement VII., by whom these rooms were built. \ The City.] route 29. — papaii apartments. 275 Thence a passage leads into a Court. Near the entrance is a well head, with fine reliefs. On the left of the Court are two halls, bearing the name of Clement VIII., now used for an Historical Museum of the Castle. On the right of the Court a staircase leads down to the oil repositories of Alexander VI., which contained as much as 4,800 gallons of oil in the opinion of Colonel Borgatti, the greatest authority on the subiect . ®^n5!r°^® ^^® superintendence the restorations have been carried out. This large store of oil served for the use of the garrison, and also for the Vatican Palace; it is supposed that the oil may have been intended to be heated in time of siege and poured on to the heads of assailants. Near the oil cellars are five small chambers built by Alexander VI. for the storage of grain, afterwards used as prisons. The better known prisons, in which many persons, famous in their day have been confined, are to the S. of the grain pits. They were loathsome places, almost totally dark, with even less light than what 18 now allowed to enter. In the nearest cell Benvenuto Cellini was confined, in 1538, on suspicion of having stolen jewels belonging to the Apostolic Treasury. He managed to escape, bursting the hinges of the door, and then letting himself down the outside of the building by a sort of rope made of strips of the bed sheets, though he broke his leg by falling. In some of the other cells the Cenci family are popularly supposed to have been confined, but without sufficient historical evidence. We now ascend a staircase, off which is the bath-room of Clement yil. an elegant work of Giiilio Romafw, copied from the antique. Further is the second floor of the Papal Apartments designed for Paul III. by Raffaello da Montelupo and Ant. da Sangalh. ' The Large Hall is beautifully decorated by various artists of the school of Raphael— 5c»-rnon€^«, Raffaello da MonteliqK), Marco da Siena, Chovanni da Udine, Giulio Romano and Pierino del Vaga. The ceiling is moulded in coloured and gilded stucco. The next room is called the Hall op Perseus, from the frieze in fresco representing the Story of Pers6a«, by Pierino del Vaga. Beyond it is the Hall op Copid and Psyche, the beautiful frieze in fresco being again by Pierino del Vaga. It has another finely moulded and painted ceiling. A narrow passage leads from the large room to a square hall, which has a finely executed frieze and ceiling in fresco with stucco mouldings, by Scmioncta. The paintings on the walls are much damaged. Beyond this hall is a room in which Cagliostro is said to have been confined. On the opposite side of the hall is a small circular apartment containing three huge iron-bound chests, used for the papal treasure. One of them has the name and arms of Julius II. on one of the iron bands. The largest chest was used by Sixtus V. to hold coins ; in the others were placed the papal crowns, sceptres, etc. From this hall we reach a number of rooms now used as a Museum of Military Engineering. A winding staircase leads to a terrace where there is a fine *view. There is no point from which the gigantic macs of SI. Peter's and the Vatican is seen to more advantage. Above is the bronze statue of the Archangel, by VerscJmffeU, placed there in 1743, T 2 276 ROUTE 29. — BORGO. [Sect. I. when the marble figure, already mentioned, was removed. On descending, wo pass the Loggia of Paul III., designed by Ant. SangallOy and lower, the Loggia of Julius II. We now enter the Borgo, so called because it was the quarter of the English, from whom it obtained the name of Burgus Saxonum. In the time of the Emperors it was covered with gardens, and here stood the great Circus of Nero. When St. Peter's was built the quarter became naturally the centre of Ecclesiastical Rome, and was crowded with Convents, Hospitals for the sick, and Hospices for the entertainment of Pilgrims. These settlements, however, were undefended, and con- stantly attacked by Saracens, Arabs, and Moors. After the great victory, however, gained by Leo IV. over the Moslems at Ostia, that Pope employed captive Saracens and others in building walls round the Vatican district. The fortifications were finished in four years (849-53), and the newly enclosed suburb was called Civitas Leonina. Four streets lead W. from the Castle to S. Pietro. That on the 1. passes the vast Archi-Ospedale di Santo Spirito, founded in 1193 by Innocent III., on the site of a Hospice which Ina, King of the West Anglians, had established here for his countrymen in 717. This build- ing was burnt to the ground in 817 and 847, partly restored by Leo IV., and devastated, together with the entire surrounding quarter of the city, by the German Emperor Barbarossa. It was rebuilt by Sixtus IV. in 1471 from the designs of Meo della Caprina. Pius VI., in 1775, established a large Military Hospital opposite the main entrance on the rt. (Adm. from 2 to 4 ; apply at the Office on the 1st floor ; Library, 8 to 2.) The Hospital was so richly endowed that it acquired the title of il pill gran Signore di Roma, possessing large property in the city, and a considerable extent of the coimtry between Rome and Civita Vecchia. Its net revenue for sick and foundlings alone amounted to 40,000/., which has been reduced to half that sum by bad management. There are 1680 beds, about 550 permanent patients, and 200 servants. All diseases are admitted, and the number of surgical cases annually treated is about 5000. There is also a Pathological Museum, and the celebrated BiBLiOTECA Lancisiana, containing a valuable collection of 25,000 books and instruments bequeathed by the eminent physician Lancisi in 1720. The Pia Casa degli Esposti contains upwards of 2000 foundlings, some of whom are sent to be nursed in the country ; 800 are annually received. The Lunatic Asylum is in a separate wing, entered from the Via della Lungara. Some of the best architects of the Early Renaissance have been em- ployed upon this building, parts of which are attributed to Baccio Pontelli, Pollajuolo, and Ant. da Sangallo. The very effective octagonal cupola was erected by Andrea Palladio while studying antiquities in Rome (1545), and is his only work in the city. One of the rooms has some waU paintings of scenes in the life of Sixtus IV., by an unknown master. The Chapel, founded in 1198, but frequently restored, has an ♦altar with baldacchino designed by Palladio, and supported by two handsome columns of pavonazzetto. [The Borgo S. Angela on the rt., leading from the Castle, passes the Scuola Pia, established by Pius IX. in 1860, for the education of 400 boys, under the charge of the Fr^res de N.D.dela Mis^ricorde. Beyond The City.] route 29. — Palazzo torLonia. 277 it a turning to the rt. leads to the little Church of S. Ang^iolo {S. Michele ai Corridori), built by Gregory the Great, in commemoration of the vision lat the Mausoleum of Hadrian. Festa, 29 Sept. and 8 May.] The Borgo Nuovo passes on the rt. the Carmelite Church of S. M. Traspontina (1563-87), built to receive a miraculous Madonna brought from the East in 1217. Several of its altars are adorned with handsome marbles, and in the 3rd chapel 1. are preserved two columns, at which St. Peter (1.) and St. Paul (rt.) are said to have been scourged. Near this spot stood the pyramidal tomb, the so-called Meta Romuli, larger and finer than that of C. Cestius, but destroyed by Alexander VI. in 1495. Most of its marble slabs had already been stripped off by Donus I. in 675, to build the steps of St. Peter's. The pyramid is well represented in relief on one of the bronze doors of old St. Peter's. In the middle ages it was thought to be the tomb of Romulus. We now reach a small Piazza, in which, on the 1., is the Church of S. Giacomo di Scossacavalli, first mentioned in 1186, but entirely modernized, and now belonging to the Chapter of the Vatican. Here are preserved two stones, on one of which (to the 1. of the door) Isaac is said to have knelt at his sacrifice, while the Virgin placed the Infant Christ on the other at the Presentation in the Temple (under the 3rd altar rt.). St. Helen brought them from Jerusalem, intending to place them in St. Peter's ; but the horses shied {scossarono) on arriving at this Piazza, and refused in spite of continuous beatings to drag their burden any further. This was interpreted as a sign from Heaven, and the stones were deposited here. A similar legend is related in connec- tion with the transport of St. Stephen's body to S. Lorenzo fuori le Mura. On the rt. is the * Palazzo Torlonia, better known as the Pal. GiKAUD, the seat of the British Legation to the Vatican before the Reformation. It was built in 1506 bv Bramante, for Card. Adriano da Corneto, who presented it to Henry VIII. This monarch bestowed it upon Card. Campeggio, and it was subsequently converted into an Ecclesiastical College by Innocent XII. The principal doorway was added in the 18th cent. The fa •*• •?• t- C5K- a G ? <•; V 7//Vy 'a H H H OS 2^ a g ea cd OS S II go SO iH »H fH iH tH r-l I prig's fl-2^§^ The City.] ROUTE 30. — S. PIETEO. 281 ie I O t^ / I.J- O ROUTE 30. The Basilica of S. Pietro in Vatieano. [Omn., p. [28], 22 ; Tramway, p. [27J, 2, 3, 15.] Vespers every afternoon, 3 to 4.30, according to the time of year in the Capella del Coro (60 on plan) ; best music on Friday and Sunday. *' History.— According to Church tradition, S. Anacletiis, bishop of Kome who had received ordination from St. Peter himself, erected (AD. 90) an oratory over the graves of St. Peter and the other Ohnstians who had been martyred in the circus of Nero, a spot now marked by the high altar of the basilica. It stood just outside the N wall of the circus. Early in the 4th cent. Constantine began the erection of a basilica to enclose the oratory and graves, making use of the N. wall of the circus as a foundation for the S. waU of the basilica. The circus also provided much of the material for the construction of the basilica The facade of that old St. Peter's is depicted in Raphael's fresco of the Incendio del Borgo, and the interior in the fresco of the coronation of Charlemagne, both in the Stanza deU' Incendio in the Vatican. It had double aisles and transepts, and was preceded by a square Court or Atrium, surrounded with a colonnade, out of which opened several Chapels. In the centre of the Atrium was a Fountain (498-514) in the form of a square tabernacle supported by eight columns of red porphyry, with a dome of gilt bronze. The cornice was adorned with four bronze dolphins and four peacocks, and within stood the fir-cone now in the Oiardttw della Pigna. In 1613 all the bronze, except two peacocks and the fir-cone, was melted down by Paul V. to provide 10,000 lbs. of metal for the statue of the Madonna, which he placed on the Column m the Piazza S. M. Maggiore. The Atrium also contained the Tomb of Otho II. Beneath the high altar was the bronze urn which contained the ashes of St. Peter. The walls were ' patched with fragments of tiles and stone, except the apse and the arches, which were built of good bricks bearing the name of the Emperor.'— L. The interior was lavishly decorated with marble mosaics, and gold. ' Very little now remains of the grand Constantinian Basilica which throughout the middle ages was the venerated centre of the Christian world. The S. wall, which rested upon the N. wall of the circus of Nero at length began to give way, and Nicholas V. (1450) employed the Florentine Rossellim to repair and enlarge the building. On the death of the Pope in 1455, the work was suspended until the accession of Juhua II. (1503-13), who determined to erect an entirely new building, of which one of the chief ornaments should be his own gigantic tomb, to be prepared by Michel Angelo. (All that was done towards the tomb, the Moses, Ac, may now be seen in the Church of S. Pietro in Vmcoli.) While Michel Angelo was engaged upon the 282 BOUTE 30. — S. PIETRO. [Sect. I. tomb the new basilica was entrusted to Bramanfe, whose design was a Greek cross, with a hexastyle portico, and an immense cupola in the centre, to be supported upon four colossal piers. On April 18, 1506, Julius II. laid the foundation of Bramante's building, in the presence of 35 Cardinals, under the pier of S. Veronica. The four piers, and the arches which spring from them, were the only parts completed before Bramante's death in 1514. Leo X. appointed as bis architects Giulimio da Sangallo, Giocondo da Verona, and EaphaeL Sangallo, however, died in 1517, and Raphael in 1620. Raphael's plan was a Latin cross ; but neither he nor his colleagues did much more than strengthen the four piers. Leo X. then employed BaMassare Peruzzi, who, despairing of being able to meet the expense of Raphael's plan, returned to a Greek cross. Leo died in 1521, and hia two immediate successors did little more than erect the tribune. Paul III. employed Michel Angela, then in the 72nd year of his age. The Pope gave him unlimited authority to alter, or pull down, or remodel the building, precisely on his own plana. Paul III. died in 1549, and his successor, Julius III., in spite of all opposition from contemporary artists, confirmed the appointment of Michel Angelo. Several letters exist, in which the illustrious artist describes the annoyances to which he was subjected in the progress of his task. Michel Angelo adopted the design of a Greek cross, enlarged the tribune and the transepts, strengthened the piers for the second time, and began the dome on a plan different from that of Bramante, declaring that he would raise the Pantheon in the air. The drum of the dome was completed when the great artist died in 1563, at the age of 89, after having presided over the work for 17 years. It is remarkable that after his death nothing more was done to the cupola for 24 years, during which the works were exposed to the elements. The chief peculiarity of his dome consisted in being double, leaving a considerable space between the outer and inner walls— a plan which was fortunately adopted by his successors. Another part of Michel Angelo's design was to make the front a Corinthian portico, like that of the Pantheon, which, com- bined with the ground-plan in the form of a Greek cross, would have allowed the whole mass ot dome to be visible from the piazza below Three years after his death, in 1566, Pius V. appointed Vtgyiolu and Pirro Ligorio as his successors, with strict injunctions to adhere in every particular to the designs of Michel Angelo. Vignola erected the two lateral cupolas, but neither he nor his colleague lived to complete the dome. This honour was reserved for Giacmio della Porta, who was appointed under Gregory XIII. The dome was begun on July 15, 1588, in the Pontificate of Sixtus V., and completed in 22 months. The Pope was so anxious to see it finished, that he devoted 100,000 gold crowns annually to the work, and employed 800 workmen upon it night and day. Such was their haste that on one occasion, being in want of another receptacle for water, the masons tossed the body '^l Y^^^^ ^^' *^"* ^^ ^^^ sarcophagus, put aside the bones in a comer of the building, and gave the ring on his finger to the architect. The tomb was used as a tank until 1615.— I/. Shortly after the death of Sixtus v., in 1590, the dome was covered with lead and bound with two enormous hoops of iron, the small cupola or lantern was erected on columns, and the ball and cross placed on the summit in The City.] IIOUTE 30. — S. PIETRO. 283 Nov 1593. (During the pontificate of Benedict XIV. (1740) the S five X? f ''^ 'T' "^ ^^«^^!?"*y' was repaired and stkngthened Tontini^^H J^ K T ""^ JT' ;:;^^«hing 45 tons.) Giacomo della Porta of th«^nr^« TP^""^^^ ^^ ?x'^"^^ ^^^I" ^^^ ^d^^rned the interior of the dome with mosaics. Up to his death, in 1601 the nlans of PaSl V .nl?.^ !i added were the facade and portico. In 1605 ^^AI' ?^^^^ ^^"^^ *^^ ^^^^ E. section of the old Basilica and laid the foundation, of the front as it now stands in 16^ ' He aZd^'^d'th? f ""7^' "^P'^" ^^ ^^"^^-' - ^- -^h^^t, who abandoned the plan of Bramante and Michel Angelo, and returned to n^Dotnt of %!.«.• ^'^^'.^ '' *^^ It conceals the dome, so that there is no point of the piazza from which it can be combined in its full pro- portion with the rest of the fabric. The effect of its gigantic size ?s 8 mir o''' '"^ *^' ^'""'"'^ '""'''^^ °^ ^^"^g subservient^to the dome buiTdtnt ZrlF^^' '"^ prominent that the grandest feature of the building hardly seems to belong to it. The heavy balconies which necTsTat to^'^^^^ '"^^ ^'"'' ^"" '^^ ^^^^^^' siz^tut were necessary to afford convenient space for the imposing ceremonv of the Papal benediction at Easter. The nave was finished fn 1612 the %n ori^'itl'if '^''' ^"^ '^' Church was dedicated by Urban VIII. on the 18th Nov. 1626, the 1,300th anniversary of the original uSTAleZTtlT ""Z "^"-^^ ?'• ^^'^^^''^ ^" *^« *i-« -' ConstaS wbil Alexander VII Bernini began in 1667 the magnificent Colonnade VT in i7«n''"" .^""i '*o^^ .^^''' description see p. 277, Rte. 29). Pius Ad^lhfr^rlT^l *^^^^.^"«^y ^ro^n the designs of Carlo Mafchionni, f'rnmM % / f ^^^ interior, and placed the two clocks on the facade b^i^Pa L if K^^^'^v^^r V'^r^^'"' ^^ 1^^' to the dedication of the basilica by Urban VIII., the building occupied a period of 176 vears including the Sacristy, 3^ centuries ; the work being in progress dS and Lerv' '' P??'. """if ^"^^^^^^ ^^^^ ^ great lhat'bXlul3 J^t^\b '■^'^'^^^ *? *^^ ^^1^ «^ indulgences for the purpose of clseoTtheTTr/?'^^?.' that hastened^he Reformation. Tthe 46 ^ 498 scud^ nru "^' ^-^^ estimated by Carlo Fontana at h^ii^;!^ '^cudi (10,000 000/.), exclusive of the sacristv (900,000 scudi) b^lUowers, models, and mosaics. The area of the whole building iL' oLTcfl^^'f- 1*'^"' *^^ °"8'^^^ Pl^^ ^^ Bramante would have covered about 8 English acres. The annual cost of maintenance is lOm TY frf i«f^T''.v^ of importance were those executed by order of Pius lA., in iS/4-6, the 4th centennial anniversary of the birth of Michel Angelo, when the dome and lantern were thoroughly repaired and their lead coverings changed, at an expense of 12,000?. T.Jcr^'^^Tf?:^**!^' ^"il^entirely of travertine, is 125 yds. long and 165 ft. and fonrn 51^% '^?."®' \^t^ ^'' ^"^^' ^^*^ ^'^^^ Corinthian columns and four pilasters. From the central balcony the Pope used to bestow b^Vh ?''^f'^*'°^;u^^^ ^^^"^"^ ^^« 8| ft. in diamiter and 92* ft slli Anr i^^i ^^m ""T^^^- ^" *^« ^"^^ ^^e colossal statues of the larleTtt.*^ the Twelve Apostles, 18^ ft. high. The inscription in } Fwi r ^^''''''^^ *^e erection of the fa<^ade in the 7th year of Paul V. ^i^orgnesej ;— IN honorem pbincipis apost. paulus v. burghesius 284 KOUTE 30. — S. PIETRO. [Sect. I. Five open entrances lead into ROMANUS PONT. MAX. MDCXII. PONT VII. the magnificent ^ Vestibule, 156 yds. long, 22 yds. high, and 19 yds. wide. At each end IS an equestrian statue ; on the rt. (1 on plan) Constantino, by Bernini ; on the 1. (2) Charlemagne, by Comacchini. Over the central entrance opposite the great door of the basilica, is the celebrated mosaic of the JNavioella (St. Peter walking on the sea), designed by Giotto in 1298 and executed by his pupils. It used to be over the E. entrance to the Atrium in front of the old basilica. ♦ It lias been so extensively injured and repaired that it would be difficult to form any critical estimate of its author.' — A'. There are five entrances into the church from the vestibule The •bronze doors (3) of the central entrance, only opened on great occa- sions, belonged to the old Basilica, and were executed by Antonio ^ilarete and Stmmie Ghini in 1445. The reliefs represent on the 1 Our baviour, below whom is the Emp. John Paleologus sailing to the Council of l^errara, and his introduction to Pope Eugenius IV. Lower down St Paul, with the Voyage and Departure of Eastern prelates. * oJ T. T"?!''''" °^ ^^® ^™P- Sigismund. Below this. Martyrdom ot bt. Paul On the rt. is the Virgin, the interview between the ^mperor and the Pope, and the departure of the Emperor from Italy Lower down, St. Peter delivering the keys to Eugenius IV., during whose pontificate the doors were cast, the council of Florence, and the *f"J? Sr ^^^^^^^ prelates in Rome. On the lowest panel, Crucifixion of bt. Peter. Here several classical buildings are given with much f^^^^i®?®^^— ^°^°°g o^^ters the Meta liomuli, or Tomb of Romulus (p. 27/). The reliefs of the framework, though far superior to the panels, are not in keeping with the other subjects, being medallions of Roman Emperors and mythological subjects (Ganymede, Leda &c ) surrounded by fruit and flowers. The Arabic letters on the central' panels are merely ornamental, and form no intelligible words. The door on the rt. (4), walled up with a bronze cross in the centre IS the Porta Santa, and was opened by the Pope on the Christmas-' ?o^° . o.!l Jubilee, which took place every 25th year. The Jubilees of IbOO, 1850, and 1875 were not celebrated, owing to political circum- stances, but Leo XIII. celebrated a great Jubilee in 1900. On Christ- mas-eve, 1899, he opened the Porta Santa, with much show and ceremony, and he closed it on Christmas-eve, 1900. Between the doorways are three inscriptions of some historical interest, which stood in front of the ancient Basilica : a copy of the bull of Boniface VIII granting certain indulgences on the occasion of the institution of the Jubilee in 1300 ; verses composed byAlcuin in honour of Pope Adrian I • and the grant of certain olive-grounds by Gregory II. to supply oil for the lamps of the church in 720. ^ o .. rr j The *INTERIOR is worthy of the most majestic cathedral of the Christian world. Whatever defects the architect may discover in some of the minor ornaments, most persons who enter the Church for the first time are too much absorbed by the unrivalled harmony of its proportions to venture upon criticism. An apparent want of magnitude generally strikes every one at first sight. The mind does not at once become conscious of the immensity of the fabric, and it is only later The City.] ROUTE 30. — S. PIETRO. 285 that Its gigantic scale is appreciated. No doubt the colossal size of the statues contributes in a certain degree to dwarf the building and supplies a false standard by which the spectator measures the details of the edifice around. A disk of red porphyry on the pavement, just within the central door marks the spot where Emperors used formerly to be crowned i urther on are inscribed the respective lengths of the principal churches of Christendom St. Peter's, 205 yds.) :_St. Paul's, London, 170; Florence, 149; Milan, 148; S. Petronio, Bologna, 132; St. Paul's Rome, 139 ; St. John Lateran, 122 ; Antwerp, 119 ; St. Sophia Constantinople 118. The height of the nave is 152^ ft., and the width 30 yds.; width of the aisles, 11 yds.; width of the nave and aisles including the pilasters that separate them, 66 yds. ; extreme length of the transepts. 149 yds. ; height of the baldacchino, from the pavement to the top of the cross, 95 ft. ; outside diameter of the cupola, 65 vds. (St. Pauls, 48 yds.); inside diameter, 46 yds., 3 ft. less than that of the Pantheon. The height of the dome from the pavement to the base of the antern is 405 ft. ; to the top of the cross outside, 448 ft. (bt. Paul s, 384 ft.). The Church contains 46 altars, before which 121 lamps are burning '''^ on?;"^- ^^y ' "^^ Vol","i»s of marble, stone, or bronze ; 386 statuesi and 290 windows.-L. Nearly all the paintings are illustrative of the life of St, Peter. The Nave is vaulted and ornamented with sunken cofEers richly decorated with gilding and stucco ornaments. Massive piers, supporting arches separate the nave from the aisles. Each pier is faced with two Corinthian pilasters in stucco, having two niches between them one above another They are destined for the colossal statues of saints founders of religious orders. The walls and piers are generally faced with slabs of marble, richly varied with medallions and other sculptures Many of the upper decorations are in stucco, as are the two recumbent Virtues over each arch. The marble pavement was designed by Giacmno della Porta and Bernini. The portion at the beginning of the rt. aisle is modern. The Boy-angels which support the Basins for holy water afford means of estimating the immense scale of the building Ihey appear at first the size of ordinary children, and it is only on closer observation that they are found to be as large as a full-grown man. ° Most of the altars are flanked by elegant columns with Corinthian capitals, which are noticed as they occur. The larger ones in the Nave are of cottanellc—a. handsome red marble, with numerous white veins, from the Sabine mountains. The showy red and white marble with tinge of blue, much used in surface decoration, is called by the Italians rosso di Francia, and is chiefly quarried at Cannes N of the Pyrenees. * The Dome rests upon four enormous buttress-piers, each of which has two recesses, one above the other, and is said to cover as much ground as the Church and Convent of S. Carlo alle Quattro Fontane Ihe lower niches contain statues, 16 ft. high, of S. Veronica (5) holding the Sudarium, by Francesco Mochi ; S. Helena (6) with the Cross, by Andrea Bolgi; S. Longinus (7), the soldier who pierced the side of our 286 ROUTE 30. — S. PIETRO. [Soct. I. t ,? Vuesnoj). Above them are balconies, in which are DresDrvtul fK« occasions during the year The last-named reHe kkept in the Ulcony wnere a statue of St. Andrew has been erected by Pius IX ^n qfin\ above, but cannot be weU seen at that distancA Tho^LkT • ? Sl§^d\*f*^'" '' ^'7Y^ ^^*^ ^^^^'^ compartnuutK/orimn Zl Ji " a mosaic of the Almighty, by^arcZ/o Pr^venTAm^^^^^ nfofi' . .. '^?'^'^ *'''f'^ '^« decorations; vicw« "y"'^* satisfies'tho U«to. t ,'x^ldH ^ maLtv o? h K ^»F7»"d^ng cupolas, though but nlaelliJ^ o ttS majesty of th s, might have crowned four elcuimi ohurrhim J%1 elliptical cupolettas arc mere expedients to pal ite hn Zr-w,/!; Mademo's aisles, which depend on them for aVant^^^^^^^ ^^'^^^ ^ altaT^L 9?^?fc*''Mi?''f ^^ll""" g'^^d.^^^'^opy of bronze,, oovoring the hiah altar, is 9o ft. high to the summit of the cross. It won c»«it from iKa designs of i^nu;u in icm with metal taken from tU F^i^^^i! Urban VIII . whose armorial device (three Boes)^jU hS^S!a^ the four gilded spiral columns. The cost of the pldiMikSTKSt^ have been 40,000 scudi ; of the whole canopy liXWO^,^^^^' The High Altar stands over the Tomb of St. PWcf vki^klU. «« i^ the nearest left-hand column of the Canopy. It^To?Sr»^^ "i^I where the remams of the Christians martyred in^^U^ uf vSS! were buried, a.d. &4 Only the Pope, or a cL^^^S^^fSL^ celebrates mass. The sunken space before the ConfSSffl^MrJSSSj by a circular balustrade of marble. On this ar? ^^SJSiJi^i^ A double flight of steps'lea^TovS: tT,t sLfn::SKo^:^b The City.] ROUTE 30. — S. PIETRO. 287 is a *Statue of Pius VI. (10), one of the finest works of Canova (1822). The attitude and position of the figure were prescribed by Pius himself during his captivity. At the last pier on the rt., in the nave, is the well-known bronze ♦Statue of St. Peter (11), seated on a marble chair, vvith the foot extended. On entering the basilica, Roman Catholics kiss this much- worn foot, pressing their forehead against it after each salutation. Some antiquaries state that this figure was cast by S. Lieo from the bronze statue of Jupiter Capitolinus; while others assert that it is the identical statue of Jupiter. The style of the work is, however, that of the 6th cent. Above it is a mosaic portrait of Pius IX., commemorating his Papal Jubilee, 16 June, 1871. At the end of the Tribune is the bronze Chair of St. Peter (12), executed by Bernini in l(i67, at a cost of 24,000Z.— an ineffective, taste- less work. " It is populariy supposed to enclose the wooden episcopal seat, inlaid with ivory, of St. Peter and many of his successors. This, however, is preserved in a closet high in the wall, which is safely locked with three keys, kept by different officials, and only exhibited on the centenary festival of the Cathedral. The bronze chair is supported by four fathers of the Church— SS. Augustine, Ambrose, Chrysostom, and AthanivniuK. On llm rt. iH a munuraecit to UrtMii VIII. (l.'J), ^ Jifntini (1(>44) : un the 1. that of ♦Paul III. (14), bv (hnjlubno dtila Apr/«, to v^ooi tU crecvlioii WM contUlcd by tho'odvico of Mirhra Angdto. U U tho finflft (A tho Kiipulrhral tnoriiimcnttt in St. Pf4<»r')*, Mnd 00#4 4A0nf. Tho Statue o( tho I'opn Ik of broti/o: tlto oilcgoricai ^gurev. in marblu, of Prudduco anliii(ni rt«lali%^e to tho puUt6»« lioM bM«, ott Dec. Hih. 1854, of Uio IXmid* of tlM InuoMKeulato Oo». oeptino. with tho nuatm of all tbo carwaU jumI p ri it l < p who wvfo pMMai Ott lh«t (HmMkm. RIGHT AISLE.— <>vor tho Ports SaiiU. Moo^ilo <1M oi BU I^ttr (lf76). Cffff*^ della PieU. Oror tho ^Itor i* tbe cokmiiied marblo *Puct\ (lif), by Michtl Anifito, qqdmuM in hi» dllh ymr, al tb« fVMnto of tho Fkmoh unbMMor, Ckfd. Josn Villiera do U Grokio^ abboi oi 8i. Dmii». It U not Men to ««HiuiCi^ la iu pMcat noitftk(n. Mlob«l Angolo huft ioMnbtd hiK nuno on iW RirdU of tho Vitvttt ; U U •aid io bf Um obIv frock cm which bo oT«r did to. In tho w^eU-known lotlor wrlttctt by ^tsmio I. to Mlchol Ai^lo in UOT. Ua which tb* king tmoMto htxn to mcm) tomo oi bit wotU to Pimm toodoracoed (Im ioy«l obMwIk Ihk I^iA AiMl tiM Stot«ie o4 Cbrial iB Bu H. oopm Mlnflrf^ AM p«rtlei£rty mcntiooad. Ob Um rt is Ibo 0. vrlla Oouoank 8jL9nrA. OMDisiniM a notaniB in whUo nurbK ooo od tbe twchv which omsm«nt<4 tho Coofenion ollbs Old Bsnlios. It m osiil to liAto botn br . ihs Ttmifit oi Solomon si JonuslooDO, and to be the o ^^it^i M^aic^ o«r Ssvionr VsnM wbcB bo diipuuvl witb tho dooort; it it bi^ly omimontol with r^lL^fx and fljdisl nutiBir»v sad Ik «ocluMd 288 ROUTE 30. — S. PIETRO. [Sect. I. in a pyramidal cage of ironwork.f The marble well-mouth which surrounds the base was added by Card. Orsini in 1438. On the T is a marble Sarcophagus on which formerly stood the baptismal font bearmg the name of Anicius Probus prefect of R7m« mT Tf i, ' reliefs of Christ and the Apostles with ofhfr SaintB bv Pi^^lt^n}? ■^1'°^^^^^° (1"^)' containing a wooden crucifix sculptured sent^rrtf ''' ^T^ ^^ *^" ^^^^' ^f ^i« patron Saint He is repre Te^ow by^hflTm o1 T/l '""^ ^^e Loggia; among the carZa s n^^I;?^ • 1^' °^ *^® ^^^^^ ^ay t)e distinguished Grecorv XVT cT^FoSa\a"T^^^^^ ^^^^ Christina^of SwedenTlGSot by tZ^tZ ^° ^^^ sarcophagus below is a white marble relief bv of ^^^ of St Sebastian (20), with a mosaic copy of the martyrdom Under fh? ; \ Domen^chino (original picture in S. M. deX AngehT Under the next archway are monuments to Innocent XII ^ifh!; W SrUv and^f • " ^^'''\'^' r°P« '^ representer^rtting sufpo'rt^J bysS Shew, vf = -^S*^ '^J^^> '•'« •^"""'O''^ Matilda (died ni5) On1hTft.nh!rverfbltlr ""^ '^ '^^^ '"'° '''^ V^^nV^L': Under the next arch is (26) the tomb of Grefforv XTTT h ^'i\ srrt^4nrosiris^ire%-h-ro^^^ ZF\TlCTl° ?/',"" -"P'y ""decorated nfc^e. The SoLc Bomet!;:hr^'o^;iltf.e?orSiSi^aVatJX^^^^^^^ The City.] ROUTE 30. — S. PIETRO. 289 Cappella Greg^oriana (28), erected by Gregory XIII., from the designs of Michel Angela, at a cost of 20,000Z. The cupola is covered with mosaics by Girolamo Muziani. Over the altar is (29) the Madonna del Soccorso (dating from about 1118), from the old Basilica ; beneath it, the Tomb of St. Gregory Nazianzen (died 390), whose remains were transferred hither from S. M. in Campo Marzio by Gregory XIII. Before the altar is the large circular slab-tomb of Gregory XV. ; and on the rt. (30) the monument of Gregory XVI., by Amici, erected at the expense of the cardinals he created during his long pontificate. The reliefs have reference to the interest taken by this Pope in the Armenian and other Eastern Churches. Under the next arch is (31) the tomb of Benedict XIV., by Pietro Bracci., with a statue of the Pope, and figures of Science and Charity. ' By pushing mannerism to an extreme point, this artist created a wholesome reaction in art, and the next commission for a Papal Tomb was given to Canova.' — L. Opposite (32) is a mosaic altarpiece of St. Basil, celebrating mass before the Emperor Valens, after Suhleyras (original in S. M. degli Angeli). RIGHT TRANSEPT.— ist altar, (33) mosaic of St. Wenceslaus, king of Bohemia, after Caroselli ; 2nd, (34) Martyrdom of SS. Processus and Martinianus, after Valenti7i (Vatican) ; 3rd, (35) Martyrdom of St. Erasmus, after Poussin (Vatican). In this transept, enclosed for the purpose, was held the great Oecumenic Council of the Vatican, con- vened by Pius IX. in Dec. 1869. Rt. Aisle of the Tribune.— At the 1st altar 1. (36) is a mosaic of the Navicella, after Lanfranco. Opposite (37) is the magnificent ♦Tomb of Clement XIII. (1769), by Canova, one of the few specimens of really fine sculpture in St. Peter's. This was the work which established Canova's fame, and is still considered by many as his- masterpiece ; it was finished when he was 38 years of age, after 8 years' labour. The Pope, a fine expressive figure, is praying ; on one side Is the genius of Death sitting with his torch reversed, the most perfect piece of sculpture in the basilica ; on the other is the figure of Religion. Of the lions at the angles, the sleeping one ranks among the finest efforts of modern sculpture. It was Clement XIII. who refused to suppress the Jesuits, after they had been driven out of Portugal by Pombal in 1759. The mosaic further on (38) is a reproduction of the well-known St. Michael by Guido Reni (Cappuccini). That of S. Petronilla (39), after Guercino, is the finest work of this class in St. Peter's (Conservator!). Next comes (40) the Tomb of Clement X by Rossi with a statue by Ercole Ferrata, and a poor relief of the Pope opening the Porta Santa. Opposite (41), a mosaic of St. Peter resus- citating Tabitha, after Constanzi (original in S. M. degli Angeli). "^ For the Tribune, see above. Left Aisle of the Tribune. -At the great pier on the 1 (42) is a mosaic of St. Peter and St. John, after Mancini. Opposite (43) is the tomb of Alexander VIII. (1691), by Anigo di San Martino^ with a bronze statue of the Pope, and marble figures of Religion and Prudence, by AngeU) de Rossi; the relief represents the canonization of five saints. At the extremity of the aisle (44) is the altar of St Leo, over which is a large relief by Algardi (1650), representing that pope [Rome.] ^ 290 ROUTE 30. — 8. PIETRO. [Sect. I. threutening Attila with the vengeance of St. Peter and St. Paul if he should approach Rome. In front of it is a circular marble slab covering the remains of Leo XII., with an inscription written by himself. Opposite is (45) the chapel of the Madonna della Colonna, with a Virgin and Child, painted on a ^?. ""z?.?^.^'"'" ^''"'^ "'"'^'^^^ ^^^^ '^^ ^^^ ancient Basilica. Under the altar (46) is an old sarcophagus with reliefs of Christ and the Apostles. Dispute in the Temple, Moses and Elias, and the Sacrifice of Isaac. It contains the remains of Leo II. (683), III. (816), and IV. (855). Further on towards the transept is (47) the tomb of Alexander VII. (1667 the last and most disagreeable work of Bernini. Opposite is (48) an oil painting on slate by Francesco Vanni, representing the FaU of Simon Magus, with Vestals seated in the back-ground. LEFT TRANSEPT.— At the central altar is (49) a mosaic of the Crucifixion of ^t. Peter after Gindo Reni (Vatican) ; on the rt. (50) Uie Incredulity of St. Thomas, after Camuccini; on the 1. (51), St Francis receiving the Stigmata, after Dotnenichim (Cappuccini); In this transept are Confessionals for penitents of various nations, served by the College of Penitentiaries attached to the Vatican. In front of the central altar is the plain slab tomb of Palestrina (1594), at one time choir-master of St. Peter's. ^ ' ^^^^"^^^^ ^Furt»n, Vr "^—-^ ^^^ rem^atn^nf^^t ^^^'^^^^"^^ J?4), built by Clement VIII.. to Nvhich the removals, in 1605. Over the altar and tomb of St. (in^gory (55) in a- •Tomb of^Piurvn'llSf^^^ '^' ^^^"^«'^ ^»'oir *« m the scudT b^oueathZl JJ\w^' ^^ 3;«orraW«.;r, erected lit a co*.t of 2?.(XX) Card Co^nslwt tL p ^"'^'"'^ ^^ }'^ ^"^°*^ «*"''*^f »nd frimid. Lara. LonsalVK The Pope is seated on his throne l)otw.>«m conl represeiUing Histor)^ and Time, and figures of Power nnrWlXm after Raphael, somewhat larger than the original. ronungu ration Leo XI (1605), who reigned only 27 days, by AUjardi with a rnl Jr representing the abjuration of Hen rv- IV of Fr»nn« i r A » r*?!!*' (59) is the tomb of Innocent XI. (1689^ bv M.m/^t ^t \t ^^^*^''^^ «hef represents the raising of the'sl^'i o'A^rnl" bj fZ^ZlJUC. Cappella del Cobo, or Canon's Choir (60) hu tht,m n>». .^f ..1.11. and two organs; the decorations are by Sw^^ISSl ^ The City.] ROUTE 30. — S. PIETRO. 291 Under the next arch is (61) the bronze *Tomb of Innocent VIII. (1492), by Pietro and Antonio Pollajtwlo ; on a bracket is a sitting statue of the Pope, holding a spear-head, in allusion to the gift of Bajazet II. to the pontiff of the spear which pierced the side of our Saviour. Opposite is the temporary resting-place of the remains of a deceased Pope, until the completion of his monument on the spot chosen by himself elsewhere. The body of Pius IX. lay here from 1878 till July 1881, when it was finally buried at S. Lorenzo. The body of Leo XIII. rested here until its removal to St. John Lateran. Over the next altar is (62) a mosaic of the Presentation of the Virgin, after RomanelU (S. M. degli Angeli). Fine ♦view of the Interior from this point. Further on are two interesting monuments. On the rt., over the door loading to the roof and the dome, is (G3) that of ^laria Clementina Sobiesky (wife of the Pretender James III.), called here Queen of Great Britain, France, and Ireland (1745). Opposite is (64) the Monument of the Stuarts, by Canova, with busts of James III. and his sons Charles Edward (1766) and Henry, Cardinal York (1819). The red porphyry Font in the Baptistery (65) is, according to tradition, the cover of the sarcophagus which contained the ashes of Ilodrittu in the CiwUm of St. Angelo. Tho nkosAtu ot tfa« H*jih; St IVUc bftpiliix^ hkk giiolorrt in tho Mamcrtino prUon, xIUk Bm$ien ; atud tho Ekplasin o< the Conturion, aftur C. VnKaccmu Iho momicM. <4 St T*Hm^B wto all iiuuU in tlio Studio del MusaiM id llin Vatican ^n '.vicff^ ^tltf ninny yoani of labour, and at gnvil. i>-*ik)Diiticiii by L. 80bdilin$ ^ eaid to have Mtttk«4Qhodby2i.AngiokL T%m t^btvum ooek ov«r tho clock on tho ftreh «tood oa tho sDinnll of ih«« Mltovor of llio oawionl HMflico. On tho Irft op«tui ihm fhM^M^nA vat OAKozncr. with ft bfMtto^t boM of SI. PoUr on a •hort eoliunn ci finrptian 9A€Ri9rr OF »T. rrrxjt'ii. L Ciicreftio Qmmmi SL »♦ dd * ,. -I** _ A. risiftrr ltc4aM^ 292 ROUTE 30. — S. PIETRO. [Sect. I. alabaster. The Chapel contains an early ♦Madonna and Child with St. John, by Giulio Romano, and a Virgin and Child with SS. Anna, Peter* and Paul, by II Fattore, In the adjacent Chapter-House are three very interesting ♦panels from the old Confession, painted on both sides by Giotto. In the centre, our Saviour enthroned, in the act of benedic- tion, and a portrait of Card. Stefaneschi, for whom they were executed in 1300. On the rt.. Crucifixion of St. Peter; on the 1., Martyrdom of St. Paul ; on the back, St. Peter enthroned. The four smaller panels represent SS. Andrew, John, James, and Paul. On the predella. Apostles and Madonna. Here also are 14 fragments of ♦Frescoes by Melozzo da Forli, angels playing on musical instruments, and heads of Apostles. They were originally painted on the walls of the Tribune in the Church of the Apostoli, and were brought here in 1711 (see Quirinal, p. 208). On the opposite side of the Octagon is the Sagrestia dki Beneficiati, with a bronze-gilt bust of St. Paul. In the Chapel is the Delivery of the Keys, by Muziani, and the Madonna della Febbre, which gave its name to the round Chapel, which served as the ancient Sacristy. It stands within a relief of the Etombment, in the style of Donatello. Here stood formerly Michel Angelo's Piet^. In the Treasury (open froni 10 till 12) are preserved the church ornaments, including several crucifixes and six splended candelabra from the designs of Michel An^jelo and Benvenuto Cellini ; a beautiful chalice, ornamented with precious stones, given by Card. York; and some rich altar-plate and jewelled mitres. The dalmatic worn by Leo III. at the coronation of Charle- magne, ^though upwards of 1100 years old, is in remarkable preserva- tion. Here also are many richly embroidered copes, and other church vestments. Above the Sacristy are the Archives (seldom shown). On the steps is a sitting Statue of Pius VI., by Agostino Pcnna. Over the door, fragments of the chains of the port of Smyrna and of the gates of Tunis, the latter presented to Sixtns IV. by Charles V. Within, a MS. Life of St. George with miniatures by Giotto ; the famous parch- ment codex of the Philippics of Cicero ; a Terence ; and a Pcrsius of very early date. The SAGRE GROTTE VATICANE, or Crj'pt, consists of two portions, the Grotte Nuove and Grotte Vecchie. For pennesso apply to the Pope's Maggiordomo. A first visit should be with a guide or lecturer. The entrance is by a flight of stairs under the dome behind the statue of S. Veronica, which descend to a horse-shoe corridor, having the Confession on its centre, and four Chapels immediately beneath the statues of SS. Veronica, Andrew, Longinus, and Helena'. The Crj-pt was in a great measure remodelled by Paul V., who retained, however, some of the more ancient chapels, placing in them several works of art om the old Basilica. On entering, to the rt. is the Chapel of S. M. in Portico, also called the Madonna della Bocciata, from a much injured picture of the Virgin in it, attributed to Siinone Martini, which stood under the portico of the old Basilica. On either side are several ancient tombs, statues of SS. John and Matthew from the monument to Nicholas V. (1455), and one of St. Peter, by Paolo da Siena; several early Christian inscriptions, a statue of Benedict XI., and a view of the The City.] ROUTE 30.~8. PIETRO. 293 crypt of ST. PETER'S. old basilica. Re-entering the corridor, opposite the entrance of the last chapel, is the CajjpeUa del Salvatorino, and near it the marble cross jvhich crowned the front of the primitive basilica. Outside the chapel of S. M. del Portico is a curious 10th cent, mosaic of our Lord between SS. Peter and Paul, which stood over the tomb of Otho II. in the atrium of the old Basilica. At the entrance to the Cappella di S. M. delle Partorienti are statues of the two SS. James from Nicholas V.'s monument, several Christian inscriptions of the 5th and 6th cent., a Virgin in mosaic of the 8th, another of an angel, after Giotto, a half-length of Boniface VIII., a portrait in mosaic of Pope John VII., and a painting of the Virgin, which gives its name to the chapel. In the corridor lead- ing to the Chapel of St. Andrew are several inscriptions, one relative to the draining of the cemetery of the Vatican by Pope St. Damasus in the 4th cent., remarkable for the elegant form of the letters. Among numerous fragments of sculpture, the most remarkable are statues of SS. Bartholomew and John, from the monument of Calixtus III. ; the Doctors of the Church, with angels, from that of Nicholas V. ; and an inscription of the time of Gratian, Valentinian, and Theodo- sius, relatise to certain properties held by the Basilica. We next reach the Chapel of St. Longinus, with a mosaic of the patron saint after Atid. Sacchi. Further on are several mosaics and statues ; our Saviour and St. Andrew from the monument of Nicholas V.; reliefs of Adam and Eve, of the Last Judgment, and statues of Faith, Hope, and Charity, by Mino da Fiesole, from the Tomb of Paul II. The large reliefs of events in the lives of SS. Peter and Paul, on either side of the entrance to the Confessio, formed a part of the cH>orium of Sixtus IV. in the old church. The paintings in the 1. Chapel of St 2. ,. 3. 4. 5,5. 6. 7. 8, 9. 10. 11. 12. 13. 14. 15, If). 16. 17. 18. 19. 20. 21. 22. 23. 24. 26. 26. 27. 28. 29. Veronica. St. Helena. „ St. Andrew. „ St. Longinus. Circular corridor. Toiub of Junius Bassim. Confession of St. Peter. Chapel of II Salvatorino. „ S. Maria in Portico. „ S. M. delle Partorienti. Monument of Pius VI. Chapel of II Salvatore. Tomb of Card. Eroli. „ Agnese Colonno. „ Stuarts. „ Innocent IX. Nave and aisles of Grotte Vecchie. Tomb of Marcellus II. Urban VI. „ Nicholas III. „ Julius III. „ Paul II. „ da ^angallo. It is only used in great ceremonies, chiefly during the Holy Week. Here are two frescoes by Michel Afujelo, much injured by the smoke of candles. The best preserved is the Conversion of St. Paul- very fine, and full of dignity. The other represents the Crucifixion of bt. Peter, and is a grand and stern composition. The remaining frescoes, including 28 portraits of popes, are by Lorenzo Sabbatini and iederigo Zucchero, who painted the roof. From the upper end of the Sala Regia, a door on the rt. mvos access to the Sala Ducale (special pennission required from the Maggiordomo) in which the popes in former times gave audience to princes ; it was reduced to its present form by Bernini under Alexander VII The arabesque decorations and paintings are by Foul Bril. The Hall is now used for holding consistories. The Sixtine Chapel. The Sixtine Chapel was commenced in 1473, to the order of Sixtus IV. (della Kovere) from the designs of Giovanni de' Dulci. It is oblong in shape, being 130 feet long and 43 feat wide, with a lofty ceiling • the narrow round-headed windows, placed high in the wall, give little light The portion of the chapel reserved for the clergy is shut off by a beautifully sculptured white marble screen ; on the right (of the main entrance) is a singing gallery with handsome marble balustrade. The altar is modern. The floor is of fine Cosmatesque mosaic. In 1482 commenced the decoration of the walls. Perugino painted an Assumption of the Virgin, with Sixtus IV. kneeling, in the centre of the wall over the altar (where now is the Last Judgment). On the left (as you face the altar) of this picture Perugino painted the Finding of Moses in the Bulrushes, on the right the Birth of Christ. Thus was commenced, on the left, a series of pictures referring to the life of Moses, and on the right a series dealing with corresponding events in the hfe of Christ, the two series ending on the wall over the main entrance with pictures representing the ascension of Moses into Heaven and the Resurrection of Christ. Above these main scenes Botticelli and others painted, in niches between the windows, portraits of 28 martyred Popes. When the nephew of Sixtus IV. became Pope as Julius II ho sent to Florence for Michel Angelo, and, at first, ordered the famous The City.] route 31. — sixtine chapel. 301 sculptor to fashion for him a colossal and magnificent monument to be placed in the tribune of St. Peter's. In 1505 Michel Angelo set about his task, and Bramante was ordered to design a new St. Peter's that should be worthy of it. The foundation stone of the new Basilica was laid by the Pope in 1506. But Bramante, uncle of the young Raphael then rising into fame, was hostile to Michel Angelo, and induced the Pope to put off the completion of the tomb. Michel Angelo left Rome. In 1508 Julius II. sent for him again and ordered him to paint the ceiling of the Sixtine Chapel. Michel Angelo begged to be excused, saying that sculpture was his trade, and suggesting Raphael as more suited for the work on the ceiling. But the Pope had other plans for Raphael, whom he employed in decorating the rooms in the palace since then known as the Stanze of Raphael. He insisted that Michel Angelo, and no other, should paint the ceiling. Michel Angelo would have greatly preferred to continue the sculptural tomb, but he finally obeyed the commands of the imperious Pontiff, and began the ceiling, in 1508. Bramante had been employed to make the scaffolding, which he did in the usual way, hanging the wooden platform from the ceiling by ropes fastened into it. Michel Angelo had this removed and invented a new form, still in general use, which is simply a movable platform raised high from the floor. He thus overcame all the objections to Bramante's scaffolding, which damaged the ceiling, obstructed the light, and made it almost impossible for the painter to get a general view of his work. At first he had Florentine artists to assist him, who were useful in making measurements and working out the general design to the proper scale ; but when these preparations were finished he dismissed them and except for the mechanical parts, painted nearly the whole ceiling himself. While ho was thus labouring, Raphael was at work on the Stanze, in the precisely opposite manner, mainly by means of talented assistants whom he had trained to assimilate his methods, doing com- paratively little of the actual painting with his own hand. The results are as different as the methods. The ceiling is the product of an individual, of a solitary, original mind, working with its own concentrated energv, using the sculptor's medium of expression, the human form, for which he had a passionate devotion. In the Stanze we have, on the other hand, simply the perfection of art, serene gracious, decorative, and free from overmastering preferences. ' Michel Angelo adopted the artistic profession because it was his bent, and in spite of the opposition of his father, who thought a sculptor and a stone- mason were the same : Raphael was the son of an accomplished painter, and began to grind and mix colours for his father when a mere child. Michel Angelo was never satisfied that his hand had expressed his idea ; Raphael, greater in technique, using every form of artistic assistance, and less phenomenal in design, more nearly achieved his aim. Michel Angelo decided to depict the first events in the history of the world, as related in the Old Testament, and thus make the ceiling lead up to the frescoes already on the walls. The main part of his story is told in the nine panels in the central line. Four of these are filled with a single picture ; the other five have each a smaller panel, with four naked athletic figures at the corners. These panels depict the Creation 302 ROUTE 31. — SIXTINE CHAPEL. [Sect. I. and the Fall ; and the twelve large figures below them, of Pagan Sybils and Christian Prophets, point to the advent of a Redeemer. In the lunettes above the windows, and also in the triangular spaces above the lunettes, are domestic scenes. In the four corners of the vault are depicted events in the history of the Israelites, evidence of God's mercy to His chosen people. These pictures are connected together by painted pilasters, cornices, and other forms of architectural decoration, and interspersed throughout are boy caryatides and naked figures of adult males. Julius II. died in 1513. His successor Leo X. (Medici) commissioned Raphael to prepare designs for tapestries to be hung upon the walls of the Chapel below the frescoes. It was decided to continue the theme already propounded upon waUs and ceiling, and by exhibiting stories from the lives of the Apostles, and especially the calling of St. Peter to pomt to the divine authority of the Papacy. Raphael finished his cartoons m 1516, and the tapestries were hung in 1520 (see Galleria degli Arazzi, p. .323). ^ The final act was the commission to Michel Angelo by Paul III. to paint a fresco of the Last Judgment on the wall over the altar (for which had to be obliterated the pictures of Perugino), a task which Michel Angelo completed in 1541. Then the Chapel was finished. Its chronological series of events does not now include the Birth of Christ nor was there ever any Crucifixion ; and the Resurrection of Christ over the main entrance, is hopelessly ruined. ' For a detailed examination it is best to begin with the ceiling Though painted later than the walls, it contains the first chapter. The subjects of the nine central panels may be classified in three groups of three. Beginning near the altar : — I.— The Creation of the World. 1. God separates Light from Darkness. 2, God creates Sun and Moon. 8. God blesses the Earth. The figure of God without crown or halo was a new conception afterwards imitated by Raphael and others. This Almighty Father is emphatically the Creator, the God of Energy. II. — The Creation and Fall of Man. 1. *God creates Adam. There is a presentiment of tragedy in both figures ; Adam, indeed, is weary, apprehensive, ' and in his large sad gaze is a dumb reproach.'— iTiflcs/co. . * 2. »God creates Eve. This being the central panel, the subject chosen is evidence of the artist's interpretation of the Biblical story Though the note of tragedy remains, it is relieved by the buoyant motherly figure of Eve, grateful to God, submissive and supplicating. * 8. ♦The Fall. In the centre is the tree of the knowledge of good and evil. • The serpent's great coilsare twisted round its trunk, and the Evil One, after the example of many a mediaeval painter, and by the permission of the early Church's book of rules for sacred pictures, is given a woman's head and body. While Adam stretches out and grasps the fruit with violent and irresistible longing. Eve receives it straight from the serpent's hand, as if between them were some subtle mutual under- standing.' On the rt., Adam, as he wanders out into the wild, is invested with ' a world of remorse and self-reproach,' while Eve has ' a mean, almost malignant air, and she turns her head and seems to The City.] route 31. — sixtine chapel. 303 look back longingly at the foys she has iorieited.'— Evelyn March Phillips. • III. — Man's unavailing sacrifice. 1. The Sacrifice of Noah (after he had emerged from the Ark). 2. The Deluge. 8. The Shame of Noah. , These subjects are not in chronological order, owing to the necessity of using the larger of the three spaces for the Deluge, which required a number of figures. The young men at the corners of the smaller panels are of extra- ordinary beauty. Michel Angelo says in one of his sonnets : * God has nowhere revealed himself more fully than in the sublime beauty of the human form.* No modern artist has produced finer nudes than these. Between them are medallions, with small Biblical pictures. The Prophets and Sybils are among the grandest figures known to art. The most famous of the Sibyls was the Cumaean (here an aged, powerful woman) who brought Tarquin nine books for sale. On his rejecting them she departed, burned three and returned to otf er Tarquin the remaining six for the same price she had originally demanded for the nine. Receiving a second refusal she again burned three, and finally obtained for the remainder the price she had originally desired. The three books were found to contain oracular instructions concerning the religion and the policy of Rome. Other Sibyls came to be regarded as authors of oracles, their number, according to Varro, being ten. The Sibyls were adopted by the early Christians, who interpreted some of their messages, delivered to a pagan world, as referring to the Messiah. The famous mediaeval hymn is evidence of this supposed connection : — Dies irae, dies ilia, Solvet saeclum in favilla ; Teste David eum Sibylla. This connection of Pagan oracles and Christian revelation made the Sibyls a not unusual medium of expression in art, and one specially suited to Michel Angelo's scheme. Among the Sibyls notice especially the *Libica, and ♦Delpliica ; and of the prophets the * Jeremiah, * Jonas, and ♦Isaiah. In the four corners of the vault are scenes illustrating the Divine protection of the chosen people. On your right, as you face the altar, is the Punishment of Haman ; left, the Brazen Serpent. On your right, as you face the main entrance, the Triumph of Judith ; left, David and Goliath. The wall frescoes were done by the ablest Florentine and Umbrian artists in 1482. On your left, as you face the altar, is the Journey of Mose^ and Zipporah, and the circumcision of their son, by Pinturicchib. On the left is Zipporah with her children, attended by women with burdens on their beads. An angel of great beauty bars the way to Moses, who had neglected the command to circumcise his son. On the rt. Zipporah performs the ceremony. ... The corresponding picture on the opposite side is the Baptism of Christ, by Pinturicchio. In the centre St. John Baptist pours water upon the head of Christ, over whom hovers a dove (the Holy Spirit^. 304 ROUTE 31. — 8IXTINE CHAPEL. [Sect. I. Above, in a round mandorla with chembs' heads and an angel on each side, IS the Almighty, In the background, on the left, St. John Baptist preaches to a crowd : on the rt. Christ. *The Leading into the Wilderness, by Sayidro BottkeUi. On the nght Moses slays the Egyptian : in the centre he draws water from a well for the daughters of Jethro, having driven off the shepherds : on the left he leads the Israelites into the wilderness : in the background he kneels before the burning bush. On the other side— •The Cleansing of the Leper, by Sandro Botticelli. In the centre the high priest receives the sacrificial blood ; behind is the altar and thefa<;adeof the Leper Hospital of Santo Spirito, then recently restored by Sixtus IV whose device, an oak tree, is on the right. Kneeling by the altar, to the right, are two lepers : on the left a woman carries on her head a basket containing the doves. In front, to the left of the high priest, a leper points to his knee. The Pope's nephew, afterwards • u?* y*' ,T*^^^"« ,«• "aP^in »n liis folded hands, is prominent on the nght. Further on the right a woman brings wood, and a boy grai^. On the extreme right, the sceptre in his hands, is Girolamo Riario, nephew of bixtus IV In the background, over the hospital, Satan invites the Saviour to throw himself down: on the left he proposes that Christ should turn the stones into bread ; on the right he suggests that Christ should put an end to the kixi^dUMQs of this vnrld^tttdUtt tMkyf^t benng giTon, • (Hi ih^o bohiad bm, Sftteik/ lh« Evil Ono iaJh oftm |k» pr• Ic^roi'ZZ MCnm^MAlM^fte {vfith bU Uok to tho >^^UAoh aihI Virninio OntoL fa OlaikMi lo % notmi violorj oktelatd by jhcm ow lb« Poms iti Alphoii«>. Prliio# ol UUbiit, who is dtfiuM <.,, a vblte bJw*. i S A^^ «•• bMkmaal, on Ibo M% ChruA nuMDont 81. PWar and Si, A»drw,wboM»a»»«»TOgtbfiiriH4»: oaibfi right He oUklbo suiu of Zebedot who nn in a boO. Tbcto tm mtay poctnlu aimm Iko 'rKpI2!Il?J?t**^j^'^ •f*^ Hrnlu^^ of ibo Ltpcr^ by Co$imo J^r^n. Tbe biiiDtShal Undioapo in hv fMrnr rtrmiu of ooo4onifoc»n« ; ib« i^oooa from Ibo «bIc«ido right, juU boRMv in tb!o Th6 City.] fedUTfi 31.— StJcTiNK CHAPEL. 806 above Moses, represents Botticelli l>itnrtiilf. Iti the baokgrouud in tho Arch of Constantine, On the other wido — ♦Christ giving the Keys to St. Potor, by Pertigino — his finent work. The reverent attention of St. Peter, ' thH rliytbni of the groupH,' htkI tho •buoyant spaciousness' {Ber^nson) of tho plct»r(!, un» Itx hofa points. In the background, with a triumphal arch on 0JU3h nido, in an nal temple, surmounted by a dome. Among tho portmlLM of contem- poraries which extend on both sidrH bin ntaff to Jonhua. In Iho background an angel shows Moses the promiuctl land ; on Lho Inft hi* dead bo^ is surrounded by mournern. On tho othor Kido The Last Supper, by Cositno Rowlli. Over tho main ontrunro, on your right as you face the door — The Archangel Michael, victorious ovttr Sainn, bw^rn away tho body of Moses, by ScUviati (ruined by restoration). On your loft— The Resurrection of Christ, by Vomenieo (ihirUimiajo (ruined by restoration). Between the windows are 28 portrait* of Popofl who RufTitred raiirtyr. dQm» from Linu>. ?^. to KusebiuA. 809, bv fh^ttit^Ui, OkiHanJai(^ Vra IhamamU, ikad oibiirH. Tbe fraa Isoooo of 4^ *Ltt»t Judt:mrnt ocrtiiili** the eoci waD oppo- rite tbe nulla MitrMwei. At tbo coomsaed of Ciconcet VII. tbe fr^woow br IWugiHQ vbk^ ooTctod tbifa uttH, irere vMboi oot, Ibo I'woviaioini Uooked vp— m«Kb to the dotHinont of Ihn l^fbiing tA tho chftpel->«adl Mlebel A^mIo, Ifaea la bfa *ixttnih v^nr, ht^^a iLfa Irecoo, siVUh bo octtploM la 1511, mfkft • Ubour «4'ov€C eefveii jmml dooHv 80 y^rt ■flor fae bai AnUbod tfae ocillnff. ' In tht npptr part iM tho SoTfour Mated, irith tho Virgin on HU xighi baacl. Above are angcfa bcaiii^ inftrumonu otf Cte reirtna. On tho left d Ike Savfauff are taints end patiiavcbo; ott tbe lUbt roartym, irttb tbe tyrabofa of timr iiuffana«i. Olieeo hmge ffiSuoriMl flinir«B dotnot nttecty firom tho eolMBniitj, end mfut hem &e «nf^ nt T^ ox tbo MCBa. Belovr fa a Are«p of obemo eomndfa^f tbo laet tnunpelv *^ bearing tW boofai of Jod(pM«t. On the* ri^ht tbo Fall c4 tbo dttomed : ibo domont are Men oonlng oui mim Jktm ae tbcv •liMglo to oAzftpe, Sfa^ gitmpt of demooH etruiadUiur vilb ouUiy ttortafa aiv amonipft tfae fumi axamplcw <4 enaloniieAl kuowMdgo. Cbaion i» ferrrinc enothor gtcnp aeroaa tho Htyic, e»dl l* Miriking down tbe nbelliouA wiib bfa oor» Tn aoeordaneo with i\»m di«onptioo ol Danto, froqtn wbkb Miobol Aifok) eoni^bt iiupiratka :^ BalU«4 ^yaloH^il' 9U$f^ On tbo 1. tbo HmeA ant rt«ji^ trom tbfir Rra%w; wLiio lainU and anj^ln are oerittliig IbeM to aaeeiid ioDto tbo tt^a o< tbo biased. Tho paiattns mnoirly oe cap ed de«4ir%Mtion im tbo lifattmo ol tfae fMoA artint. Panl IV. viae ditploeood with tbo mudlijr of tbo tettoa. aad wnboi tho whole to bo dootngped, but fiaallv oonUoiod biMMlf with omaleytatg I>eiu*l9 da VoltciTTa to oo^nv tko most proniiz>eut 806 ROUTE 31.— STANZE OP RAPHAEL. [Sect. I. figures with drapery, an office which procured for him the nickname of BragJu'ttcne, or breeches-maker. Michel Angelo submitted to the Pope's will, but revenged himself on Biagio of Cesena, the master of the ceremonies, who first suggested the indelicacy of the figures. Ho introduced him in the right corner of the foregromid, standing in hell, as Midas with ass's ears, and his body surrounded by a serpent. Biagio complained to the Pope in order to have the figure removed, who declared that it was impossible ; for though he had the power to release from purgatory, he had none over hell. Clement XII. (1730-40) had the remaining nude figures covered over. It is not, therefore, as Michel Angelo designed it, and has suffered from damp and the smoke of the candles of the altar. Even at its best it must have been inferior to the earlier work on the ceiling. Descending the upper flight of the Scala Regia, and mounting a narrow staircase to the rt., on the next floor we enter two rooms hung with modern pictures of saints canonized by Pius IX., and some ghastly martyrdoms by Fracassini. The second of these rooms opens into the Sala deir Immacolata, with large fresco paintings by P ''y Consul Fagan in 1805. so&^^eTraSoZcamp'"' "'° •""«" '*"' ^'"P'™ '"- ">« f^?alH?'4-"^" -^'^^^^^^^^ Ha^^nt H^iat!".: Jl^^'in^ta^?""- ^^ ""« ''•*" »'»™' 2«8 Colossal head" oUu^^^l aite!^an&"uS'lX^^l^:;'lU"wreir"' '""'' ™"'' ^^^^ m.— Upper shelf, Masks and Fauns. 326 ♦Colossal statue of Jupiter seated rthunderbolfc mrvlflm^ «« fu pedesta a relief of Silenus Ji a Faun. 3^ CoWlV^o a'^ fang belonging probably to the Arch of Constantine. :Mow onThe I 838 Hermes. 346 Hercules. 352 Praying Woman MoZ Z^tf., ' 1^3 ?tet^'^P'""1r"' ProraetheL a*„d th" Fate^' 357 infill'' by pZl^tu^°"ThJ:''bi'r,''"P'~''"^ to be derived from anorigd ^nner '''*^ *'*' preserves much of the good G^eeli octa^"* ""■°"«'' "■' ^"^ °' *°'"'^' ^« <«"«' <"" the 1. the Si«^«!i*l!^f77'\" ?Ku'*""i ^^"'^'^ ^y Bramante. but altered by oi»iKm«Kt m 1771 This court is surrounded by an open eorri ;js^Ar?r-ht st«:ir:^S^5S S p'Siow:L^ffi^tts!i\-^^^^^^ green basalt ; on tt 1.. bath in alacc of the Emperor Titus, is a work superior to all others both in painting ftnd statuary. The whole ^roup, the ft^ther, the boys, an4 the admirable 330 ROUTE 32.— CORTILE DEIi BBLVEDEBB. [Sect. I. folds of the serpents, were formed out of a single block, in accordance with a decision of the Council {de Consilii sententia), by Agesander, Polvdorus, and Athenodorus, natives of Rhodes, and sculptors of the highest merit ' (xxxvi. 4), who also, like the group itself, appear to have been a father and two sons. It is not true, however, that the group was cut out of a single block. Three separate pieces can be clearly made out. The rt. arms are r^torations. Vasari tells us that Baccio Bandinelli made a rt. arm for the Laocoon in wax in 1526, which he followed in his copy, now in the gallery of the Uffizi at Florence. Fra Giov. Angelo da Montorsoli began a restoration of the arm in marble by order of Clement VII. The common story, that Michel Angelo began the restoration of the figure, and gave up the task in despair, * because he found he could do nothing worthy of so admirable a piece,' cannot, we believe, be traced further than ' Spence's Anecdotes,' and probably had its ori^n in the attempt of Montorsoli, who was one of Michel Angelo's pupils. The present arm is of terra-cotta, and is said by Winckelmann to be the work of Bernini. The arms of the sons were added by Agostino Comacchini of Pistoia, who merely followed Bandi- nelh's design for the first restoration. The group of the Laocoon is in Greek marble. It is still a matter of active dispute among the scholars as k) what Pliny precisely meant by his saving that the group had been made de ConMlii sententia. It is argued that the word Consilium must here indicate the Council of the Emp. Titus, in which cmt thn Bmun must have been executed in the time of that Emp#rtir, and may. t^ere. fore, have been inspired by Virgil's magnificent description of Uia (aU» of Laocoon in the 2nd book of the Aeneid. On tb* oii^r IimmI, tov^nJ inscriptions have been found in Italy referring to ill© of tbo Uirao sculptors, and the writing of these inscriptions polttlii %o iho Sod cent B.C. Wherefore Pliny's Consilium may o«ly nnoao % pvlllo board in Rhodes, at whose instance the group w«» «BMfated In thai island, whence it was subsequently removed to R^i'mct AfAli fnmi thil question the Laocoon group, judged on artistic grotindiv ^^ e^nc^iall* in comparison with the sculptures from Pergamcv now in IkirllA, toi^y fairly be assigned to about the middle of the 2nd cont. IlC. Reliefs.— 75 Triumph of Bacchus over the Indian* ; 76 BscckiBAUaD procession. The statues in the niches are Polyhymnia, and a Vymrii with a shell, found near the basilica of Constantint. ^^ Arcade.— 79 Reliefs of Hercules and Telephus, TkwoliUj mil a Salyr. 80 Sarcophagus, with Cupids carrying arms. UpoD it, WlaMJ nmii opening the tomb for two bo^s, Caius Clodius PiualUnM, i^td flryp, and Caius Clodius Apollinaris, aged five. This gnoclnl mntnimtil it from the Mattel Collection. Two large baths of r«4 aad (trtrr g— Hi* from the Villa Adriana. 81 Relief of an Empfcnr in a wJSSSSSi procession, found in the Pal. Fiano, and probably k«kmgiBtf to Uio Ara Pads. 88 Relief of Roma accomimnving a viotocio^iB Emperor from a triumphal arch. 91 Sarcophagus with Trilona aod KereiifaL ApoLix) Cabinet (11).— 92 •Apolix) BKLVBDwrai. fovnd ft» IW tod of the 15th cent, near Grotta Ferrata. It was piu«feAio4 hf Jnlhs II., when Cardinal deUa Rovere, and was one of thn ficti cptcimoni of ancient sculpture placed in the Casino Belvedere, to that w» mayr«ttar^ it as the point from which the Vatican Museum ooniiiAnoad. TW 1. ^and and rtr forearm are restorations b^ Mon|onot{, It \m WmI The City.] route 32.— atrio rotondo 331 questioned whether the 1. hand is here correctly restored as having held a bow, because another copy from the same Greek original, a bronze statuette in the Stroganoff Collection at St. Petersburg, holds out the aegis in his 1. hand, apparently to illustrate the Iliad (xv. 239-240), where Zeus lends Apollo his aegis to terrify the Greeks. But as the Belvedere Apollo has a quiver over his shoulder, he must also have had a bow, and the proper place for it was his 1. hand. This statue, almost as famous as the Laocoon, has lately suffered some disparagement from the discovery that it is in Carrara marble, and only a Roman copy of a Greek original, and from its having necessarily lost much of the refinement of detail which a Greek sculptor of a good period would have bestowed on it. Still there can be no doubt that the original conception is here faithfully reproduced in its general effect. The attitude is such as to strike the imagination. The pose of the figure, hardly touching the earth, is that of a god intervening in some mundane affair which was dear to him. It is supposed that the occasion may have been the attempt of Brenhus and his Gauls to sack Delphi, the favourite seat of the god, in B.C. 379, when the sudden appearance of Apollo as a youth of supernatural beauty, accompanied by an earthquake and a snowstorm, struck panic into the Gauls. What is peculiar in an artistic sense is the attitude and movement of the god. That seems to be unique among the many thou$!and« M ancient statues. But who tl># Qftk arti«t tnu who ^ffi CTMtod this XjfC of Apollo ha*, not vr4 bMB MeeriUDcd. Some bavo thouglkl €& fleopM, oihrr^, niorf> UU«ly. ci LeoobafM, tho neuljplor e^ a i^ronp Bii to tke Hw Smo Iba Atrio Rcdoodo.— 7 (1. of lb* «tttaMe) CippUA of Tlloriiix OflSTiu^ with rc4>e< oi % DUimmtmu, or yooth binilinc^ bU hmd. AboTo it, 6 UtlWf of Cupid and F^ycM Mm Plvlo mad ProMfpiiM*. In thn Qtolm u a hai>d«omo biMBn in F«mma»§§U» mhtWt, 7W foo4 may be a aeii n l» Xmi doca not bslong to tbo bovL 4, b Fn^pnmite of iMAtom. rcMMkahlo tor tbe lino mmatmbmi of Ibe drsfery. In th# Ittkoiiy an SiTiliqud *Atitmtmi9jfiwm or IMdbd Wind Indk)4toff with umimm oi wlm in Oroek and IaHoq. Tb&i «niq«e BftOoiUBMMt im« CouAd ttt 1719, in tlin f:-.inie to tbe loandatioo of e tcmplo to HeeoialMi, hy tbe CboMl M«mniiu», Ibe OMUfDMor of Corintb, in eooordaoai with • rom mn^ hr bim daring bk oakilinUai cmmfmitm ia Anbua {s.c. Ii6): dkoofored in Ibe Vina OainMnn oo tbo LaloriA. 8opnIohHk] relieea— 90 Aeiioaa en4 pS4o ; ^ Wnmm ^lo/, or Mr?ni^< ; it C«)<>Mal hff4 vf TrajHu. 332 KOUTE 32. — ATBIO QUADRATO. [Sect. I. At the further end of the Atrio del Maleagro a door opens on to a small room, whence a view may be obtained of the Scala di Bramante, a stair- way up which a horse can walk. Returning through the Atrio Botondo we reach the Atrio Quadrato (13), formerly the private chapel of the Pope, adorned with sacred arabesques by Daniele da Volterra. In the centre is the famous *Torso Belvedere (18), by Apollonius, son of Nestor of Athens, as we learn by a Greek inscription on the rock on which the figure sits ; foimd near the site of the Theatre of Pompey. It represents Hercules seated on a rock over which is spread the lion's skin, probably part of a group. The date of this sculptor is the 1st cent, or end of 2nd cent. B.C., at which period the display of muscle and bone was a chief aim of art. This was the characteristic of what is known as the Pergamene School, which flourished at Pergamos under the Attilid kings. The Torso is one of the finest examples of that school, accurate in its anatomy and powerful in expressing the action of the figure. It has been made of a number of separate pieces, which have come apart at the joints where they were fastened together and been lost. In the niche opposite the window is the Sarcophagus of L. Scipio Barbatus, great-grandfather of Scipio Africanus, and conqueror of the Samnites, who was consul B.C. 298. ' It presents a strange mixture of Ionic volute and dentil with Doric triglyph and gutta ; showing how soon the Romans had begun to use Greek architectural forms merely for decorative purposes, without structural meaning.'— 5. It bears one of the most ancient Latin inscriptions, expressed in Satumian verse thus, according to Ritschel : — Cornelius Lucius— Scipio Barbatus Gnaivod patre prc^natus— fortis vir sapiensqne, Quoius forma virtutei — pariauma fuit Consol censor aidilis — quei fuit apud vos, Taurasia Cisauna — Samnio cepit Subigit omne Loucana— opsidesque abdoucit. When the sarcophagus was first opened in 1781, the skeleton was found entire, with a ring upon one of the fingers. The bones were carefully collected by the Venetian Senator Angelo Quirini, who removed them to his villa near Padua, and placed them in a beautiful little monument. The ring was given by Pius VI. to the French antiquary Dutens, from whose possession it found its way to England, and is still preserved in the collection of the Duke of Northumberland at Alnwick Castle (see Middleton's Engraved Gems, p. 47, 1891). It is of gold set with a small sard intaglio of a victory. The bust of peperino crowned with laurel, above the sarcophagus, is called without any reason that of Ennius. On the wall are the original inscriptions of other members of the Scipio family foimd in the recesses of the tomb; among which those of Aulla Cornelia, the daughter of Sc. Hispallus ; Lucius Corn. Scipio, the son of Sc. Barbatus and conqueror of Corsica (b.c. 259); L. Cornelius Scipio Asiaticus, who conquered Antiochus (b.c. 190) ; and Gneius Corn. Scipio Hispallus, are remarkable examples of early Latin. ^ Twenty-four steps descend to the M«5eo Chiar^monti, foundod by Pius VII., whoso family nam© i* The Oity.] route 32; — museo CHiARAM6ifTi» §33 bears, and arranged by Canova. [A door on the rt. just tvithin the entrance leads to the Giardino della Pigna (not open to the public; see p. '331).] The corridor is 165 yds. long by 7 wide, and is divided into thirty compartments, which are nimibered on the upper part of the left waUs. XXX. — 733. Colossal recumbent statue of Hercules (Hadrian's Villa). XXIX. — 693 Young Hercules, crowned with a wreath ; possibly the copy of a work of the School of Scopas or Praxiteles. 698 Bust, supposed to be that of Cicero (Appian Way). 702 Colossal bust of Antoninus Pius (Ostia). 704 Ulysses holding out a cup to Polyphemus, whose figure is lost ; arm restored. XXVIII. — 682 Colossal statue of Antoninus Pius. 684 Fragment of a group — Aesculapius and Hygeia. 685 Sarcophagus, with a relief repre- senting the different operations for pressing the oil from the olives, at each side of a dedicatory inscription. 6&S The Vestal Tutia, who proved her chastity by carrying water in a sieve from the Tiber to the Temple of Vesta ; rude sculpture. XXVII. — 642-3 Fragments of reliefs relating to the birth of Erich- thonius (Hadrian's Villa). 644 *Relief representing a dance of female figures (Villa Palombara on the Esquiline) ; interesting as a study of drapery. 651 Boy with a swan (Ostia). 655 Statuette of Narcissus, his face reflected in a pool of water at his feet. 672 Ganymede about to be carried up by the Eagle, a variety of the group by the Greek sculptor Leochares (4th cent. B.C.), of which there is a much better example in the Gallery of the Candelabra, No. 257. XXVI. — Nothing of interest. XXV.— 598 *Carnoado8. 600 Augustus. 607 *Head of Neptune, in Pentelic marble (Ostia), presented to Pius VII. by the English consul, Mr. R. Fagan. 621 The Egyptian god Bes. XXIV. — 587 Ganymede with the Eagle. 588 Bacchus with a satyr and panther, discovered near Frascati. 589 Mercury ; the slimness of the figure indicates the 1st cent. B.C., when the School of Pasi teles flourished in Rome ; rt. arm with caduceus restored. 591 Statue of Claudius. XXIII. — 561 *Fine expressive head, commonly called Domitius Ahenobarbus (?). 667 Relief representing the Etruscan daemon Charun (Ostia). 568 Relief of a Mithraic sacrifice (Ostia). XXII. — 543, 545 Two torsos with enriched cuirasses-'-on one the Wolf with Romulus and Remus, on the other a Mithraic sacrifice by a woman. 547 Isis, a colossal bust. On the cippus below, a poet surrounded by Muses, and an inscription in Greek verse in his praise. XXI. — 507 Head, copied fr«m the Doryphorus of Polycletus. 510a Cato. 513 *Head of Venus (Baths of Diocletian), Greek work of a good time ; but the top of the head, the nose and part of the lips are modern restorations and disfigurements. 512 Marius, very expressive. 536 Bust of a youth, having the sentimental expression of the School of Pasiteles, 1st cent. B.C. 334 ^uTfe 32.— Musfio chiaramonti. [Sect. 1. ni^'^""*-^ •Sitting statue of Tiberiua (Piperno). 493 *Statuette of Diadumenianus. son of the Emp. Macrinus, aged 13. ^^^"«"« ^^ flaii;!:S'ff?*.^''^'"^^^'>^- I^ b*« been supposed that the many figures of this type are derived from the Eros of Pmxiteles • but in ^h« ?9rPeZ''""'' "' least there is very little left S that gVeaf m^^^^^^^ 498 Female spinning, and struggling to overcome sleep 497 Sf t%7\"p"rt^o:^^^^ representing a coVmiU turned b/Eorses'^ ^^ove r^JJjLt ^^.\ sarcophagus, representing children plavinc at castelletto, a game with nuts, which yet survives P^>ing at Ar.}^u-^'~^^ ^®^'®^ •, ^^"' *^ charioteers in the Circus showing S^f ♦S''^ ^°^' °° ^^^ ^Pi^*- ^64 Mithraic sacrifice ^ Koow *?^*^®^* o^ relief; Penelope (?) seated; under the chair a basket; the same despondent attitude as 261 in th^ oXry of Statues 1 his however is the work of a later period ; the drapery^^speciir^^^^ the breast-retams less of the archaiV manner and hw^en m^ffi!^ by the influence of the 4th cent. b.c. Probabl^thesr tw^scu^ ::i?:dirto^mT\?e^;^^ht^^ ^ -~ T>^^^V}^'~^^ Mercury, the head copied from the DorvT)horu8 of Polycletus ; caduceus restored. ■L^or>T)noru8 ot ■^^^^- — ^22 Demosthenes. 420 Vulcan 417 aiq r,i«*<, ^* t and Caius gx^ndsons of Augustus, wL d?ed young.'' 44flkiba^erm a Greek head of very fine style; greater part of the 1 ear and i^n if arc^^rjr^er'- ''' ^--^-^l^-^^the\e.d a laL imhatlon o^^the detaUs? '' ""'^^ ^^^ "'^^ ^^^^^ °^ minuteness in the ^ow^r^-T^^^?^*.*'''^ ^*^*^^ °^ Tiberius, in the toga with a crown of oak (Veil). 401 Augustus, a colossal head (Veii). ^ ' Tof^^'"~^^-^®H^^' "^^^ ^^P^^ ^«"^«« o^ Graces, found near the rec^ the neze of the Parthenon at Athena, though " Sv it t ttX VoS " ''''"■ " ""'^ '"°"«'^' '-- G?eece\rv'r/ice'b; thisTmlty ^a s'fon'^S^ira '64r(^':;^^'lr ''3U''cil'J"'"pH ^"^ "' In pavonazzetto (Villa Negroni) l^"^"^"^)- ''SG CapUve Phrygian, XIII.— 300 Fragment of shield with reliefs, battle of Greeks and Amazons, apparently copied from the shield of 'tSt Athena Zthenos by Phidias, liJie the more complete copy in the British MaSunr XII.— 294 Colossal statue of Hercules, restored bv Canova aqi 1°^^ iV"""^* '' ''«'' °f/''* ««™«« W PraxUele^; bu TThe w^k 2WXS"o'eS(pTrd.iror '"""'"'' """ '""""^ °''«*°'^ The City.] routeJ 32* — MtjSEd csiaramonti. S35 285 *Statuette of Apollo, extremely interesting as being an ancient copy from the famous statue of Apollo at Miletus by the Greek sculptor Canachufl, who lived in the archaic period, about 600 b.c* In the rt» hand is a fawn ; lower part of legs restored. 287 *Sleeping fisher-boy. X. — 244 Colossal mask of a river god, on a round altar with good low reliefs of oak leaves. IX. — 197 Colossal bust of Minerva, with glass eyes (Tor Paterno), much restored. 232 Bust of Scipio Africanus, with head in Nero antico. VIII. — 176 •Niobid, formerly in the Quirinal Gardens (Hadrian's Villa). The great vigour and boldness of the drapery entitles this statue to be ranked as the finest of the existing copies from the group of Apollo and Diana slaying the sons and daughters of Niobe, by Scopas or Praxiteles. A number of ancient statues copied from that famous group are at the Uffizi, and there is one in the Gallery of the Candelabra. 179, 180 Sarcophagus of C. J. Evhodus, and of Metilia Acte his wife, a priestess (Ostia), with relief of the fable of Admetus and Alcestis, whose faces are represented by portraits of Evhodus and his wife. The dying wife extends her hand from the death-bed, bidding farewell to Admetus and his children, a boy and girl. Two women break into lamentations beside the bed. On one side Apollo is leaving the house of the king, on the other side is a group of Hercules giving his hand to Admetus and bringing back to him Alcestis whom he has rescued from Hades, the mouth of which is represented by a cave in which is Cerberus. Alcestis, veiled, foUows Hercules. In the background are the three Fates. On the extreme rt. sits Pluto. 181 Diana Triformis. VII. — 130 Relief of poor execution, but interesting for its repre- sentation of the Sun and Moon as objects of worship. 135 Julius Caesar (?) veiled as Pontifex Maximus. 166 Archaic Head of a youth. VI.— 120 A vestal (Hadrian's Villa), left hand restored. 122 Diana, both arms and legs from above the knees restored. 124 Statue of Augustus on a cippus of Munatius Bassus, who had held office among the Roman citizens of the Colonia Victrix at Camalodunum (Col- chester). V. — 78 Small head ; Greek workmanship. 79 Fragment, hand of a colossal figure seizing the head of a figure which has been on a smaller scale ; Greek. IV. — Nothing of interest. III.— 28 Head of Amazon of the type of Polycletus. 49 M. Agrippa. II. — 14 Euterpe (Quirinal); the drapery is slightly archaic in manner, and out of keeping with the head. 18 Statue of Apollo. I. — 2 Apollo seated, part of a relief (Colosseum). 5 Fragment of a draped female figure (Ostia). 10 Fragment of relief in the archaistic manner of the Ist cent. B.C. when a taste for archaic Greek work of the 6th cent. B.C. led to its imitation, but with much excess of detail, as here in the folds of the drapery of Minerva. 6, 13 Autumn and Winter, recumbent figures upon Sarcophagi, bearing reliefs of fapaily ^oups. 336 ftOuTE 32.— BRACCIO NUOVO. [Sect. I. Piul Vll^fn fi?7 ^"°''^u'^5' ^^^^i ^^ *^« ^^^«o Chiaramonti by f liJ l^ ^^^^' ^'^"^ ^^® designs of Raphael Stem It is 77 v^« in Wh and weU Ughted from the roof, w^ich is supported by co^^^ of cipollino and grey granite, with Corinthian capiLls (Via llamS S Trait and W"''' T T ^^'^^.^^ ^awJr froi the 00^7^8 Onlhe^rt """ ''''^'^' ^'^^ ^'^^ ^*^°^ triumphal arches! 5 *Canephora or Caryatid, the head and fore-arms restored bv Thorvaldsen, said to have been brought from IthenT to Venice by Doge Morosmi m the 17th cent. ; but more probably one of the Carva Lt'pa^jLeof the'?^f ?^fi*" ^''''l ^'^^'^'^ o? Athens decoS d«!i5oTJ :u .^® ^^^^^ ^^'® *^<^ style of the sculpture are both derived rom the famous Caryatides of the Erechtheum at Athens 9 Colossal head of a Dacian (Forum of Trajan) ^^^^ens. and iKif °''''''°^ *^® '''^*°* Bacchus (Pal. Ruspoli). The black and white mosaic pavement represents Ulysses passing the Sirens he IS tied to the mast ; above the ship is a Siren in frnnf ?» f k ' monster Scylla (Torre Marancia). ^ ' ^ ^'°"* '' *^® '^^■ 14 *AuQU8TUS, discovered in 1863, among the ruinq of fha vnio «* tLfj^T'' I^^f K ^^2)- P^-^^ii^ --wl ; the held wWch ?s separate from the trunk, is evidently one of the best likenessls of the great Roman Emperor in the prime of life The onirftt« i« f uk . i s'a^dlr?; a "^'iV^^^^^ r'p '' ^ ^-^^- pre^^ingrC^t^ Hon of fi '^•^**'^ ^^'^^ ^PP^*'^ intended to represent the r^tora tion of the ensigns captured by the Parthians (Ann ''nn\fJu legions under Crassus.^to TiJrius, the lifu" nin?" of 'S^iUZs b^ Phrates (a.uc. 745); remains of ancient colour in the drSs of'th« barbarian. On each side are seated figures, emblemat cal o^rban'an fZr-' P""'*"5' 9« Gallia ">d Dlcia. 17 Young Physician ^ Aesculapius-supposed to be Antonius Musa, who cured Au^atuH ^ Sir^to^L^Nfrvr °' '^'""^"^ <^'^-°)- ^0 sttutTaXa ! 23 *Pi^dtciita-head and rt. hand modem (V. Mattei) 24 Bust nt greerori^^ ra'^'r^e^Srs^e-'-^eK- ^^''"-^ ''^ » Under the central dome is a large Vase of black basalt (Ouirinan At the corners 27, 40 93 Colossal masks of Medusa (T^ple of vTn^ and Rome) ; a fourth (110) is of plaster and modern. ^ In the reclro^ GYaJ^'an^^tXllet; ''''^'''' ^^'"^ ^^^---) ^ "- °o^f Gan^^?de^^?^t^Tn^ Sfli^^LT; .^en^^f^^^^^^^^^^ artist Phuedimus. 38a Faun playing the flute ^^ ^^ ^^^ nnrf Tf^VJ."^^ ^^''°^. ^^^^ ^^"' ^^ Wouuded AmazoD : both arms and part of the legs restored; a moderate copy from one of theTncienfc statues of this class by Polycletus or Cresilas. 48 Bust of Tra an 53 *Tragic Poet marked Euripide) holding a mask ?ain«fir!^t^ •^' 56 Julia, daughter of Titus (see 26). ' ^ (Giustmiani). V. ^T *P=M08THENE8, deservedly celebrated. The scroU which h^ ^Cne^^r'/rSL^! '"'^""^ "« ^^^ -.ra"ti:n^s'fvi£: The City.] boute 32.— braccio nuovo. 337 67 ♦Athlete, found in the Vicolo delle Palme in the Trastevere in 1849 ; the only restoration is a small fragment of the nose and some fingers of the rt. hand : a copy of a celebrated bronze figure by Lysippus (B.C. 325), known as the Apoxyomenos (scraper), which is said by Pliny to have been transported by Tiberius from the Baths of Agrippa to his own Palace, but from the clamour of the people restored to its original situation. The figure is in the act of using the strigil with his 1. hand. Consistently with the system or canon of proportions employed by Lysippus for figures of athletes, this statue has a small head, short body and long legs. But it is likely that the bones and muscles had been more pronounced in the original bronze than is this marble copy. Otherwise the statue reproduces very finely the lithe supple figure of an athletic Greek youth. The die, in the rt. hand, is an addition by the sculptor Tenerani, who restored the fingers. 71 ♦Amazon in the attitude of the wounded Amazon of Polycletus ; the arms are modern. The head and drapery retain much of the manner of an original work. 72 Bust of Ptolemy, son of Juba king of Mauritania. 77 Antonia, wife of the elder Drusus, and mother of Germanicus, Claudius, and Livia (Tusculum). 80 Statue restored by adding a head of Plotina, wife of Trajan (?). 81 Bust of Hadrian. 86 Fortuna, with rudder and cornucopia (Ostia). 87 Sallust (?) on a bust of oriental alabaster ; good work. We now enter the hemicycle on the rt., which has two columns of rare black granite. 94 *Female statue. 97a and 106 Busts of the Triumviri, Mark Antony, and M. Aemilius Lepidus, discovered in a grotto at Torre di Sapienza (pp. 451, 469). In the niches, 97, 99, 101, 103, 105 Athletes ; the third was found with the Faun (No. 41) near the Lacus Circeii, where the villa of Lucullus is generally supposed to have been situated ; the others in the villa of Quintilius at Tivoli. 101 is of the attitude and type of the Doryphorus of Polycletus. Above it, bust of Pius VII., by Canova. The mosaic pavement represents Diana of Ephesus, with arabesques and figures of birds and plants around (Poggio Mirteto).i 109 Colossal group of the Nile, found near S. M. Sopra Minerva, on the site of a Temple of Isis, about 1515. The 16 boys represent the 16 cubits of the annual rise of the Nile as recorded by Philostratua (Imag. 5). Aroiind the base are symbolical representations of the rives, the Nile boats, ibis, stork, ichneumon, ox, lotus, and combats between pigmies, hippopotami, and crocodiles. Ill Statue of Julia, daughter of Titus (see 26). 112 *Bust of Juno. 114 *Minerva, in Parian marble (Giustiniani). The rt. forearm and 1. fingers are modem. 117 *Claudius in a toga. 118 Colossal head of a Dacian prisoner, belonging probably to a full-length figure, from the Forum of Trajan. 120 ♦Ancient copy of the Faun of Praxiteles. 121 Bust of Commodus (Ostia). 123 Heroic statue of Lucius Verus, both arms restored. 124 *Bust of the Emp. Philip the Elder. 126 Copy of the Doryphorus by Polycletus. 129 Statue of Domitian. 132^ Mer- cury, restored by Canova. The head, which does not belong to the statue, was found in the Colosseum in 1803. At the R. extremity of the Museo Chiaramonti is the Gallery of Inscriptions, a corridor, 230 yards in length, containing more than 5000 ancient sepulchral inscriptions and monuments. It is not open to the public. On the rt., beginning from the S., are the Greek and Latin [Rome.] z 338 BOUTE 32.— GIARDINO DELLA PIGNA. [Sect. I. Pagan inscriptions : those on the 1., with the exception of a few near the entrance, are early Christian, found chiefly in the catacombs. Errors of orthography and grammar are glaring ; but the inscriptions are frequently very touching. Among the symbols represented are the monogram of Christ, formed by the Greek letters X and P; the fish (I'x^s), composed of the initial letters of the common Greek epigraph, •Jesus Christ, Son of God, our Saviour; ' the Vine; the Dove with the olive-branch ; the anchor of Hope ; the Ship of the Church ; the loaves and flask of the body and blood of Christ ; the Palm ; and the Sheep. An examination of these monuments will prove an appropriate and instructive study after a visit to the Catacombs. In the first compart- ment is an altar to Semo Sanctis, found on the Island of S. Barto- lommeo in July, 1674. 21 Sarcophagus with Circus races. 47 Sarcophagus of Marcianus, 6 years old, with three portraits and metrical inscription. 80 Sepulchral relief of a husband and wife, with their child. Ill Well-mouth, with representation of the Meta Stidans, and lions devouring horses. 147 Monument of two cutlers, with implements of their trade. 162 Sarcophagus, with a husband and wife taking leave. 204 Frag- ment of a fine colossal Claudius (head in the Braccio Nuovo). The Giardino della Pigfna (no longer open to the public) is oblong in form, and lies due N. and S. It was laid out by Nicholas V., and •alarged by Julius II. from the designs of Bramante. At the N. end is a large niche, containing two bronze peacocks and a colossal pigna or pine cone, 11 ft. high. These ornaments, which probably l)elonged to Agrippa's artificial lake in the Campus Martius, were placed by Pope Symmachus upon his fountain in front of the Vatican Basilica. The name of the artist, Publius Cincius Calvius, is engraved twice round the lower edge of the cone. Behind it is the pedestal of the ♦Column of Antoninus Pius (p. 10), with a Latin inscription, found on Monte Citorio in 1709, and removed to this spot after the shaft, discovered at thvi same time, had been damaged by the accidental burning of the scaffolding on which it lay. It is 11 ft. high, and is ornamented with high reliefs, representing the apotheosis of Antoninus and Faustina, funeral games, allegorical figures of Rome, and the genius of the Campus Martius holding an olxjlisk. Upon the bottom of the granite shaft existed an inscription in Greek, a cast of which may be seen in the Galleria Lapidaria, stating that it was sent from Egypt by Dioscurus, an agent of Trajan, in the ninth year of his reign. In the centre of the garden is a large Column of affrkano verde, found at the Marmorata, and erected here in 1886 to commemorate the Council of 1870. On the summit is a bronze Statue of St. Peter. Bound the Garden are several Statues aud reliefs, including a fine colossal head ia white marble. The visitor must now return to his starting point, the Sala a Croce Oreca, from which he enters the Egyptian Museum (Admission, p. [34]), founded by Pius VII (1800-23) and Gregory XVl. (1881-46) ^ !•— Two fine mummy-cases in basalt (rt. coffee-coloured, 1. green) and two in painted sycamore. The City.] route 32.— Egyptian museum. 339 II.— (Straight on) Colossal statues of Egyptian divinities, chiefly the lion-headed goddess Bubastes or Pasht. The two *lions in black granite formeriy stood at the Fontana di Termini, to which they had been removed from the portico of the Pantheon. The large female ♦Statue between them is supposed to represent the mother of Rhamses II. or Sesostris. 10, 12, 14 *Statues of Ptolemy Philadolphus and his wife ArsinoS, in red granite (Gardens of Sallust). in.— Roman imitations of Egyptian statues, for the most part from the Villa Adriana. 36 •Colossal statue of Antinous, in white marble. 27 Recumbent figure of the Nile in grey marble. IV— Smaller Egyptian divinities, and a collection of Canopi f and vases in oriental alabaster. v.— Semicircular corridor, formed by the hemicycle of the Giardino della Pigna. Mummies, mummy cases, and statues of the larger Egyptian divinities in granite and basalt from Karnak. VI. — Bronze divinities, scarabaei, and necklaces. VII.— Smaller Egyptian bronzes, including a situla, or bucket for holy water, used in the worship of Isis. Mummies of cats. VIII.— Incised stones, tiny vases, and small figures, in stone and earthenware, of Egj'ptian divinities. IX. — Papyri in frames. X. — Cuphic and Arabic inscriptions. Model of the great Pyramid. Small replica of the Nile group (see above). Steles. Cast of the Rosetta inscription in three languages, by means of which ChampoUion and Young were enabled to decipher the hieroglyphs on the Obelisks. Immediately above, at the top of the ScaUi Nobile, is the ETRUSCAN MUSEUM (Musteo FArnsco Cfregoriano), founded in 1836 by Gregory XVI. The First and Second rooms contain terra-cottas and urns, mostly of a late period. III.— In the corners, 105, 108, 111, 115, 118, Urns containing ashes of the dead, found in 1817 in the necropolis of Alba Longa (now Pasco- lare di Castel Qandolfo), under three strata of volcanic eruptions, by peasants cutting trenches for vineyards. They are in the form of the primitive hut [tuguriumy of the Latin people. Monument in the form of a round temple, inscribed with the name of Tanaquil Ma&nia, Suthi : Thanchfilus : Masnial. 110 Slab of travertine from Todi, with bilingual inscriptions in Latin and Umbrian. IV. — Terracottas. In the centre. Statue of Mercury (Tivoli), fairly attractive ; Roman workmanship. 216 Urn found at Toscanella in 1834, on the cover of which is a recumbent figure of a youth, pro- bably Adonis, with a wound in his 1. thigh and a dog. 211, 234, 264, 266 Fragments of three female statues found in excavating the tunnel of Monte Catillo near Tivoli. On the walls, Three reliefs, with labours of Hercules, of the Roman period, and made from moulds. 154-157 (On the left) Piece of a cornice with bold floral design, and two heads t These "Canopic jars "—so-called from the god Kanopos, worshipped in the town of that name— were used for containing such interior parts of the human body as could not be enhalmed. Z 2 340 ROUTE 32. — ETRUSCAN MUSEUM. [Sect. I. (Bacchus and Ariadne) ; Roman period. In contrast (in the comers above) 170 and 194, two archaic antefixal ornaments from the cornice of some Etruscan building, probably a temple of the 6th cent. B.C. 170 IS the head of a Satyr, 194 (in the opposite corner) a female head, lioth have been richly coloured, and are surrounded by bold floral patterns. Below the frieze, Rape of the Daughters of Leucippus. 223 Perseus with the colossal head of Medusa. On the ground is a fragment consisting of the forepart of a winged horse or Pegasus, which also has belonged probably to an archaic temple, forming part of one of the angles of the pediment ; richly coloured. 265 Stucco relief. Venus and Adonis. ' •X*"7^^^*~9^^^^ and Etruscan vases. The vast majority of the painted vases m this and the foUowing rooms are the work of Greek potters and were imported from Greece by the ancient Etruscans, by whom they appear to have been prized as household ornaments. When the owner died they served for display at his funeral ceremonies, and finally were made to decorate the interior of his tomb. The principal museums of Europe contain great numbers of these vases, obtained froni tombs, and indicating an extraordinary passion for them among the Etruscans Very many display the most exquisite skill of drawing, and belong to the finest period of Greek art (460-400 B.C.). These are characterised by red figures {i.e. figures showing in the natural red colour of the clay of the vase) surrounded with a black varnish. /itSfTnn''® "" . '^m}^®'* ®P^^^' ™°^® ^^^S »^d constrained in the drawing (550-460 Bc). These are recognised by having the figures painted in black on the red clay of the vase, with occasionally accessory colours in white and purple, and are generally heavier in shape. When the vases of this class were being imported (b.c. 550-460), the Etruscan potters- accustomed to work successfuUy in terra-cotta, but not in painting and firing vases-occasionally attempted to imitate the Greek ware, but often very disastrously Still older are the vases decorated chiefly with bands of animals, and generally known as Corinthian. With them begins the series m the V. Room. After the finest period, that of the red-figure vases with pure and refined drawing (b.c. 460-400), followed LrHrn^n^!^ ^f ' ""^^"^ ""^^^^ °^ ^^'^^ «i^« *°d floral dccoratiou were produced These appear to have been made chiefly by Greek J^ii i/V''!^'''* '"^ Southern Italy, as in Apulia, whence they are often nfili qSTlT/^'"'- P" ^'^ «^«^« *« ^*^« «^««d about the middle rlnr«lrff J^n fK-'"' Ti^"^!? ''^^^^^ «**««« «^ ^'^^^ Ceramics are well I^^Z? fr A . ' collection. Among the vases of the finest period ^Tlp? zTJ/lzl 4^^*^ ^^^*y' Pa^tic^lariy the shallow circular vases S^nningtth ^"^^g^"^^"^ «« Rooms is generally chronological. ir. ZT^^"^ *^® ""Tl^^ t ^fF cauldron-shaped vase (lebes) on a stand ; JL^. PT"'n^*°«^^^^'"«^^ *b« b^^* of the Calydonian Boar fmlitZ f^fn' l^'^A ^^'%' °^ ^""^^^^ i^ Corinthian style. 4 Etruscan ,,^^«?n:.^T^5^''''i 6 Oenocho^ of the later CorintLian style, with ^orfr^nW^f /? *^' C?nnthian alphabet {e.g. HBOTOP = Hector). wbnd^fcf L P^i o^ n' !^*P" *^^ «^yl« of the potter Nicosthenei, whose name it bears. 19 Crater with marriage precision. VI. -Black figure vases {amphorae and hydriae), 6th cent. B.C. Th6 City.] ROUf B 32.-^fif RUSCAN MUSEUM. 341 78 In the centre a large ♦Amphora by the painter ExeUas one df A.lnr* Ta^P^"' 1^^ ^^ '^y^^' ''^'^ ^*h ^^^^^^- On thTobverse Achilles and Ajax playing at dice ; the one has thrown four (TESAPA) the other three (TPIA) ; the names are inscribed, as also the name of a favourite 6netorides (koAo,). Reverse, Pollux, LedacX llf^IZ^""^ a.boy carrying a stool on hik head. ' 43 Amphora:' Eos (Aurora) looking down at the body of her son Memnon, who has been slam by Achilles 51 Coarse Etmscan imitation. 70 Scenes in ^1 .7^'. trade with Greek inscriptions ; obverse, one of thffigures says. Oh, father Zeus, would that I might be rich ' • on the reverfrhe IS answered, 'The vase is already full to overflowingr 71 75 Prize Tve^tritS^eTictltl^^^^^^^^ ^' ^^^-- ^^--. A^^-! fill?'' u^^'^ W"^^ '''''^^ i" ^"« ta^d as if it were a stone 84 *Amphora with figure of AchiUes. drawn in a large simple manner ?he SFnnrkfT^t^^ style with Apollo and Heracles con^tending fo^ the tripod at Delphi. 97 Hydria, ApoUo crossing the sea on a d^r^L'g\?dtmVt[Mr^ ^^ '^^^^^^ ^' ^^^ -^^-^ - -^ - of th: 108 ♦Crater with polychrome figures on a white ground, from Vulci • Hermes bringing the infant Dionysos to Silenos, who sits on a rock;' Z TAhf '?K ^ P %^r?,«^ ? lyr« between two companions who stand Z ^rawfnr'?fi?"^i^v ^'^^\^^^^^ ^^ existence. The refinement o tb« ?«nlfnl ^^f^' ^f.^''*7 o^ *^^ colouring combine admirably with the tenderness of sentiment expressed in the subject. 121 Apulian crater with Zeus accompanied by Hermes paying a visit to Alomena who shows herself at a window; humoroSs'^in^ style. 134 *EScto; parting from Hecuba and Priam. sector .,, ^™;~^?* ^1?*!^ ***^^ (%iiA^s) of the best period (1st half of 5th cent, B.C.). 157 Banquet scene. 164 Groups of armed Ld draped figures, m very good style. uiapeu Large glass case containing ware of all periods ; in the centre is a ^^ ?J®P'*®??"^'°# *^*''''' (IA20N) vomited up by the dragon which guarded the golden fleece, much in the manner in which Jon^ht vomited up by the whale on Christian sarcophagi. Athena stands looking on There appears to be no literary version of this incident. Above on the rt. is a black figure amphora by Nicosthenes of the shape and drawing usual with him; on the 1., a *fine red figure vase with Menelaos pursmng Helene, Aphrodite interv^ening. 225 *Kvlix : banquet scenes ; in the interior a man who has taken too much has become sick and lies on a couch, while a young woman holds his h^d. The subject and the strong forcible drawin| suggest ooa *x? i'?''^^'*'^*^*' ^^^ greatest of the Greek vase painters, f 1, ;.i ^i? representing the myth of Hermes as an infant stealing the cattle of Apollo. The moment chosen is when Apollo has recovered bis cattle, and recognises the infant Hermes in a cradle which is shaped 99i? Wf, ''®* ^^^. ^*.y^® '^ **^*^ ""^ *be well-known vase painter Brvgos. Twn^tr^^ani"?^^^^^^^^ ^ ^^^^' '^^^^ ^^'^ ^^-' ««-^^- «*"'-g 275 Small ♦kylix with white ground and design in black in the 342 KOUTfi 32.— ETttUSCAK MDfikiUM. [Sect. I. R interior — In the archaic manner of the 6th cent. B.C. On the 1., Atlas bearing up the heavens ; on the rt. Prometheus bound to a pillar, while the vulture approaches to gnaw his liver, from which blood flows. Vases of this peculiar fabric are generally known as C}Tene vases, from the circumstance that the most important specimen of the class, ^ now in the Biblioth^que Nationale in Paris, represents Arcesilaos, kin^ of Cyrene, receiving tribute of the silphium plant, a rich source of his revenue. IX. — Bronzes. On the end walls are six circular shields in bronze (Regolini-Galassi) ; over the entrance door another shield (Bomarzo). 150 Tripod supporting a cauldron, decorated with dragons' and lions' neads. 155 *Bronze bier, found at Cervetri (Caere), in the sepulchre excavated in 1826, and known as the RegoHni Cralassi tomb (Rte. 58). On the wall behind, 83 Curious bronze visor. 69 A long curved Etruscan trumpet. Nimierous beautiful candelabra, helmets, spears, battle-axes, cuirasses, greaves, and other pieces of armour. 57 Bronze tray, supposed to have served as an incense-burner. 204 War chariot of Roman times (Villa dei Quintilii). 187, 196 Mirrors, with engraved figures and Etruscan inscriptions. 207 Cylindrical Cista. In a case at the last window is the foot of a vase in black ware, round which is incised an alphabet arranged in single letters and in syllables, found in one of the tombs of Caere ; it has 25 letters, written from left to right, and is one of the most ancient examples of the Greek alphabet. 380 Brazier from Vulci, with tongs and shovel. 329 In front of the central window. Boy wearing a Iralla, having an Etruscan inscription on the left arm (Tarquinii). 327 *Oval Cista (Vnlci), with handles formed of female figures riding en swans, and decorated with reliefs representing a combat of Greeks and Amazons, in the style of the 3rd cent. B.C. It contained articles of toilette, hair-pins, rouge, two bone combs, and a mirror, now in the .lower part of the central case. By the door, 283 Bronze statue of a boy found near Perugia, having an Etruscan inscription on the leg, and holding a bird in his hand. 313 Bronze statue of a warrior, known as the Mars of Todi, found at Todi in 1835 ; the helmet is a restoration ; on one of the flaps of the cuirass is an Etruscan inscription. In an adjoining glass case is a collection of Roman bronzes and glass, discovered at Pompeii in 1849 during an excavation at which Pius IX. was present ; in the lower part is a good marble relief with a youth on horseback. The ♦Jewellery is contained in a stand in the centre of the room. In the upper part are three silver-gilt paterae with Phoenician designs incised and slightly beaten up, resembling the paterae from Palestrina in the Kircherian Museum, and like them imported at a time when there existed commercial intercourse between the Etruscans and the Carthaginians, probably in the 7th cent. B.C. Below is a silver bowl with similar designs. To the 1., Gold pectoral covered with a multitude of small figiires of winged lions and winged female figures, beaten up into slight relief. Gold fibulae or pins and necklaces. Heavy gold necklaces in the form of spindles and whorls alternating and decorated with incised zigzag lines. Necklace with amber pendant in form of a scarab. The City.] tt6UTi3 32.— VATldAK LlBKAiiV. 343 Silver vases. Braoteate gold. Ornaments of gold and amber. Rich group of gold ornaments, including two large armlets with bands of female figures in relief and decorated with granular work. Gold veil from the tomb of a priest (Cervetri). Curious object consisting of an upper nearly semi-circular plate with figures of lions in low relief in the centre, then two horizontal cylinders covered with patterns formed of separate grains cf gold and soldered on to ground work, and lastly, a nearly oval plate with rows of birds and granular patterns. This form of goldsmith's work appears to have been largely practised by the early Etruscans of the 7th cent. B.C. It is excessively laborious, with com- paratively small artistic results, and is very rare among Greek remains. X. — Passage containing Roman water-pipes in lead, dug up near the aqueduct of Trajan, close to the Porta Aurelia. On the 1. wall. Frag- ments of a cista, with an inscription, from Vulci. XI. — Large lofty hall with facsimile copies of the paintings on the walls of the principal tombs of Tarquinii, and the Painted Tomb of Vulci. As the Vulci tomb is now destroyed, and as the paintings at Tarquinii necessarily suffer from damp and exposure to the atmosphere, these copies are now of great value. Three large tombs — on the rt. in iienfa (Corneto) ; central in sandstone, partly painted; on the 1., in tufa — both these from Vulci. Red and brown fluted jars for oil and wine from Veil and Caere. Latin inscriptions of a.d. 305 found at Vulci, and bearing the name of that place. Returning through the Hall of the Bronzes, XII. — In the centre of the room is a case containing bronze vases, on the top of which is one in the form of two cones joined by their summits (Regolini-Galassi). In a recess is a fasimile of an unpainted tomb ; it is entered by a low doorway, guarded by lions, from Vulci. The tomb has three couches, on which the bodies were placed, while on the walls are vases, and other objects of domestic use. LIBRARY OF THE VATICAN.— This great Library may be con- sidered as the creation of Nicholas V. (1447), who transferred to his new Palace the MSS. which had been collected in the Lateran. At his death their number is said to have been 9000, but many of them were dispersed by his successor Calixtus III. These losses were not repaired until the time of Sixtus IV., whose zeal in restoring and augmenting . the library is celebrated by Ariosto and by Platina, who was appointed its librarian about 1480. The present building was erected by Sixtus V. in 1588, from the designs of Fontana, a new apartment having become necessary to receive the collections made by his inunediate predecessors, and particularly by Leo X., who, like his father Lorenzo the Magnificent, had sent agents into distant countries to collect MSS. At the close of the 16th cent., the munificence of the Popes was aided by the acquisi- tion of other important collections. The first was that of Fulvius Ursinus in 1600, followed by the treasures of the Benedictine monastery of BobbiOf composed chiefly oi Palimpsests. The library then contained 10,660 MSS. (8500 Latin, 2160 Greek). The Palatine Ubrary, belonging to the Elector Palatine, captured at Heidelberg by Tilly, and presented to Gregory XV. in 1621 by duke Maximilian of Bavaria, was the next accession; it contained 2388 MSS. (1956 Latin, 432 Greek). In 1658 344 KOUl'E 3^.— VATICAN LlBRASY. [Sect. I. the Vatican received the library of Urbino, founded by duke Federigo whose passion for books was so great that at the taking of VolterraTn 1172 he reserved nothing but a Hebrew Bible for his own share of the T^' Tbi8,««"«jtion contributed 1711 Greek and Latin MSS In 1690 was added the Bibliotheca Alexandrina of Christ na queen of Sweden : it comprehended aU the literary treasures taken by her father n?fSift/^ ^? ^ ^I'^'j ^^ ^^^^^' Clement XI. in the beginning of the 18th cent, presented 56 Greek MSS. to the collection • and in 1746 MSrSsgi^LltTn^^^^^ "f u*^^ ^"^^^^"i '^"^'y^ containing 3^ bfy MSq frnnf^t^^^^^ About the same time it was augmented by ^^6 MbS from the hbrary of the Marchese Capponi In 1902 Leo XIII. added the Barberini library, purchased at a cost of £2?00r Permission to use the Library for purposes of study can onhTbe obtained with the assistance of Ambassador or Consul. It is op^n f^rom June 2'^h On' Tb '"^ ^""''^ ^"^^ '^"^ ^^^'^ « '^ 12 from Ser tm student^ '*'' numerous feast-days it is closed to Gall^rt ^tVS ^^^'^^^^^f *^r^"gli a reek inscriptions, found in the Triopium of Herodes Atticus on the ^^ppian Way (originals at Naples). Opposite, CarS GTustinian? by Domenvchino; near the further end. Card. Mezzofanti. On the walls triptych of the Annunciation, with SS. John Bapt. and Raphael and several single figures or groups of Saints, aU on gold ground ' A staircase descends to the Bibliotbca di Consultazionit comprising books which serve for the study of MSS histori^l and philo ogical. These works are arranged in order of countries and^ every facihty for r^dy reference is thus supplied. At one end of the princZ^ alley is a sitting marble Statue of St. Thomas Aquinas by Aureli The Bibhoteca Zelada, Biblioteca Palatina, and^ther Llftions or bequests, occupy separate sets of shelves «*cquibiMon8 or f. TJ?f entrance for non-readers is by a glass door opposite the entrance' to the SciUpture Galleries. Visitors are admitted in ^oups and conducted by the custodi, who describe, in Italian and fS' what The City.] ROUTE 32.— museo phofano. 345 for MSS. are all closed, the Gallery resembles a scantily furnished Museum, rather than a Library. The first compartment is dignified by the name of Museo Profano, in contra-distinctioni to the Museo Cristiano at the further end of the Gallery. On the rt. wall, two mosaics from the Villa Adriana— Garland of fruit and flowers, and Landscape with animals. To the rt. of the door, bronze *Head of Augustus; opposite, Marcus Aurelius; below the latter, ivory Backgammon board. To the 1., Vitellius; opposite, by the door, Nero ; below it, ♦Venus— all heads in bronze. The cabinets, seldom opened, contain a very valuable collection of small Greek and Roman bronzes, ivories, glass, lamps, vases, personal ornaments, and mosaics. The carvings in ivory, affixed to the shutters, were mostly found attached to the Christian sepulchres in the cata- combs : they date from the 2nd to the 7th cent. Among them is a remarkable triumphal car drawn by four horses, a close resemblance to the large relief of Marcus Aurelius on the stairs of the Pal. dei Conser- vatori. Modern cameos in pietra dura by Girmnetti, purchased by Gregory XVI., and a very beautiful cup in amber, with reliefs. Fable of Perseus, and the wars of the Trojans, by Cellini. Several vases and articles of domestic economy ; and the hair of a Roman young lady, tastefully tressed up, found with her skeleton in a sarcophagus, Further on, in niches, are two curious statues of the god Mithras, as venerated in the temples, consisting of a human figure with a lion's head, the body entwined with a serpent, and keys in each hand. Opposite are two porphyry columns sculptured with twin figures, probably brought from the East. Further on, four handsome columns of porphyry, and two of Occhio di Pavo7ie (peacock's eye). At intervals down the Gallery are some of the costly Jubilee gifts presented to Leo XIII. in 1887. Half-way down the Gallery on the 1. opens the Great Hall, 77 yds. long, supported by six pillars, and decorated with frescoes by Scipione Gaetani and other artists. In the Vestibule is a large tazza of Swedish granite, between two bronze statues, presented by the people of Auvergne and the Diocese of Reims. On the 1. is the Archivio Secreto, where are preserved the most interesting manuscript historical documents connected with the government and diplomatic correspondence of the Popes. The door leading into it is a fine specimen of intanrsia, with views of four monuments erected during the reign of Pius IX.— the Viaduct of Lariccia, the Basilica of St. Paul, the tabernacle of the latter church, and the baldacchino of the Lateran. The frescoes in the Great Hall represent on the rt. the foundation of celebrated Libraries, on the 1. early Councils ; on the vault are some interesting views of Rome, showing several buildings now destroyed. Attached to the pilasters and walls are 46 painted cabinets containing the MSS. ; upon them are Etruscan vases. Two candelabra of Sevres china, presented to Pius VII. by Napoleon. Two fine tables of granite, supported by bronze figures ; upon the first are two handsome vases of Meissen porcelain, with views of the royal residences near Berlin, presented by the King of Prussia to Pius IX. in 1860. Between them a large block of malachite given by Prince Demidoff. Basin in Aberdeen granite, a gift from the Duke of 346 ROUTE 32.— -VATICAN LiBRAftV. [Sect. I. Northumberland to Card. Antonelli, and by him presented to the library. Vase given to Leo XII. by Charles X. Vase in Sevres porcelain, covered with Christian emblems in an early style, presented by Napoleon III. to Pius IX. on the occasion of the baptism of the heir to the Imperial throne, when it was used. as a font. Vase of Berlin porcelain, presented in 1869 by the King of Prussia. Square tazza of malachite from the Emp. of Russia. Vase of Oriental alabaster made in Rome from a block presented by the Pasha of Egypt. Other vases were presented by Charles X., President Gr6vy, Pres. Carnot, and Marshal MacMahon— who also gave the four curious tablets of Labrador stone, metallic in hue. The two vases of red Russian quartz were the gift of the Emp. Alexander. The door, flanked with two columns of Oriental alabaster, leads into the ante-room of the Library (see above). Principal MS^.:— Codex Vaticanus or early 4th cent. Bible, in Greek, containing the oldest of the Septuagint versions of the Scriptures, and the first Greek one of the New Testament. It is supposed to have been one of the 50 copies procured at Alexandria by Eusebius, by order of Constantino, for the churches at Constantinople.! Virgil (4th or 5th cent.), with 50 miniatures, including a portrait, well known by the engravings of Santo Bartoli. Terence (9th cent.) with miniatures. These two belonged to Card. Bembo, and passed with his other collections into the ducal library of Urbino : the Terence was presented to his father, Bernardo Bembo, by Porcello Pandonio, the Neapolitan poet. Terence (4th or 6th cent.), the oldest known. Fragments of Virgil (12th cent.). Cicero de Republica, the celebrated palimpsest discovered by Card. Mai under a version of St. Augustin's Commentary on the Psalms. This is considered the oldest Latin MS. extant. Palimpsest of Livy, lib. 91, from the library of Christina queen of Sweden. Plutarch from the same collection, with notes by Grotius. Seneca (14th cent.), with commentaries by the English Dominican Triveth, from the library of the dukes of Urbino. JPliny, with interesting figures of animals. Menologia Qraeca, or Greek calendar (10th cent.), ordered by the Emp. Basil : a fine example of Byzantine art, brilliantly illuminated with representations of basilicas, monasteries, and martyrdoms of various saints of the Greek Church. Homilies of St. Gregory Nazianzemis (1063), and the Four Gospels (1128), both Byzantine MSS. of great interest ; the latter is from the Urbino library. Greek version of the Acts of tJie Apostles, written in gold, presented to Innocent VIII. by Charlotte queen of Cyprus. Hebrew Bible, in folio, from the library of the duke of Urbino, for which the Jews of Venice* offered its weight in gold. Commentaries on the New Testament, with miniatures of the 14th cent, by Niccol6 da Bologna. Breviary of Matthias Corvinus (1492), beautifully written and illmuinated by Attavanti. Parchment Scroll of a Greek MS. (7th cent.), 32 ft. long, with miniatures of the History of Joshua. Officium Mortis, with beautiful miniatures. Codex Mexicanus, a calendar of immense length. Ritual of Card. Ottobuoni. Dedication copy of the Assertio Septem Sacramentorum adversus Martinum Lutherum, by Henry VIII., printed t Vetns et No\niin Tegtamentuni, ex antiqiiidimo Cfxlice Vaticano, pd. Anoelus Maics, S.R.E., Card., Rome, 1857, Spithover ; and Novum Ttfstamentum. Rumae. 1859, Spithover. ' The City.] HoutK 32.— MUsteO CklsTiAKO. 347 on vellum at London in 1521, with the king's signature and the auto- graph inscription on the last page but one, * Finis. Henry Rex.' Anglorura rex Henricus, Leo Decime, mittit. Hoc opus et fldel teste et amieitie. Ttvo Letters from Henry VIII. to Anne Boleyn, in French and English. Dante, with miniatures by Giulio Clovio. Dante del Boccaccio, in the very beautiful writing of the author of the Decameron, signed Johannes de Certaldo, with notes said to be by Petrarch ; the poem is preceded by Boccaccio's dedicatory epistle to the poet. Autographs of Tasso, containing a sketch of the first three cantos of the Gerusalemme, written in his 19th year, and dedicated to the duke of Urbino ; and several of his Essays and Dialogues. Autographs of Petrarch, including the Rime. The Latin poem of Donizo, in honour, of the Countess Matilda, with a full-length portrait of that celebrated personage, and several historical miniatures of great interest; among which are the repentance of the Emp. Henry IV. and his absolution by Gregory VII. Life of Duke Federigo da Montefeltro, bv Muzio, and of Francesco Maria I. della Rovere, by Leoni, the latter with five beautiful miniatures by Giulio Clovio. Autograph copy of the Annals of Ca/rd. Baronius, in 12 volumes. Treatise of the Emp. Frederick II. on Hawking, from the Heidelberg library. Several Manuscripts of Luther, and the principal part of the Christian Catechism, translated into German by Melanchthoyi (1556J. The most interesting of these MSS. are exhibited in handsome inlaid cabinets, which will be opened by the custode ; to examine the others a special permission of the Prefect of the library i:^ necessary. Returning through the Great Hall, we now explore the second half of the long Gallery, which also contains presses filled with MSS. In the first section is a view of SS. Apostoli ; in the second an interesting view of St. Peter's, as designed by Michel Angelo, surreunded with a colonnade; opposite, the raising of the Vatican obelisk, by Fontana. Here also are arranged a succession of Jubilee presents to Leo XIII., in 1887. In the third section are the oriental MSS. By the door, two sitting portrait statues of Greek orators. The three following sections (8, 9 and 10 on plan, p. 299) form the Museo Cnstiano.— Room I. Lamps, glass vessels, gems, personal ornamentfi, and domestic utensils of the early Christians, chiefly from the Catacombs ; instruments of torture employed against the early sufferers for the faith^ amongst which deserves notice a plumbatum, at copper ball, filled with lead and attached to a chain found alongside the body of a Christian martyr in his tomb. Ancient glass, chiefly used in the funereal banquets, from the catacombs. Amber vessels with reliefs and Christian symbols; carvings in ivory; Diptychon Rambonenso of Agiltrude, wife of Guido da Spoleto, a curious specimen of Italian art of the 9th cent. ; fine diptych of the 5th, on which may be seen one of the earliest representations of the Cross. These objecta are mostly in closed cases, but specimens of them are exposed under :■ glass. ^ II. Stanza dei Papiri, containing on the walls a series of diplomas and charters from the 6th to the 8th cent., the oldest being of a.d. 469 ; on the ceiling are frescoes by Mengs. III. Byzantine and mediaeval Italian "^paintings to the end of the 348 HOUTfi 32. — MUSfiO CRiSTIANO. [Sect. I. 15th cent,, and a Russian Calendar of the 17th, covered with minute figures, in the form of a Greek cross. Fine crucifix in rock crystal, with three medallions, engraved in intaglio, the latter with the Kiss of Judas, Christ bearing His cross, and the Entombment. They were executed by a modern artist, Valerio de' Belli of Vicenza, and added to the Library by Pius IX. The round tables are made of fragments of marble discovered in the Catacombs of Calixtus, SS. Nereus and Achilleus, and on the Palatine. Opening on the rt. are two rooms (11 on plan, p. 299). On the ceiling of the first is Samson slaying the lion and Philistines, and carrying off the Gates of Gaza, by Giiido Rent. On the rt. wall are the celebrated *Nozze Aldobrandini, found near the arch of Gallienus, in 1606. For many years this painting was in the Villa Aldobrandini, and until the discoveries at Herculaneum and Pompeii was considered the most precious specimen of ancient wall decoration in existence. Celebrated painters made it the object of their study, and a copy by Poussin is now in the Doria gallery. Although injured by restoration, it was purchased of Card. Aldobrandini by Pius VII. in 1816 for 10,000 scudi. It represents the Marriage of Peleus and Thetis. The bridegroom is sitting at the foot of a richly- carved couch, on which sits the bride, attired in white drapery, accom- panied by a female, who seems to be advising with her ; on the extreme 1. of the picture the mother of the bride, and two attendants, are preparing the bride's bath. Between them and the couch is a partly draped female leaning on an altar, and pouring liquid into a shell. On the rt. of the picture are three figures standing near a tripod : one holds a tazza; the second, a fine commanding personage, wears a crown ; the third is playing on a harp. Opposite, Race of Tigers, Antelopes, and the Egyptian oryx, the latter bearing feathers on the head, like the modern horses of Naples and Rome. Figures of Scylla, Phaedra, Pasiphae, Canace, and Myrrha, discovered on the walls of a villa near Torre Marancia on the Via Ardeatina. Eight subjects from the Odyssey, found in the ruins of a Roman house on the Esquiline (1853). ♦Procession of Boys from Ostia— the one dragging a boat, the other bearing grapes and torches, before a statue of Diana. Paintings from Ostia — the unloading of com from a vessel, the porters having their names beneath, Bmd the master designated as Magister Famaces. On the floor is an ancient mosaic, from a Roman villa near the Porta San Lorenzo. Gold vase, presented to the Pope in 1856 by the King of Siam, with the miniature portrait of his bare-legged Majesty, a frightfully ugly old man. Behind it, Model of the Strassburg clock. It stands upon a small round table of marble scraps, found among ruins at Hippo. Opening to the rt. is a smaller Room containing a Collection of Majolica and Tile Stamps, formerly in the Papal Villa at Castel Gandolfo, Returning to the Library, in the farthest room, formerly the Chapel op Pius V., are frescoes of St. Peter :Martyr by VasaH; a full-length portrait of Pius IX., painted on glass by Schmitz at Aix-la- Chapelle; an ebony Prie-Dieu sculptured by Dlotti^re of Tours, a labour of 25 years, in the style of the 16th cent., presented to The City.] route 32. — appartamenti borgia. 349 Pius IX. by the inhabitants of Touraine ; a reading-desk from the ladies of Toumai ; a missal from the Emp. of Austria. The ♦Appartamenti Borg^ia (Adra., p. [34]) were decorated by Alexander VI., from whom they derive their name. They were restored by Leo XIII. They have gorgeous and| beautiful decorations, and some of the best work of Pinturicchio. Room I. Chimney piece by Sansovino ; paintings and decorations by Giovanni da Udine and Pierino del Vaga, relative to the historv of the Church. ^ Room II. Sala del Misteri. Decorated by Pinturicchio or his assis- tants ; ♦Annunciation, by Pinturicchio ; Nativity (Virgin and Child by Pinturicchio) ; Adoration of the Magi ; *Resurrection : fine portrait of Alexander VI. kneeling at the left of the open tomb, by Pinturicchio : the boy holding a halberd is Cesare Borgia ; Ascension ; Descent of the Holy Spirit ; Assumption (probably by Pinturicchio). On the ceiling are medallions with figures of prophets, surrounded by arabesques, scrolls, and the device (a bull) and arms of the Borgia. Room III. *Frescoes by Pinturicchio; events in the lives of SS. Antony and Paul in the desert, St. Sebastian, *St. Catharine of Alex- andria (possibly a portrait of Lucrezia Borgia), a very beautiful figure, Sta. Susanna, ♦Sta. Barbara, and the meeting of S. Elizabeth and the Virgin. The Virgin in a medallion over one of the doors is supposed to bo the portrait of Giulia Farnese, the favourite of Alexander VI. On the ceiling the myth of Isis and Osiris, chosen to identify the BuU Apis with the Borgia Bull. Room IV. In the seven principal panels female figures representing Grammar, Dialectic, ♦Rhetoric, Geometry, ♦Arithmetic, ♦Music, Astronomy— all by Pinturicchio and his pupils. In an adjoining room to this Alexander VI. died of fever, August 15, 1503. Room V. Paintings of Apostles and Prophets. Room VI. Ceiling decorated with stucco reliefs by Giovanni da Udine, and arabesques by Pierino del Vaga. Prophets and Sibyls. Two rooms opening out of this suite contain a Collection of Ancient Coins and Medals, and Papal Coins, the earliest of which is of the reign of Gregory III. (a.d. 731-41) ; and a large series of Papal bull-seals— the most remote attributed to Pope Deodatus, a.d. 614. The Vatican Archives occupy three floors, each containing eight or nine rooms. On the first floor are the bulls, briefs, and other docu- ments of the Papal chancellery since the 15th cent. On the second are the documents formerly in the Archives of the Castle of S. Angelo, and the records of the temporal administration. Here also are the Carlovingian diplomas in favour of the Holy See, with golden seals, those of the Saxon Emperors, and that of Rudolph of Hapsburg, distinguished by a golden seal of extraordinary magnitude. On the third floor are the diplomatic documents of the Popes ; the collection of Monsacrato, comprising thousands of parchments, from the 10th to the 15th cent., relating to the history of the city and province of Rome. The severity with which entrance into these archives was formerly 3^ KOUTE 32.— VATICAN GARDENS. [Sect. I. prohibited may be inferred by the warning over the door, Intrantes excommuntcantur ipso facto. Admittance, for purposes of study on application to the Cardinal Archivist. The Studio del Mosaico, under the GaUory of Inscriptions, is worthy of a visit. The number of different tinted enamels amounts to no loss than 10,000. The manufacture requires great artistic skill and long labour. Many of the large pictures have occupied from 12 to 20 years m their execution ; few of the smaller ones less than 5 or 6 The Entrance (order required) is from a corridor at the N.W. corner of the Court of S. Damaso, on the ground floor. The beautiful Gardens of the Vatican are entered, by permission of the Pope 8 Maggiordomo, from the vestibule of the Museum of Sculpture They extend along the declivity of the hill, and occupy the space between the wall of Leo IV. and the fortified enclosure of Urban VIII On entering^ turn to the 1., down an alley of box. Stending back on the rt. is a Fountain of Pius IV., adorned with stucco and mosaic Above it stands the Casino del Papa, built by Pius IV. from the designs of Pirro Lmno, and one of the most elegant vUlas in Rome. It is decorated with paintings by Baroccio, Federigo Zttcchero, and Santi di Tito, and has an interesting series of reliefs in terra-cotta, collected by d'Agincourt and Canova. Further 1. is a castellated Fountain of Paul V Higher up IS a rustic Fountain with a large pool, and above it the New Casino built as a summer retreat by Leo XIII. in 1890. To the rt. rises a thick wood, through which we reach, bearing 1., a fine round Tower on the mediaeval wall of Leo IV., beyond which Pius IV. and Urban VIII extended the present bastions. To the rt. is a gateway ; a broad path leads to a second Tower on the highest point within the grounds in V u J i*^®^SP*''??,^^VATiCANA, a well-equipped Observatory, was estab- lished by Leo XIII. bkirting the walls and re-entering the wood the circuit 18 completed along the N. side of the gardens in an hour * The Pope's Coach-house is underneath the long gallery' of the library. There are many carriages, dating from Pius IX. For permis- sion to view apply to the Pope's Maggiordomo. The Zecca, formeriy the Pontifical Mint, now under the direction of the Itaban Treasury, is open daUy, except Sun. and holy days from 9 to 3. To see the workshops, an order from the Director is necessary. Here are preserved aU the dies of Papal medals struck since 1417, under Pope Martin V., 479 in number. Two are ascribed to Benvenuto CeWtni— those of Clement VII. and Paul III. The reverse of the latter represents Ganymede pouring ambrosia on the Famose fleurs-de-lis, and resting his 1. hand on an eagle. A Pontifical medal is issued every year. ~ii~ a 34 •••»>v 9»<»i >i V CI -zi S«otion 20. Rte. 33,34.. Bd^rwa. Stanford. 12. IS * )4. Loi^ An«. W. C . The City.] route 33— s. lorenzo in borgo. 361 ROUTE 33. From the Vatican to S. Pietro in Montorlo, by the Palazzo della Farnesina, the Palazzo Corsini, and the Mus^o Torlonia— (The Lungara). Close to the E. end of the colonnade on the 1. which forms the approach to St. Peter's, a broad flight of steps ascends steeply to the little Church of S. Michele in Borgo, or 5. M. in Sassm, from the Saxonum viais which stood close by. It \tas founded by Charlemagne in 813 and dedicated to SS. Michele e Magno, but was rebuilt m 1740. The Church originally belonged to a Colony of Frisians, and is now served by a Confraternity. It retains a picturesque Campanile. Inside, on the left, is the tomb of Raphael Mengs (1779). Descepding to the Borgo San Spirito, and turning rt., we pass immediately on the rt. a flight of steps ascending to the ScalaScmta m Borqo, and on the 1. S. Lorenzo in Borgo, a very ancient Church re- built by the Cesi family in 1G59, and given to the Padri ScoU)pi In the nave are some fine columns of bigio lumacato, and at the high altar two of alabaster. Further on to the rt. is the Church of S. Spirito in Sassia, which, with the adjoining hospital, represents the hospice built for Anglo-Saxon pilgrims by King Ina in 717. It was rebuilt after a fire about 826 and soon afterwards destroyed by the Saracens. In 1528 it was rebuilt by Antonio da Sangalh, except the facade, which was added hyMasch^rim in 1585. The brick *campanile is a very successful imitation ot a medisBval tower. In the Via dei Penitenziari, soi'mio the wall of the church,is a memorial tablet to Bernardino Passeri, the Roman Goldsmith who shot the Con- notable de Bourbon from the ramparts of S. Spirito on May 6th, 1527. Passing through the gate into the Via della Lungara, on the rt. is the ascent to S. Onofrio (Rte. 84). Opposite is the Lunatic Asylum- OsvedaU di S. M. della Pi^id— attached to S Sptrtto. Further on to the! a suspension bridge crosses the Tiber to S. Giovanni dei Fiorentmi (Rte 22) On the rt. is the Pal. Salviati, begun by Nanni di Baccw Biaio it was the residence of Henri III. of France in 1674, and now serves as a Military College. Adjacent was a small Botanical Garden established by Leo. XII. for students at the University. It is used now as a recreation and drilling ground for the boys of the College Further on is the Church of S. Giuseppe (1734), belonging to the Padrt Pu Operai Then follows the Carmelite Nunnery of the Regina Coeli, now converted into a prison (Carcere giudiziario) Next on the 1., is the Church of S. Giacomo, attached to a Refuge for Penitent Women and rebuilt by Card. Fr. Barberini in 1628. A similar eBtablishment is connected with the Church of S. Croce d^llaPenitenza (1619) a little further on the rt. A lane opposite S. Giacomo leads to the Church of S Francesco di Sales, founded for the Nuns of the Visitation about 1610 and endowed by the Borghese family, who owned the adjacent Villa Lante (p. 360). We now reach the Ssciion 20. Rte. 33,34. LoBtloB . Edward Stanford. 12. 13 A 14, Loa^ Act«. W.C. r-| The City.] route 33— s. lorenzo in borgo. 351 ROUTE 33. From the Vatican to S. Pietro in Montorio, by the Palazzo della Farnesina, the Palazzo Corsini, and the Museo Torlonia— (The Lungara). Close to the E. end of the colonnade on the 1. which forms the approach to St. Peter's, a broad flight of steps ascends steeply to the little Church of S. Michele in Borgo, or S. M. in Sassm, from the Saxonum vicus which stood close by. It was founded by Charlemagne in 813 and dedicated to SS. MiclicU e Magno, but was rebuilt m 1740. The Church originally belonged to a Colony of Frisians, and is now served by a Confraternity. It retains a picturesque Campanile. Inside, on the left, is the tomb of Raphael Mengs (1779). Descending to the Borgo San Spirito, and turning rt., we pass immediately on the rt. a flight of steps ascending to the Scalahanta %n Borqo, and on the 1. S. Lorenzo in Borgo, a very ancient Church re- built by the Cesi family in 1G59, and given to the Fadri bcolopi. In the nave are some fine columns of bigio hiniamio, and at the high altar two of alabaster. Further on to the rt. is the Church of S. Spirito in Sassia, which, with the adjoining hospital, represents the hospice built for Anglo-Saxon nil^rrims by King Ina in 717. It was rebuilt after a fire about «26 and soo°n afterwards destroyed by the Saracens. In 1528 it was rebuilt by Antomo da Sangallo, except the fa<^ade, which was added by Maschcrtni in 1585. The brick *campanile is a very successful imitation of a mcditeval tower. In the Via dci Pcnitetizian,i>ctmto the wall of the church, is a memorial tablet to Bernardino Passeri, the Roman Goldsmith who shot the Con- notable de Bourbon from the ramparts of S. Spirito on May 6th, lo27. Passing through the gate into the Via della lAingara, on the rt. is the ascent to S. Chwfrio (Rte. 84). Opposite is the Lunatic Asylum— OsvedaU di S. M. della Pi^/a— attached to S Spirito. Further on to the 1 a suspension bridge crosses the Tiber to S. Giovanni dei Fwrentini (Rte" 22) On the rt. is the Pal. Salviati, begun by Namii di Baccio Biqio it was the residence of Henri III. of France in 1574, and now serves as a Military College. Adjacent was a small Botanical Garden established by Leo. XII. for students at the University. It is used now as a recreation and drilling ground for the boys of the College Further on is the Church of S. Giuseppe (1734), belonging to t^e Padri Pu Operai Then follows the Carmelite Nunnery of the ' Regina Coeli, now converted into a prison (Carcere giudiziario) Next, on the 1., is the Church of S. Giacomo, attached to a Refuge for Penitent Women and rebuilt by Card. Fr. Barberini in 1628. A similar establishment is connected with the Church of .S. Croce della Penitema (1619) a little further on the rt. A lane opposite S. Giacomo leads to the Church of S Francesco di Sales, founded for the Nuns of the Visitation about 1610 and endowed by the Borghese family, who owned the adjacent Villa Lante (p. 360). We now reach the 352 ROUTE 33. — PALAZZO DELLA FARNESINA. [Sect. I. •PALAZZO DELLA FARNESINA (for Admission see p. [34]). It was built in 1506, by Agostino Ghigi, the great banker, from the designs of Baldassare Peruzzi, with such taste that Vasari declared that it seemed born rather than built. In 1580 iti passed to the Famese princes, and now belongs to the Duchess of Ripalda. On the ground-floor are some celebrated frescoes by Raphael and his scholars. Several of them were retouched by Carlo Maratta, so that the original colouring has been much injured. Permission to visit the upper apartments is difl&cult to obtain. The ceiling of the Entrance-hall, originally an open loggia, is painted with the fable of ♦Cupid and Psyche, as told by Apuleius, almost entirely from the designs of Ra^hael^ but executed by his scholars. Conmiencing above the central pilaster on the left — 1 Venus ordering Cupid to punish Psvche for her vanity, by inspiring her with love for some unworthy object. 2 Cupid showing Psyche to the three Graces, and falling in love with her himself. 3 Juno and Ceres decline the request of Venus to go in search of Psyche, after her imprisonment of Cupid. 4 Venus in her car drawn by doves hastening to Jupiter. 5 Venus before Jupiter, praying for help. 6 Mercury flying in search of Psyche, whom Venus now ill-treats, obliging her to perform tasks which are almost impossible. Among other things, she is told to fetch a vase from Hades. 7 Psyche borne by Amorini, with the vase of paint given her by Proserpine. 8 Psyche presenting the vase to Venus. 9 Cupid complaining to Jupiter of the cruelty of his mother : one of the most graceful compositions of the series. 10 Mercury carrying Psyche to Olympus. On the ceiling, (rt.) the Council of the Gods before whom Venus and Cupid are pleading their causes, by Qiulio Romano ; (1.) the Banquet of the Gods in Cele- bration of the Marriage of Cupid, by Francesco Penni. In the lunettes are graceful figures of Amorini, with the attributes of different divinities who have acknowledged the power of Love: — 1 Cupid trying his weapons, 2 Jupiter, 3 Neptune, 4 Pluto, 5 Mars, 6 Apollo, 7 Mercury, 8 Bacchus, 9 Pan, 10 Perseus, 11 Theseus, 12 Hercules, 13 Vulcan, 14 Cupid victorious. The garlands surrounding the subjects are by Giov. da Udine. Hall of the *Galatea. She is in her shell, drawn by dolphins surrounded by Tritons and nymphs, and attended by Amorini. With the exception of the group of Tritons, with wreaths on their heads, in the background, it was entirely painted by Raphael. To the 1., Poly- phemus, by Seb. del PiomhOy ruined by restoration. On the roof, (1.) Perseus and Medusa, (rt.) Callisto in her chariot, by Baldassare Peruzzi. The figures in chiaroscuro and the other ornaments are by the same artist. It is said that when first painted the effect of those in chiaroscuro was such that Titian thought they were ornaments in relief, and desired that a ladder might be brought, in order that he might ascertain the fact. The lunettes, painted by Sebastiano del Piombo and Daniele da Volterra, represent Icarus and Daedalus, Dejanira, Hercules, Iris, and Phaeton. The colossal head in charcoal on the rt. wall is by Michel Angelo. As the story runs, the great painter had come to see his pupil, and, after waiting for some time to no purpose, he adopted this mode of apprising Daniele of his visit. The City.] route 33. — palazzo corsini. 353 First Floor (special permit required). — In the first room the archi- tectural paintings are by Baldassare Peruzzi ; the Forge of Vulcan, over the chimney, and the large ♦frieze representing subjects from the Metamorphoses of Ovid, are attributed to Giulio Romano : in the second room, covering two walls, are some beautiful *Fresooes. 1 Alex- ander on Bucephalus before Philip and his Court (School of Raphael). 2 Alexander offering the crown to Roxana; just behind him stands a nude male figure of remarkable beauty. 3 Alexander and the Family of Darius, with female attendants. Both these by Sodoma. A very inferior painting is interesting for its view of the ruins of the Basilica of Constantine in the 16th cent., showing the fine Corinthian column afterwards removed by Paul V. to support the statue of the Virgin in front of S. M. Maggiore. The Pal. Farnesina acquired great celebrity as the residence of Agostino Chigi. Here took place the costly banquet to Leo X., for which the palace is said to have been specially built. In the garden are some frescoes in the style of Raphael, and on the outer wall are remains of paintings by Baldassare Peruzzi. The best preserved portion of the Aurelian wall in the Trastevere forms one of the walls of this garden, a large slice of which was cut off to widen the river for the Tiber embank- ment in 1879-80. The ruins of a Roman residence, dating apparently from the end of the Republic or beginning of the Empire, were excavated in the course of the works. On the walls were found fresco paintings in good style and vaulted ceilings with graceful stucco ornaments now in the Museo Nazionale delle Terme. On the 3rd May, 1880, was dis- covered, also near the walls of Aurelian, the Tomb of C. Sulpicius Platorinus, a magistrate of the time of Augustus, which has been re- moved, together with its contents, to the same Museum. An inscribed stone found in this neighbourhood, and recording a government survey of the river quays in a.d. 73, refers to the rt. bank of the Tiber as Ripa Veientana — showing the estimation in which Veil was still held.— -L. Opposite is the PALAZZO CORSINI, now the seat of the Accademia dei Lincci, built by the Riario family, and enlarged by Clement XII., in 1729, from the designs of Fuga. In the 17th cent, it was the residence of Christina, Queen of Sweden, who died here on April 19, 1689. It was purchased by the City of Rome in 1884. A grand double staircase leads to the Galleria Nazionale, which contains the Corsini, Torlonia, and Sciarra collections, besides that of the Monte di Piet^ (pawned by the Roman noblemen during the French invasion). The collection is frequently re-arranged. There are more pictures and engravings than can be properly exhibited at one time, and changes are often made from the reserve store. I. Room. — Beginning on the left, landscapes by G. Poussin, Salvator Rosa, Locatelli, Panini. On an easel, portrait of Filippo Agricola, by H. Vemet. By the window on the right, Views of Rome in tempera by Van Witel {Vanvitelli). *Corsini Vase in silver, with the Atonement of Orestes sculptured on it. II. Room. — On the rt. two pictures by Guido Reni, Ecce Homo. Batumi, Holy Family. On the left, Carlo Doki, Santa Apollonia, [Rome.] ^ ^ 354 BOUTE 33. — PALAZZO CORSINI. [Sect. I. Santa Maddalena, Santa Agnese. Bacciccio, Portrait of Lorenzo Bernini. In a recess, frescoes and plaster designs from the Palazzo Altoviti, attributed to Pierino del Vaga. Berentz, Flowers and fruit. Salvator Rosa, Landscape. In the centre, Antique marble chair, with reliefs of a procession of warriors, a boarhunt, and sacrificial ceremonies. » ni. KooM.— To the right, *Italian School, 17th cent.; Portrait. Carlo Dolci, Madonna del Velo ^of the Veil). Gnercino, St. Jerome. End wall, Murillc, ♦Virgin and Child : simple, pleasing, and a marvel of colour. On the left of the entrance, Spagnoletto, A workman. Spagnoletto, Venus and Adonis. Valentin, Christ blessing the little children. Luca Giordano, Christ and the Doctors in the Temple. Valentin, Christ casting the money changers out of the Temple. >* IV. Room.— Dutch School. Rembrandt, Supper at Emaus. Thomas de Keysaer, Portrait. Paul Moreelse, Portrait. Cornelius Vespronck, Portrait of a man. Cornelius Vesproncky Portrait of a Woman. PICTURE GALLEBT AT THE PALAZZO CORSUSI. V. Boom. — In this room died Queen Christina of Sweden, 1689. On the right. Van Dyck, *Virgin and Child. Rubens, St. Sebastian. Carbone, Portrait of a man. VI. Room. — On the right, Btigi^irdini, copy of Raphael's Portrait of Leo X. (in the Pitti Palace at Florence). End of the room, School of Titian, Philip II. (original at Naples). Left of entrance, Bronzino, ♦Stefano Colonna. Dosso Dossi, Portrait. Venetian School, Portrait. VII. Hoon.^Bartolomeo Veneto, Portrait. Tintoretto, Woman taken in adultery. Fra Bartolomeo, *Holy Family (partly by Mariotto Albertinelli Cicerone), with a charming landscape (Kugler). Bromine^ Portrait. Nicolo Pisano, PietA. School of Titian, Madonna with worshippers. Rocco Marconi, Woman taken in adultery. P. Veronese ? Marriage of St. Catherine. School of Titian, Portrait. Vm. Room. — On the right, Fra Angelico, Tryptich. Nicold da Foligno, Madonna with Saints. On the encl wall, Francia, St. George. The City.] route 33. — museo torlonia. 355 Antonio Romano, Madonna with Saints. Left of the entrance, Pietro Alemanno, St. Peter. Pietro Alem^nno, St. Michael. Melozzo daForli^ ♦St. Sebastian. On an easel, in the centre, G-iorgione, St. George. In a cabinet on the right ; right wall. School of Quentin Matsys, Circum- cision. School of M. Heenskirk, Adoration of the Magi. Left, Hans Holbein, ♦Henry VIII. of England. H. Hoffman, A hare (copy of Albert Diirer). Hans Von Schwatz, Portrait. Master of the Morte di Maria, Portrait of Bernard Clesius, Bishop of Trent. IX. Room. — Drawings and engravings from the famous Corsini collection, one of the best and largest in the world, numbering 150,000 specimens. Among them is a rough sketch by M. Angela for Bugiar- dini's Martyrdom of St. Catherine (S. M. Novella, Florence). There are also twenty-seven drawings by Pontormo, some of them excellent. The series by Marcantonio Raimondi after Raphael is the most complete in Italy. The Corsini Library on the first floor — entrance from the winding 8tairca.se at the end of the corridor on the rt. — was founded by Clement XII., and occupies eight rooms. It contains upwards of 2300 MSS., some autographs of Christina of Sweden, and a great number of cinque- cento editions. Behind the Palace are the gardens, and the pretty Villa Corsini, on the Janiculum. The lane on the S. side of the Palazzo leads immediately to the ♦Museo Torlonia, a valuable collection of antiquities, formed by Prince Alexander Torlonia, but only shown by special permission. Its finest works come from the Galleria Giustiniani, purcha.sed by the Prince's father. Many marbles were excaviued on the numerous Torlonia estates, especially those of Porto, S. M Nuova and Statuaria, on the Appian Way, Bovillae, Centocelle, and C'lres, in Sabina. Others have been transferred from the Villa Torlonia, outside Porta Pia, from the Vitali and Ruspoli collections, and from the Villa Albani. Unfortun- ately the system of wholesale restoration has been unscrupulously adopted in this collection, and otherwise valuable fragments have been trans- formed into complete statues, diminished in merit, and puzzling as to authenticity. Thus a bronze torso of a young athlete (255) has been transformed into a Germanicus by the addition of a forced head. Excellent catalogue by P. E. Viscofiti (1883), in which, however, no mention is made of restorations. Corridor I. — 4. Venus with the cestus. 18. Statue of a youth. 19 Bust of Isis, in black granite. 24 ♦Head of an Athlete restored as Hercules. 30 Lysias. 33 Isocrates. 47 Venus Anadyomene. 49 Aristotle. 50 Head of Hypnos, the god of Sleep. 60 Leda and the Swan. 66 Hercules, imitated from the bronze original by Lysippus. 62 Minerva. II. ♦Sitting Statue of Livia, wife of Augustus — perhaps imitated from 77. 67 ♦Bust of Alcibiades. 68 Latona saving her children from Pytho. 72 Statuette of Tiberius. 79 Isis, remarkable for the hairy mantle. 77 ♦Sitting female figure, perforated by the action of wat«r, supposed to be Olympias, mother of Alexander the Great. Mastiff crouching under the chair. 82 So-called ♦Philosopher of the Ruspoli family. 88 ♦Married couple, an interesting group. 86 ♦Bust of Hermes. 2 A 2 356 ROUTE 33. — MU8E0 TORLONIA. [Sect. I. 91 Alexander the Great. 94 Aesculapius. 101 Nymph. 112, 113 Fauns. 116 Two Satyrs wrestling ; a curious subject rreely restored. 117 The Orator Hortensius, from his Villa at Laurentum. III. — 118 Julius Caesar. 121 Marine Venus, finely grouped, with Cupid and a sea monster. 131 Venus, almost identical with that of the Capitol. 133 ♦Bust of an old Fisherman, remarkable for the hat, or pileus viatorius. 136 Septimius SeveriLs, full of expression. 137 Head of a Woman. 141 Statue, restored as Niobe. 146 Venus Euploea, with the attributes of navigation. 150 Triangular foot of a Candelabrum, with three figures in relief. 151 Hermaphrodite and Satyr, interesting for the accessories. 154 Telesphorus, in rosso antico. 161 Sophocles. 164 Augustus sitting. IV. — 167 Scylla devouring one of the companions of Ulysses — wrongly restored as Milo struggling with a wild beast. 173 Crouching Venus. 174 Cupid and Psyche. 182 Crouching Venus head restored by Algardi. This and 173 are antique copies of a work by some celebrated sculptor. Siiixx>N I.— 183 ♦Miner\'a. 189 Colossal bust of Trajan. 194 Claudius. 191 Sacrifice of Mithras,, relief. 202 Tiberius. 228-236 Muses. 237 Apollo Musagetes. In the corridor to the rt., 240 Statue, restored as Niobe (see 290). 249 Claudius. 250 Neptune. II. — 255 ♦Germanicus, the only bronze statue in the Museum, found at Cures. Only the torso is genuine — the rest is by Guacciarini. 267 Colossal head of Africa, with an elephant's head for a helmet, from the architrave of a temple. 279 Statuette of fighting Gauls. 283, 284 Pan and Olympus. Ketuming through Comp. xlii., and entering the Corridors : 289 Statue of Giulia Domna. 290 Draped Statue restored as Irene and the boy Plutus (see 240), and supposed to be a copy of a work by Cephiso- dotus, now in the Alte Pinakothek at Munich. 294, 296 Heads of Medusa. 297 ♦Largo tazza, with Bacchanalian figures in relief. 298 Minerva, found at Porto. Close by are casts of those in the Vatican and Capitol for comparison. 301 Melpomene, dressed as a tragic actress. 308 Statuette of ^larsysas. 309 Ganymede, restored as a Trojan warrior on his knees. 310 Young Nero. 332 'Diadumenos — effeminate youth binding his head. 343 Pompey. 355 Wrestler. TIT- — 374 Silenus, from a fountain. 377 ♦Relief of Hercules with the apples of the Hesperides. 379 Relief of a Woman selling geese and hares, from a tomb. 383 Large tazza, with the Twelve Labours of Hercules. rv.— 887 Captive Dacian King. 888 Hercules and Telephus. 389 Ariadne, recumbent. 392 Bacchus and Silenus. 395 Sarcophagus representing a marriage, with 19 figures, two thirds of life-size. 397, 398 Antiuous. 401 Domitian as Hercules, 404 Domitian as Emperor. 407 Ptolemy II. (Philadelphus). 414 Front of a sarcophagus, with reliefs of Life and Death. On the rt. is the Hall op the Sarcophagi. — In the centre is a white marble Cupid drawn by two wild boars in bigio tnorato. 416 Triumph of Bacchus. 420, 422 Labours of Hercules. 423 Apollo and Marsyas. 427 Statue of the Nile, in bigio tnorato. 428 Rude relief of custom house ofiicers collecting taxes. 430, 431 Curious reliefs, representing the Port of The City.] route 33.— s. m. della scala. 357 Claudius, and a Praetorian galley with a wolf painted on the sail — both from Porto. This subject has been illustrated by Father Guglielmotti, a Dominican writer profoundly erudite on maritime questions among the ancients. 433 Fragments of a Tomb-relief. 434 River-god, in green basalt. To the rt. is the Hall op the Animals, containing some clever sculptures of sheep, dogs, goats, and eagles. 438 Ulysses carried by a ram out of the cave of PolyphemiLs, 443 Column of rare alabaster. We now return through Comp. Ixxi. and enter Ixxiii. 459 Relief of an unknown subject, called Medea and Jason. Through Comp. x. we reach Ixxiv. 467 Relief of sea deities. To the rt. is the Hall op the Athletes, with several busts and figures, the best of which are 470 and 477. We return through Comp. Ixxiv. and enter the Room op Archaic Sculptures. 481 Hope. 482 Priestess. 483 Ephesian Diana. 485 Canephora. 490 ♦Vesta ; from the Giustiniani collection, a very beau- tiful Greek statue without attributes, and possibly intended for a priestess, not a deity. On the pedestal is an interesting relief, of inferior workmanship, representing the goddess seated in a shrine. 498 Venus. 501 ApoUo. 503 Cybele. 506 Tazza of green Egyptian breccia, the largest specimen known ; removed from the Villa Albani. Passing once more through Comp. Ixxiv. we reach the Gallery op Imperial Busts.— This very valuable collection begins with Caius Marius the Consul (b.c. 105-0), and ends with Valentinianus III. (a.d. 455). Some of the head-dresses, draperies, and armour are interesting for the study of costume ; but unfortunately many unkno^^'n heads have been forced by restoration to represent historical personages. The most important are 514 Livia. 615 Maecenas. 516 Agrippa. 517 Caius Caesar as a boy. 533 Galba. 545 Hadrian. 555 Annius Verus. 669 Caracalla. 571 Geta. 688 Pulpienus. 596 Quintus Erennius. 611 Helena Fausta. On the 1., just beyond the Porta Settimiana, a street leads to the Ponte Sisto, passing the little Church of S. Dorotea, formerly belong- ing to the Theatines, afterwards the Padri Scolopi, and given to the Franciscan Conventuals in 1738. In the adjoining Cloister SS. Gaetano of Thiene and Giuseppe Calasanzio lived together, and drew up the rules of their respective Orders. A few yds. further is the Church of S. Giovanni della Malva, rebuilt for the Padri Ministri degV Tnfermi in 1818. Malva is a corruption of Mica aurea, by which name the declivities of the Montorio were formerly known (see below). Returning to the main street, we continue S., and pass on the rt. the Carmelite Church of S. M. della Scala, built in 1592 to receive a miraculous Madonna which was found under the staircase of a neighbouring hou.se, and is preserved in the 1. transept. The Church is richly decorated with costly marbles, and has a gilded bronze tabernacle supported by 16 colonnettes overlaid with Oriental jasper. At the 1st altar rt. is a good Beheading of St. John, by Honthcyrst. The Acqua ddla Scala, made in the adjoining Convent, is a preparation of herbs, spices, and the natural spirit of wine, and has some reputation as a cure for flatulence and dyspepsia. Returning into the Via Garibaldi and turning left we pass 358 ROUTE 33.— S. PIETRO IN MONTORIO. [Sect. I. 5. M. dei Sette Dolori (1652), and ascend a flight of steps, and then reach the Franciscan church of S. Pietro in Montorio (197 ft.). It was attached to one of the twenty privileged Abbeys of Rome, but was abandoned by the monks about 1350, and rebuilt for the Minori Osservanti at the expense of Ferdinand and Isabella of Spain, from the designs of Baccio Pantelli in 1472. The name of Mons Aureus, Monte d'Oro, or Montorio, is derived from the yellow-coloured sand and gravel which forms the upper portion of the hill. ^ This Church and its adjoining Convent narrowly escaped demolition durmg the siege of 1849, having been fortified and occupied by the Romans. From its vicinity to the Porta San Pancrazio, the centre of attack of the French army, it was much exposed to the fire of the besiegers. The tribune and steeple were completely destroyed and have been since rebuilt, as well as the W. wing of the convent. Among the parts which happily escaped injury was the 1st chapel on the rt., celebrated for its *frescoe8 by Sebastiano del Piomho, from the designs of M. Angelo — the Flagellation of our Saviour, defaced by damp and injury ; at the sides, SS. Peter and Francis ; on the vault, the Transfiguration ; above the Arch, a Prophet and Sibyl, with angels. These works cost six years' labour (1517). ' They vary in process, being partly in fresco, partly in oils, and show the mfluence of the Sistine Chapel.'— iT. 2nd rt., on the vault, Corona- tion of the Virgin, by pupils of Periigino. Beyond the 3rd chapel rt. a door opens into the court, in the centre of which stands the celebrated *Temple, built by Bramante, at the expense of Ferdinand of Spain in 1502, on the spot where St. Peter was then supposed to have suffered martyrdom. It is a small circular domed building, surrounded by sixteen columns in grey granite, and is one of the most elegant works of modern times. In its upper chapel is a sitting statue of St. Peter, and a beautiful Cosmatesque pavement. The crypt below is richly decorated with stucco reliefs. 6th, Conversion of St. Paul, by Vasari, who introduced his own portrait : the monument of Card. Antonio Fabiano del Monte (1533), as well as the statues of Religion and Justice, were sculptured by Bart. Ammanati (1557). In front of the high altar are the slab-tombs of Hugh O'Niel, Baron Dungannon, son of the Earl of Tyrone, and of Rory or Roderick O'Donnell, Earl of Tyrconnell (1608), who implicated in the intrigues against Elizabeth and James I., fled their country, and died at Rome. Behind the high altar before the first French invasion stood Raphael's Transfiguration ; and Seb. del Piombo painted as a rival to it the Raising of Lazarus, now in our National Gallery. Near the high altar, without monument, lies the body of Beatrice Cenci. 5th 1., Baptism in the Jordan, by D. da VolUrra, ' excellently com- posed but somewhat inexpressive.'— iT. 4th 1., Entombment, Disputa- tion in the Temple, and the Cross-bearing, probably by Stellaert. 3rd 1., Peruginesque Virgin and Child with St. Anna. 1st 1., St. Francis receivmg the Stigmata, by Qiov. de' Vecchi. At the entrance, ♦Tomb of St. Julian, Abp. of Ragusa, by G. ^. Dosio (1510). From the terrace in front of the Church is gained a magnificent and justly celebrated ♦View. This panorama is to modern Rome what The City.] ROUTE 34. — S. ONOFRIO. 359 4 I 1 the view from the Capitol is to the ancient city. Nothing can exceed the interest and beauty of the prospect, extending irom Soracte to the Alban hills, with the classical sites and towns of the adjacent Campagna brilliantly lighted up by the evening sun. Within the Convent is established the Spanish Academy of Fine Arts, for which a portion of the building was restored and adapted in 1879, at the expense of the Spanish Government, to whom the pro- tectorate of the church belongs. On the opposite side of the steep Via S. Pancrazio is the Bosco Parrasio, where the Arcadians formerly held their sittings. From S. Pietro in Montorio the road ascends, passing on the 1. the small but pretty Giardino del Gianicolo, to the ♦Fontana Paolina, the most abundant, and perhaps the most imposing of all the Roman fountains, though not in the best taste. It was erected by Paul V. in 1612, from the designs of Fontana ; both their names are commemorated in that of the fountain. The front h^s six Ionic columns of granite which stood in Old St. Peter's, and is decorated with marbles taken from the Temple of Minerva, in the Forum Transitorium. The water is collected from springs about the lake of Bracciano, 35 m. distant, and conveyed to Rome by the aqueduct of the Acqua Paola, the ancient Aqua Trajana. The main road ascends to the Porta San Pancrazio, passing on the rt. the entrance to the Passeggiatia del Gianicolo (Rte. 34). This is the highest point within the walls of Rome, and was once crowned, like other similar heights, with a Chapel dedicated to St. Michael (S. Angelo in Gianicolo). ROUTE 34. From the Vatican to the Church of S. Pancrazio, by S. Onof rio, the Janiculum, and the Villa Doria-Pamphili. [For plan of this Route, see p. 85.] Following Rte. 33 as far as the Lunatic Asylum, and turning up the hill to the rt., we reach the Jeronymite Church of S. Onofrio, originally Gothic, built in 1439 by B. Niccol6 da Forca Palena. In the lunettes under the portico are three scenes from the life of St. Jerome (Baptism, Chastisement for reading Cicero, Trance in the Desert), by Domenichino, by whom also is the fresco of the Virgm and Child with angels over the door. On the rt. is the slab tomb of the founder. The remains of Tasso lay on the 1. within the entrance (see inscription). They were removed in 1857 on the anniversary of the poet's death to a tomb erected by subscription in the 1st chapel 1. The monimient has a relief of the poet's funeral, and a statue by Oius. Fabris, a miserable specimen of modern Roman sculpture. In the 2nd 360 ROUTE 34. — PASSEGGIATA DEL GIANICOLO. [Sect. I. chapel 1. is the Tomb of Card. Mezzofanti (1849), who was titular of the Church. In front of the Chapel is a good slab tomb of 1501. At the high altar are ♦Frescoes by Baldassarc Peruzzi, ' quite in the style of Pinturicchio, possibly even executed from that master's sketches.' — M. Virgin and Child, with SS. John Bapt., Jerome, Catharine, Onofrio, and a donor — unfortunately injured by restoration. On the 1., Adoration of the Magi ; rt., Flight into Egypt, with the Massacre of the Innocents behind. On the vault, Coronation of the Virgin, with Saints, angels, and Sibyls. On the rt. is a good recumbent effigy of Card. Sacco (1505), surrounded with handsome sculptured arabesque ornaments. In the lunette, St. Anne teaching the Virgin to read, by B. Peruzzi. In the 2nd chapel rt. is the Madonna di Loreto, by An. Caracci. Beautiful Renaissance Basin for Holy Water. Station on Easter Mon. Formerly attached to the Church, but now the National property, is a home for orphans {Orfanotrofio), in a healthy situation, with a large garden. In an upper corridor of the Monastery, under an arch of Robbia ware, is a beautiful fresco of the *Madonna and Child, with a kneeling Donatorio, by Bcltraffio, much repainted, ' a mere wreck.'— Af. In a room which was inhabited by Tasso when he came to Rome to be crowned with laurel at the Capitol, and in which on April 25, 1596, he died, are preserved the poet's bust in wood with head in wax, taken from a cast after death, his crucifix, belt, wooden inkstand, some of his autographs, his chair, and the leaden coffin in which his bones were deposited before their last removal. The terrace in front of the Church has a magnificent *View over the N. part of Rome, the Sabine and Alban hills, and the distant Soracte. The carriage-road winds upwards, and enters the beautiful *Passegf- g^iata del Gianicolo, which commands one of the finest and most interesting panoramas in the world. All Rome lies at the traveller's feet, backed by the swelling undulations of the Campagna and the range of distant hills, from Soracte to Monte Cavo. On the 1. is the celebrated Tasso's Oak, consecrated by the tradition that under its shade the poet was used to retire for meditation and study. It was partly blown down during a storm in the autumn of 1842, but has regained fresh vitality. An etching of it before its fall was made by Mr. Strutt, author of ' Sylva Britannica.' Beneath it are some semicircular rows of masonry seats, formerly a place of meeting for the Arcadian Academy during the summer months, In a magnificent situation. Further on to the left is the Villa Lantc, built from the designs of Giulio Romano, and formerly celebrated for its frescoes, now in the Borghese Gallery. A little further is the open space cleared in 1895 for the erection of a large bronze equestrian Statue op Garibaldi, stand- ing on a pedestal of granite. The reliefs right and left represent America and Italy ; front and back, Garibaldian battles. This statue is a conspicuous object from many points. On the rt., at a corner of the road outside the walls, is a small Shrine containing a Statue op St. Andrew, raised in 1848 by Pius IX. on the spot where the head of the Apostle was recovered, after having been stolen from the Vatican Basilica. On emerging from the gardens, on the 1. are the Acqua Paola, The City.] route 34.— villa doria-pamphili. 361 S Pietro in Montorio, and the most celebrated of all the views from the Janiculum, mentioned in Route 33. We ascend to the rt. and pass through the Porta San Pancrazio. It was upon the bastions to the S. of this gate that the French besieging army under Gen. Oudinot, in 1849, directed their principal attack, and succeeded in makmg a breach. The existence of a considerable portion of the Aurelian wall withm the circuit of the bastioned line of the popes gave the besieged great advantage, forming a real fortress within the outer wall. Beyond the gate on the rt. is the Villa del VascelU), belonging to the Marchese Medici del Vascello. Facing us is the entrance to the *VILLA DORIA-PAMPHILI (Adm., p. [34]), the most extensive on this side of Rome, the grounds exceeding 4 m. in circuit. It was founded by Camillus, nephew of Innocent X., in 1650. By the gate some cannon-balls, memorials of the siege, have been buried in the wall. The grounds are laid out in gardens, avenues, terraces, and plantations, among which the lofty pines, which form so conspicuous a feature in all views of Rome on this side, add considerably to the beauty of the spot. The fountains and cascades are in the fantastic style of the 17th cent. In 1849 the Casino and grounds were occupied by the republican troops of Garibaldi, who maintained his position for many weeks against the whole power of the French army. During the frequent skirmishes which ensued the gardens were seriously injured. The carriage drive leads past a species of Triumphal Arch and bears to the rt., affording a fine *view of St. Peter's. Among the shrubberies on the 1. are some interesting Columbaria which mark the line of the ancient Via Aurelia. They contain some hundred urns, but few in- scriptions. Close by is a Chapel decorated with ancient Corinthian columns, and communicating by a subterranean passage with the Casino, a handsome building designed by Al^ardi, 9.nd formerly celebrated for its sculpture, now removed to the Pal. Dona. The roof should be ascended for the *view, which is the finest on this side of Rome (50 c). Continuing in the same direction, the road passes on the rt. a monument to the French who fell in the sanguinary struggles about the Villa ; it consists of an octagonal temple, having a statue on its front, below a canopy supported by white marble columns, with the names of several of the dead who lie beneath inscribed on the basement. An ancient paved way has been discovered near the Orangery of the Villa, which is supposed to have been a cross-road from the Via Aurelia to the Via Vitellia. , ..^ , , The road now turns S., and makes the circuit of a pretty lake bordered by groves and copses. The open ground between the lake and the Casino is famed for its anemones and other spring flowers ; and the Romans have named this charming spot the Bel Respiro, because of its fine bracing air. , j • e • From the gate of the Villa Pamphili, a road on the 1. leads in 5 mm. to the Church of S. Pancrazio. It stands near the ancient Via Vitellia, and was founded by Pope Symmachus about a.d. 505, over the site of the cemetery of Calepodius. It was given by Gregory I. to the Benedictines, restored by Honorius I. for Nuns of the same Order, created a titular 362 ROUTE 35. — PORTA TIBURTINA. [Sect. I. Church by Leo X., and restored again in 1609 by Card. Torres, of Monreale, who added a handsome unpolished wooden ceiling, but took away the choir fittings and screen. The Church was bestowed upon the bare-footed Carmelites by Alexander VII. in 1663. In 1849 it became an important position to the besiegers, and was taken by storm under Gen. Regnault de St. Jean d'Angely. Here was buried Crescen- tius Nomentanus, the celebrated ruler of Rome in the 10th cent. Here Narses, after having defeated Totila, met Pope Pelagius and his Cardinals, and marched in procession to St. Peter's to return thanks for his victory in 555. It was here also that Peter II. of Aragon was crowned by Innocent III., and Louis King of Naples was received by John XXII. In the Confession are deposited the remains of St. Pan- cratius and other saints. Some steps under the fourth arch on the rt. lead down to the spot where the former is supposed to have been beheaded. Near the end of the 1. aisle is the entrance to the Catacombs of Calepodius, the burial-place of Pope Calixtus (223), and of many early martyrs (now closed). On two pilasters of the nave are sketches of the ancient Ambones, destroyed by the French soldiers in 1798. Station, 1st Sim. after Easter ; Festa, 12th May. ROUTE 35. From the Railway Station to the Church of San Lorenzo Fuori le Mura. [Tramway, p. [28], 19.] N. of the Railway Station the electric tramcars run along the Via Porta S. Lorenzo for the Basilica of S. Lorenzo. Inside the ground belonging to the railway station are some well-preserved large ♦remains of the Servian Wall. After passing under an archway (1585), we reach on the left the * Porta Tiburtina, half buried in the ground. Until 1868 it was a double gateway ; the outside arch, which still exists, has a bull's head on the keystone. Its upper inscription records that it was restored by Augustus (B.C. 5) to carry the united streams of the Aqua Marcia (B.C. 162), Tepula (b.c. 127), and Julia (b.c. 35) over the Via Tiburtina; other inscriptions mention repairs by Titus (a.d. 80), Severus (a.d. 196), and Caracalla (a.d. 212). The specus of the three Aqueducts may be seen above, one over the other, separated by massive courses of traver- tine. The inner arch and the two towers were erected by Honorius, about 402. Pius IX. employed the large blocks of travertine for the foundations of the column commemorative of the Oecumenical Council, which he intended to raise on the Janiculum. The Porta Tiburtina is an example of the impressive effect of a plain Arch, without Greek ornament. * All the moulded details, the cornice, and caps of the columns and pilasters, are very well executed.' — M. Seation2l. i.oo/doi^ Bi tl 366 ROUTE 35. — CEMETERY. [Scct. I. wall is a marble tablet, referring to the Senatricea Theodora and Marozia, the notorious mother and daughter who controlled the Papacy in the 10th cent. Another is dated a.d. 999, a period famous in Boman history in connection with Otho III. At the extreme E. end, a plain marble sarcophagus in a niche with a metal railing in front was erected in 1881 to the memory of Pius IX,, whose remains were then transferred hither from St. Peter's. Pius IX. left strict injunctions in his will that only 2000 fr. were to be spent upon his Tomb. So far as concerns the Tomb itself, his wishes were obeyed ; but funds were afterwards raised, partly by a munificent private gift, partly by public subscription of small amounts, for the purpose of surrounding the Tomb with a more splendid memorial. The adjacent walls have therefore been covered with mosaics from the designs of Cottaneo, in a very effective style, half Lombardesque and half Renaissance. The three large subjects represent scenes in connection with the Promulgation of the Dogma of the Immaculate Conception in 1854. On the same side are medallion heads of SS. Alfonso dei Liguori and Francis of Sales, raised to the dignity of Church Doctors by Pius IX. Opposite are SS. Lawrence, Peter, Paul, and Stephen, as connected with the Church. To the 1., SS. Cyriaca and Agnes, connected with the Catacombs ; to the rt., SS. Francis and Catharine, patrons of Pius IX. At the end of the 1. aisle is the subterranean Chapel of S. Cyriaca, to which are attached the Indulgences granted by Pope Alexander II. At the top of the steps are two 16th cent, reliefs of Souls in Purgatory. Above the altar is a Pieti in white marble under a beautiful trefoil- headed mosaic arch. Behind this chapel runs a passage from which glimpses may be obtained of the Catacombs of Cyriaca, now inacces- sible. They consist of low galleries with loculi or graves on the sides. Over an altar in a recess are half-length figures of SS. Stephen, Peter, and Lawrence, commemorating the Monk's Vision. In the beautiful and very interesting *Cloisters (1216) are some curious ancient fragments, part of a frieze from the old Church, and Christian inscriptions found in the neighbouring catacombs. Near the entrance on the rt. is the lid of a Sarcophagus with reliefs of the Triumph of Cybele. The Cloister has about 60 colonnettes, enclosed within wide bays, and a fountain in the centre of the garden. The Campanile is of similar date. On the S. side of the Church is the entrance to the Campo Verano, or extramural Cemetery, commenced during the French first occupation, and conse- crated in 1837 ; it was greatly extended in 1854. Many fine monuments and statues by the best sculptors in Rome may be seen in the great quadrangle and on the hill behind the basilica. That erected by Pius IX. to the Zouaves and other foreign soldiers in his service, who feU in the battle of Mentana, occupies a central position in the upper part of the cemetery. At the E. end of the quadrangle opposite the entrance is a Chapel where the last services are performed over the dead. In the escarpment of the tufa-rock, cut away to enlarge the cemetery, the visitor will observe numerous galleries of the catacombs of Cyriaca laid open, with the loculi or graves excavated in their sides, and a large arcosolium with paintings of the Good Shepherd and other figures. The City.] route 36.— porta pia. 367 The Doric square atrium, the monumental gate, and the Chapel were designed by Vcspignani. The upper part of the cemetery, reached by a flight of 60 steps on the 1., or by a winding carriage-road, commands a fine view of the Alban mountains. ROUTE 36. Fpom the Palazzo delle Finanze to the Campo Militare, the Policlinico, and the Basilica and Catacombs of S. Agrnese fuori le Mupa. [Tramway, p. [27J, 7, 8.] In the Via Venti Settembre, beyond the Fountain (Rte. 21), is the extensive and conspicuous Treasury, or Pal. delle Finanze, erected in 1875 at a cost of 500,000^. In laying its foundations in 1873, near the N.E. angle of the building, were discovered some remains of the Porta Collina, in the waU of Servius Tullius. The well-known reconnaissance of Hannibal, when, according to Livy, he threw a spear over the walls, took place on this side ; if he had entered Rome, it is probable it would have been by this gate. At the same time came to light some shapeless ruins of a Temple, together with a colossal marble head of Titus, now at Naples. At the extreme S. comer of the Palace were discovered in 1874 some scanty but interesting remains of the monastery of S. Ciriaco, built in memory of the Christians condemned to labour at Diocletian's Baths. In front of the Palace is a bronze Statue of the Finance Minister Sella (1884). On the rt., at the end of the Via Venti Settembre, is the British Embassy, with a large and well-shaded Garden. Opposite is the Villa Bonaparte, originally Cicciaporci, and afterwards Paolina, so named from the Princess Pauline Bonaparte Borghese, sister of the first Napoleon, to whom it belonged. In the grounds was discovered, in March 1885, an ancient family hypogaeum, with seven marble Cippi. The largest contained the ashes of Piso Licinianus, whom Galba adopted as his successor, four days before his assassination in the Forum A.D. 69. Piso was murdered on the same day by order of his rival Otho. In 1878, between the new streets of Gaeta, Volturno, and Montebello, extraordinary quantities of amphorae vinariae were found at about 5 ft. depth, extending much lower, in layers of from 8 to 6 ft., one above another, and all reversed. These empty jars came from a wine-shop frequented by the Praetorian soldiers, and were afterwards used for filling up the ditch of the Servian agger. The Porta Pia, deriving its name from Pius IV., who began it in 1564, from the designs of Michel Angela, was completed by Pius IX. in 1869. The coat-of-arms which stood over the Gate, carved by the great sculptor himself out of a marble capital found under the Pal. della 368 ROUTE 36. — CAMPO MILITARE. [Sect. I. Valle, is now in the Museo Artistico Industriale (Rte. 2). It was through this gate that the Italian troops entered Rome after a short bomhardment on Sept. 20th, 1870. The spot where the breach was effected is indicated by a tablet on the wall just outside the Gate, where the names of 33 soldiers who fell in the assault are inscribed. In the Corso d' Italia, on the left, is a modern column of Victory. [On the rt. of the Porta Pia stands the Porta Nomentana of Honorius (erected a.d. 400), and closed in 1564 by Pius IV. Through it passed the Via Ncmentana, which is now represented by the Via Venti Settemhre and the modern Via Nomentana. One of the towers pro- tecting the old gate rests upon a massive square tomb of concrete, with traces of its travertine facing. A broken inscription, discovered in front of the tomb in 1827, revealed the name of Q. Haterius, named by Tacitus as the worst flatterer of Tiberius. Further on is the Campo Militare, on the site of the Praetorian Camp of Tiberius, built by his minister, Sejanus (a.d. 23), and now surrounded by cavalry barracks. The N., E., and S. sides of the rect- angle were included by Aurelian in his walls, their height being raised 10 to 15 ft. To this circumstance we are indebted for the preservation of the exact form of this celebrated Camp, memorable as the scene of the principal revolutions which occurred during the first three centuries of the Christian era. Considerable remains of the corridors are still visible, retaining in some places their stucco and even their paintings. The gate on the N. side is the best preserved. A part of the S. side was roughly rebuilt with large and irregular stones, probably by Beli- sarius. The side of the Camp facing the Servian walls and the Rly. Stat, was discovered between the Via S. Martino and the Via Marghera, and consists, like the others, of a double row of cells of brickwork, coated with stucco. On examining the next part of the Aurelian wall, the rude stonework hastily put together by Belisarius may easily be recognised by the admixture of every kind of material, and especially of fragments of white marble. Several portions on the S.E. side are formed of massive blocks of volcanic tufa, derived from the wall of Servius, tombs, and other ancient constructions. The Porta Decufnana, which formerly opened on the N. side, but was closed by Honorius, and the Porta Principalis dextra, may still be recognised. ' Here occurred that memorable and most melancholy scene in Roman history, when the Praetorians shut themselves within their Camp, after the murder of the reforming Emp. Pertinax, and put up the throne to auction. Julian and Sulpicianus bid one against the other ; and at last ran up the price to 5000 drachmas to each soldier. Julian then impatiently outbid his rival by offering 6250, and the Empire was knocked down to him.' — B. The Praetorians were finally suppressed by Constantine, who caused the W. wall to be demolished. At the S. angle of the Praetorian Camp is the Porta Chiusa, a good arch of travertine surmounted by an attic of six smaller ones, with entablature and cornice, now walled up. It led into the Vivarium, where the beasts destined for slaughter in the Colosseum were kept, and whence they were driven by night to their dens near the Amphitheatre. E. of the Military Camp stands the Policiinico, one of the largest The City.] ROUTE 36.— B. AGNfiSE FUORl LE MURA. 869 Hospitals in Europe, arranged on an admirable system. To each disease is assigned a separate building, which itself consists of a series of detached pavilions connected by bridges — about 100 inde- pendent buildings in all, with 1000 beds. It was designed by Guido Baccelli; architect, Giulio Podesti ; completed in 1904. Within the grounds is a cruciform sepulchral chamber of travertine ornamented with a cornice discovered in 1839. It contained three marble sarco- phagi covered with reliefs representing Orestes and the Furies, and the Niobides, now in the Lateran Museum.] From the Porta Pia, the ancient Via Nomentana passes through a district which is being rapidly built over. On the right is the Villa Patrizi, built by Card. Giov. Patrizi at the end of the 17th cent., much damaged in the Revolution of 1848, and since restored. It was a favourite retreat of Clement XVI., but its woods and gardens have been mutilated for building (small Catacomb). Beyond it is the Villa Victoria, an Industrial Home for orphan children founded by Mrs. Edgecombe Edwardes (adm. on Thurs., 3 to 6 p.m.). Further on is the Villa Torlonia, surrounded by beautiful and extensive grounds, which are unfortunately disfigured by artificial ruins. About 1^ m. beyond the Gate on the left is the Basilica of ♦S. AGNESE FUORI LE MURA, which has preserved its ancient form and arrangement with little change, and in this respect is one of the most interesting Churches in Rome. It was founded in 324 by Constantine, at the request of his sister Constantia, to enclose the Tomb of St. Agnes. It was enlarged by Pope Symmachus (498-514), rebuilt by Honorius I. (625-40), altered in 1490, and restored by Pius IX. in 1856. It now belongs to the Canons Regular of St. John Lateran. To the rt. of the entrance Gateway is the Canons' residence, with remains of an Annunciation and other frescoes of 1454 on the 1st floor. In the court is a modern hall, on the site of an older one, where in 1854, Pius IX., and several cardinals, church dignitaries, and the French and Austrian generals, were precipitated headlong into the cellar in conse- quence of the floor giving way. This scene is represented in a de- cidedly ludicrous fresco which may be seen through a large window on the rt. Crossing the court, and entering at a door on the rt., we descend t by a long flight of marble stairs (1), whose walls are covered with sepulchral inscriptions, chiefly Christian, found in the local catacombs. Some of them bear the name of a consul, which enables us to fix their date ; others, although written in the Greek character, express Latin words. Many curious and interesting fragments of chancel screens are also built into the walls. At the bottom on the rt. is a large slab, covered with an inscription in verse, in honour of St. Agnes, by Pope St. Damasus (366-385) ; the letters are in the beautiful form which that pontiff usually employed. The Nave has 16 ancient columns oi portasanta (rare varieties), and pavonazzetto — some of them curiously fluted. The gallery, intended for women, has a row of smaller columns extending round three sides of the Church. All capitals are Corinthian or composite, except those t On St. Agnes' Day (.Tan. 21) visitors should secure a chair (15 c.) before des jendinfr the steps, immediately within the doorway, IBome.] 2 b 370 liOtTfi 36.— s. AGNEisB PUORi LE MURA. [Sect. I. on the W. in the higher tier, which are Ionic Between the windows are paintings of Virgin Martyrs. Under the high altar with a Im dac- chino sustained hy four porphyry columns, is the Confession (lb2U) ot St. Agnes, where her remains are deposited. Her statue on the altar is SECTION AND PLAN OF 8. AGNE8E. 1 StalM leading to the Church. 2. Entrance from the primitive atrium. 8. Vest h«S 4 Stairs leading to gallery. 6. Nave. 6. Confession. 7. High altar. 8 Tribune iEpSSopil throne. 10. Chapel of SS. Stephen and Lawrence^ n. Chape? of the Sacrament. 12. Sacristy. 13. Nave arcade. U. Infonura gallery. 15. Clerestory. an antique torso of Oriental alabaster, with modern head, hands and feet, in bronze gUt. On the vault of the tribune is a Mosaic (625-638) ^ciaUy interesting in the history of the art as bemg * on the Wndary ^e between the earUer and later styles. We find a significant devia- The City.] route 36.— s. costanza. 371 tion from the general rule ; instead of the figure of Christ is St, Agnes between Popes Symmachus and Honorius, the only indication of the Godhead being a hand protruding from the clouds to crown the saint. The execution is rude and even poor.' — K. The heads of the saints were restored in the 17th cent., and an inscription in Latin verse added. In the tribune is the episcopal chair. Of the chapels on the right the first is to S. Jerome ; second, to SS. Stephen and Lawrence, represented in an excellent ♦relief (1490) ; here also is a beautiful inlaid altar ; third, to S. Emerentiana. The centre chapel on the left is that of the Blessed Sacrament, with an old fresco of the Virgin and Child. On the 1. of the high altar is a handsome antique candelabrum in marble, found in the adjoining Catacombs. The festival of St. Agnes, on the 21st of Jan., is well worth attending. High mass, accompanied by music, is celebrated by the titular cardinal at 10, and is followed a little before 12 o'clock, by the blessing of two lambs, which are placed upon the altar decorated with ribbons. They are afterwards tended by nuns of the convent of S. Cecilia, until Easter, when their wool is employed in making the pallia given by the Pope to archbishops. The *Catacombs of S. Ag^nese (entered from the 1. aisle ; Sacristan, 1 fr.) are the best preserved in the neighbourhood of Rome. They date from the 1st to the 6th cent, and contain mostly family vaults and private burial places, many of which have never been opened. To this fact is attributed the entire absence of painting. They were in two tiers, of which the upper one was destroyed to make way for the Basilica. There are several small square vaulted sepulchres of the 1st cent., some of which belonged to the Flavian, Claudian, and Ulpian families. The adjacent Arenaria, or pits from which pozzolana was excavated, are very extensive, and were also used for burial. One of the tombs is faced with slabs of marble, and has a portrait in mosaic within a hexagon of the deceased, the wife of a freedman of Marcus Aurelius (2nd cent.), and the gamniata, or Greek cross. Many tombs bear signs of trades— such as the Perna (ham), signifying the grave of a pork-butcher {4th cent.). Others are ticketed with shells, tusks of wild boars, and other devices, as a means of recognition. In one of the galleries is a monogram of Constantine in mosaic. Some of the tombs were rifled in the 17th cent., since which time the Catacombs seem to have been for- gotten. In the empty recess of the larger sepulchres have been arrayed various objects found in the graves. The Chapel, supported by six columns hewn out of the rock, resembles those in the adjacent Cemetery (see below), but has no seats. It has, however, several large recesses for tombs, which seem to have been a later addition, and an Adorante incised on the wall. The Sacristan also shows the adjacent round Church Tomb of ♦S. Costanza, built by Constantine over the porphyry sarcophagus containing his daughter's body, now in the Vatican. It is 24 yds. in diameter, surrounded by 24 coupled granite colunms with richly worked ■Corinthian capitals in marble, and surmounted with a cupola. The waggon roof of the Ambulatory (between the columns and the outer wall) is divided into compartments covered with ♦Mosaics of the 4th A ^ ** I 372 ROUTE 36.— ciMETEEO ostriano. [Sect. I* cent., the earliest known Christian series. The designs are fioreated or geometrical patterns and vintage scenes, with genii gathering or pressing the grapes, perhaps in reference to the ' True Vine.' The Church is surrounded with twelve wide niches. In one of these, on the rt., are some fragments of Cosmatesque mosaic. Over the side doors are late and inferior mosaics of Christ with St. Peter (rt.), and Christ with SS. Philip and Thomas (1.). Alexander IV. converted this tomb into a Church (1256), and dedicated it to S. Constantia, whose remains were then removed from the porphyry urn, and deposited, with other relics, under the altar in the centre. Near it is an oblong enclosure (formerly called the Hippodrome of Constantine), which was a Christian cemetery, connected with the basilica of S. Agnese. In the Vigna Crostarosa on the 1., about I m. beyond the Basilica, is the ♦Cimetero Ostriano, or Ad Nymph as Sancti Petri, one of the most interesting of the Roman Catacombs. It is entirely distinct from that of S. Agnese. There are two tiers of galleries, the uppermost the most ancient. Descending the stairs, which probably date from the time oi Constantine, we find ourselves in a gallery of considerable height, the walls of which are hollowed out into loculi, long ago rifled of their con- tents. Near some may be yet seen the impression of the glass vessel attached to the wall of the grave, which is supposed to have contained the blood of a martyr. At a short distance from the entrance is a rudely-shaped inscription, on the mortar closing of a grave, to a certain Abundantia and Turbantia, with the names of the Consuls of the year A.D. 336. About 100 yards farther on is a cubiculum with several graves and a * Cathedra, or episcopal chair, cut in the rock. This chamber is supposed to have served as a place of meeting for catechumens, the seat being that of the instructing priest or deacon. Not far from this is a chamber for female catechumens, devoid of all kind of ornament, but having a seat on each side of the door for the two priests or instructors, or priest and deaconess, who were required to be present in assemblies of females. Proceeding farther, we enter a cubiculum with a vaulted roof ; the altar, as usual, is in a recess (arcosolium),^ near which in one of the corners is a credence table, cut out of the tufa rock. The whole of this chapel is covered with stucco, on which are paintings of Moses taking off his sandals before ascending to the Mount, and his striking the rock ; and over an arcosolium on the rt., the Good Shepherd, with Daniel in the Lions* Den on one side, and the Three Children in the Fiery Furnace on the other. Turning into the gallery, we find a cubiculum, the paintings on which are well preserved. Over the recess facing the entrance is Christ between six Apostles, the latter without nimbi. The roof is divided into compartments in which are painted Jonas under the arbour, Moses striking the rock, Adam and Eve, and an Orante or female with uplifted arms in the act of adoration, with the Good Shepherd in the centre, surrounded by representations of fruits and flowers. There is also a small credence table. One of the most interesting recesses is that known by the name of •Cathedral or Basilica ; it is not far from the entrance, in the lower tier of galleries. The larger cubiculum (B on plan) contains the episcopal chair (a) with + Arco-solhim {Arcuf, an arch, and Solhori, a sartopb actus) is iiBually an arched recess, the lower part of which is tilled up 1»y a sarcophagus. The City.] route 36.— ^cimetero ostriano. 373 low seats (e, e) on each side for the priests. From the damp nature of the rock here, there are no paintings on the walls or vaults. A pro- jecting cornice may have been used for lamps. On the opposite side of the gallery is a smaller cubiculum (C) perhaps for women, the larger being for men. The Chapel of the Virgin is a square cubiculum approached by a flight of steps, and preceded by an oblong vestibule. At the farthest extremity is an altar under an arcosolium, over which is a painting — unfortunately mutilated by a grave being cut through it in more recent times — of a female with outstretched arms, as an Orante in the attitude of praying, and a Boy in front, supposed to represent the Virgin and the youthful Saviour. The monogram of Constantine shows that it is at least not older than the 4th cent. The absence of the nimbus would n i I-——* ..e<; I I I I ...I J :i t:--\^ ... 12 3 4 5 yds. CUBICULA IN THE CEMETERY OF OSTRIANUS. A, A. Gallery of Cemetery. B, C. Cubicula, or Sepulchral Chapels, opening out of it. Episcopal chair. a. d, d, d. Arcosolia, or Recessed Sarco- phagi. Ordinary Oraves, or Loculi. Seats for Priests or Instructors. Projecting Ledge for Lamps. 9 e 9- ,e. f. indicate that it was anterior to the middle of the 5th cent., when that ornament appears to have been first introduced. On the arch above is a figure of the Saviour with others in adoration on either side. In the lowest tier of galleries is a well-preserved chamber, with a spring running through it, supposed to have been used as a Baptistery. In its corners are rude imitations of columns, cut in the tufa rock, and on one side a deep niche, probably to contain the sacred vessels. One of the latest and most interesting discoveries in this Catacomb is the site of the grave of S. Emerentiana, foster sister of S. Agnese. For the continuation of the Via Nomentana, see Rte. 60. 374 ROUTE 37. — VILLA ALBANI. [Sect. I. ROUTE 37. From the Porta Salarla to the Catacombs of S. Priscilla, by the VlUa Albani. [For plan of thU Eoute, see p. 437.] The Via di Porta Salaria turns of! to the 1. from the Via Venti Settembre, just beyond the Pal delle Finanze (Rte. 36). The modern Porta Salaria (1 m. from the Piazza di Spagna) stands about 400 yds. beyond the Porta Collina of the Servian wall, and waa so called from the supplies of salt carried through it to the Sabme up- lands By this gate Alaric entered Rome, a.d. 409. Having suffered from the bombardment of Sept. 20, 1870, it was taken down and rebuilt in 1873 from the designs of Vespignani, when three tombs were found embedded in the masonry. On the 1. is a large circular monument m travertine belonging to a ladv of the Cornelian family; on the rt., an oblong tomb without inscription, of the time of Julius Caesar, similar to that of Bibulus ; and the tomb of Quintus Sulpicius Maximus a precocious Roman school-boy, whose cippus is now m the Pal. dei Conservatori. ,...,., , * uj u The greater part of the walls beyond this is m brickwork, of which the interior portion in the Villa Bonaparte is well preserved. On the rt., i m. from the gate, is the entrance to the •VILLA ALBANI, purchased by the lat^ Prince Torlonia, with all its contents, for a sum exceeding 125,000Z. sterling (Adm. only by special permission, very difficult to obtain). The Casino was built in the middle of the eighteenth century by Card. Alessandro Albani. ' Here, Bays Forsyth, ' Winckelmann grew into an antiquary under the car- dinal's patronage and instruction; and here he projected his history x>l art which brings this collection continually into view/ Napoleon carried off 294 sculptures from the Villa to Paris, which were restored in 1816, but most of them were sold, to avoid the expense of transport, to the King of Bavaria. ^ ^ ^u i * In front of the building is a fine portico, decorated with columns of granite and cipollino, which opens into a suite of halls, having on each side wings in the form of galleries, preceded by vestibules, all of which are adorned with sculptures. Under the portico are statues and busts, chiefly of Imperial personages. . . , „ ^ . ,. . „,, On the 1. of the portico is the Atno della Canahdc, so called from a (19) statue of a Caryatid, bearing on the back of the basket the names of the sculptors Criton and Nicolaus of Athens, who are supposed to have lived in the time of Augustus. On the pedestal, 20 Relief of Capaneus, struck by lightning. 16, 24 Archaistic statues of Canephorae. From the vestibule opens the 1. gallery, used as a conservatory, in which are a series of busts. Returning through the great portico, on the rt are a series of rooms forming the corresponding wing of the casino and a vestibule, followed by the Conservatory, out of which opens a series of smaUer rooms richly decorated with marbles; but the ancient sculptures in them are of little interest. The City.] BOtTTE 37. — VILLA ALBANI. 375 From an oval vestibule opens a flight of steps leading to the 1st floor. Staircase. — 885 Fragmentary relief of the death of the sons and daughters of Niobe ; on the rt. is Diana drawing her bow to slay the daughters. In the original composition Apollo would have appeared shooting the sons. Sala Ovale. — 906 .\thlete, signed by Stephanos, a pupil of Pasiteles, a Greek sculptor who worked in Rome in the latter half of the first cent. B.C. Stephanos had again a pupil in Menelaos, who executed the group of Orestes and Electra formerly in the Villa Ludovisi. The similarity of style in the work of those two generations of sculptors, who trace their artistic descent from Pasiteles, suggests that Pasiteles had created this stylo. It is remarkable for retaining much of the manner of archaic Greek sculpture previous to the time of Pheidias, and for adding to this archaic stiffness and love of figures with large bones, a marked effort to express sentiment and tenderness. 915 Cupid bending his bow. Galleria Nobile, a fine room, opening out of which are several smaller ones ; the roof was painted by Mengs^ and represents Parnassus with Apollo and the Muses. The walls are richly ornamented with marbles and mosaics, and have several reliefs let into them. 1012 Pallas. 1013 Adonis as Castor. 1008 Hercules and the Hesperides. 1009 Daedalus and Icarus. Over the principal entrance, 1014 Relief of a sacrifice, with a Corinthian temple in the background, in the archa- istic manner. Corinthian columns were not however introduced till long after the archaic age of sculpture : for that reason and for the imitative rendering of drapery, this relief cannot be true archaic, but must be called archaistic. 1st Room on the rt. (over the chimney), 1031 An extremely beautiful *Greek relief, frequently described as Orpheus, with lyre in hand, bringing back Eurydice. A very similar relief in the* Naples MuHcum has these names inscribed on it, but probably by a later hand. Other names suggested for the Albani fignnm arn ZHthuH, Antlope, and Amphion. The sculpture is undoubtedly Greek, of the age immcMiiately subsequent to the Parthenon ; the frici/.ii uf which it coniitantly rooallii, so elevated is the style and so improKsivo the cnhnnoKx and dignity of the group. It had prol)ably been on Athenian tombttono. 10^4 Theophrastus. Paintings.— In the 2nd and 3rd mora in a rollnrtioti of piotunm removed from the Pal. Albani. 37 Pfifugino : ♦Altur-piooo in !*ix com- partments, representing the Adoration of tho infant Saviour by tho Virgin and St. Joseph, with Angels, SS. Jerome and John Bapt., the Annunciation, and Crucifixion (1491 J. 86 NiceoU) da Foliono : Virgin and Child with Saints (1475). 55 Vandyck : Oruoiflxion. 49 Vandrrtufirff: Descent from the Cross. 35 Luca Si^norelH : Virgin and Child, with SS. Lawrence, James, Sebastian, and th© Donor. 58 Small sketch of the Transfiguration attributed to Raphael; it ifl al^out 4 ft. square, and stood formerly in the bedroom of uivi PriticoKK Albani. 59 Salaivo : Virgin and Child ; the former holds violota, the latter ii lily (by Oian* pietri7w) ; deep orange, characteristic. Returning to the Galleria Nohile, the xst Room on the loft contains (994) a relief of Aotinous, found in the Villa Adriana, and rendered 376 ROUTE 37. — VILLA ALBANI. [Sect. I. The City.] BOUTE 37. — VILLA ALBANI. 377 famous by the high praise of Winckelmann, which probably few would now share. 997 Female Satyr playing the flute. 2nd Room. — 985 ♦Relief of an Amazon striking down a dismounted horseman^-one of the grandest examples of Greek sculpture in Rome, dating from about 410 B.C., and found near S. Vito in 1764. It may have been originally one of the many beautiful monuments for which Athens was and still is famous. This relief has been injured in several places. 980 ♦The so-called Leucothca relief, a true example of archaic Greek sculpture at the stage just before it passed to greater freedom, and threw of! the restraint which is still marked here in the stiff draperies, the uniform lowness of the relief, and the refined love of details. 967 Relief, two dancing figures, archaistic. 970 Statue of Minerva, archaistic. 991 Archaistic relief, the right half restored: a female figure seated in front of a temple, and holding in her hand a mirror. 993 Statue of Dionysos, also in a marked archaistic manner. 977 Archaistic relief, contest of Apollo and Hercules for the Delphic tripod. 3rd Room. — 17, 18 Giulio E(muino, Sketches in oil for the Myth of Psyche in the Pal. del T^, Mantua. 21 Portrait of Sir Thomas More, attributed to Holbein. Gabinetto, at the E. extremity of the Casino. 052 ♦Bronx© Apor.fjO Sauroctonos, nearly half life size, found on tlio Avontino, and much restored. This very fine bronze is held to approach inoro noiirly tl>« original of Praxiteles than even the beautiful marble tttatuo of the Kitmo subject in the Louvre. Compare also the marhln copy in tho V^atlcan ^luseum (264) Gallery of Statues. The eyes and diadom arc of KJlvor, 957 Small relief of the Apotheosis of Herculen, with hiu Labours on pUlars at the sides. 965 Aesop. Passing through two rooms, one of which hftfl flODM FlemiMh tapestry, we now return to the 0\b\ Saloon, and d^^Hrnnd to ihn Ground Floor. At the end of the wing on the left is tho Atrio delia Giunone. Thence we pass to the Gallery. 103 Bacchanto. l(X> Fiuiii with th« young Bacchus. Sala delle Colonne, with an ancient mosaio pavement. 131 Sarcophagus with reliefs of the marriage of FoIoua and Thotix. Gabinetto Primo. — 161 Curious relief representing DiogontiM in a largo jar receiving Alexander. Gabinetto Secondo.- In the centre a largo tazza with the Labours of Hercules, found near th«i trniphi of thiit horo erected by Domitian on the Via Appia. Gabinetto Terzo.— An interesting mosaic of the Nile, with several of tho anlnml!4 Inhabiting its banks. Gabinetto Quarto. — 219 Faun in Parian niarbUi. Thin room opens on a terrace shaded with ilex, and adornod with nnnn»roufi sepulchral cippi, reliefs, and inscriptions. It 1ou> relief &, now mowtly de«troyed. Tho coll, 9} ft. bv G^ llM ioli4 pliMU«« a» tho anghm to MUMtain tho vault. In th« tralU ar» tbfM nk^M to rcoctvo tho cinerary uruM, but tho content* w«co plu2>df«9d wh«i iho cell WM trannforino*! into a lunall comotery. Al Ihat pcciod ft rudo nrcornliifiM placiul in ft nicho, oa t^ r^ d IW pAMft^. where it of travertine wan plac.i yot remalna. Two rowH of locull wore found on <*ob «ido of tbe comoor, aimotft Intact and raoMtly cloMod with tllcD. Some of IbcM, Iw^wvfvcr, wane faced with marble ulabs, taken from moro ajKiaut g M Mi ekra lmoownmi*, with tho ori|{iiml inMcrlptiona turned inward«. OwMi U* ocwiidar DMr the antrftnco were found two loouli which ootttaiscd €orp«M urial-plAco, obouK ibe «ocl of Iho Ub c^nt, Tho flepulohreK of i)w original inottnmmil bftTo cfiHrdty dita^fiMral, but two niarblo portrait bu»t» wore fovnd in 1886c OtMitpfMentoaioaB in military drtym, with tho chlamy* buckled on tho left ih o uk k r tod the Mhort Mword {parajioniufn) acroHM hta brc*«t. On hi* bead l» » «»*tc crown. Tho other if much damigiod, biU aliU r«vtftb tbe deik^U foaturoo of a young woman. Wo Maj OMMlDdo that < lm a peotniti r^proftont Lucilia Polla and her brother, If. LMcUlQa FmIiu. 5 min. further on the rt. in tho Ceract«c7 o* S. FdidU, ^tb tbrw* tloN of ga1Ii«ri«m much dilapidated. Aftor 8 sqIb. ^(V oro«a ibe broad ViaU dfUa licgina, which loadn to ibe (1 id.) A«diM Ac«to«i aad Iba Ponto Mollo, affording a l>oauti(ul walk or dim. p«»l bajroiDd lb# lurga aadl baadaoroe ViUa SmiiK ^^bkli Itonda hack ott the rt,» a«bMt co* dtac«ndl ihrouijh HaSda lo Iba fifriogi. Thonea (0 (1 xn.) ^. Af^na a I\mU Motte and (1 m.) PoHa M P9fci» {Wa, 88).3 7 min. lunbtr 00 U ibo 0ciMt' stated ikftt %km cunieniui, W hamm^A passage, was on the opposite 'side of FkkoM.'viiiere lh9o1ifi»w«r«lo(tliMt, and that it was carried into the Arx. The chiof »tC)tOfM>li» oi Fidonai was probably on the heights to the N.t*:^. cMlML Foffilo do* 6otto Btgni, where are a number of caves. The vmlfe Iwve ulif rl3r'dS » wp»»w>^ ; iml one stone remains on another, and tbft bffokCA JwiUry MM the tonib^ around are the sole evidenced of its exiU^OC^.^— Amtii*. Castel Giubileo is on the Rly. to VloMii6tv6 m.txom Koine. It ^mt built in 1300 by Boniface VIII.," and nmntx) nftnr tba Juliili^e wItLch tkt Pope institut<^d in the same year. A ro«d k«d* beoM U> (i m,) /Vxiut* pmta, crossing the Tiber on an iron brtdgOft^M^ tn 1«8«! thcDfo there IS electric tram to Civita Castellana. Returning to Rome, a very agr«^fiahl6 cxcunioe mfty be made up the valley of the Sette Bagni, whtoh OPMM on Ihi rt. ^ m. beyond Castel Giubileo, passing by RedicicoD, BnmMU, ond the CB«ak> dtUa Bella Donna : from the latter a good ro*d of 4 m., h^ L§ W^fite Jhuf^ and the Mons Sacer, leads to the Ponte Svmf^ano, S m. froM the PortA Pia (Rte. 36). On the 1. in the Strada delle Vign« Kuo%^, About | m. \icyomd t^ tower which serves as a casUllum for tho Aoqua Mmvss U tbooto ctf the Vigna Chiari, on the site of the entriaeo lotbeSiftartwuMi moois^ or Villa of Phaov^ where Nero commiW«i ttiifoida (IU#. CQ^. 380 ROUTE 38. — VILLA BOBGHESE. [Sect. I. ROUTE 38. To Clvlta Castellana, visiting the Villa Borghese, the Villa di Papa Giulio, Ponte Molle, and Prima Porta. Tram. [For plan of this Route, see p. 437.] [Tramway, p. [27], 11, 12.] The tram takes 40 minutes to reach Prima Porta, and 2} hours from Borne to Civita Castellana. On the rt., immediately outside the Porta del Popolo, is the entrance to the grounds of the ♦VILLA BORGHESE (Adm. p. [34]), purchased by the Government in 1902, and now officially styled the Villa Umberto Privw. There is another entrance, nearer to the Casino, just outside the Piazza Pinciana. The park is well wooded and very pretty. Another entrance is being made to it from the Pincio. Opposite the Oiardino del Logo, a statue of Victor Hugo was erected in 1905, presented by the French-Italian League. About half way between this and the Porta Pinciana is a statue of Goethe, presented by the German Emperor WUliam II. The Casino, formerly used as a summer residence, was erected by Card. Scipio Borghese, from the designs of Vansanzio, enlarged in 1782, and converted into a gallery of sculpture under the direction of Canina. The Borghese family formerly possessed a very rich collection of ancient sculpture found in excavating on their numerous possessions, and especially at Gabii, which were arranged here and in the adjacent Museum Gabinum. The most valuable of these were removed to Paris by Napoleon, for which an indemnity of 15 million francs was promised to Prince Borghese, but not fully paid. A great portion of the present collection was made since that time. The Casino consists of two floors, the lower one containing chiefly ancient sculpture, the upper modern statuary and pictures from the Palazzo Borghese. I. Vestibule. — Two ancient candelabra. Three mutilated reliefs from the Arch of Claudius, erected to commemorate Victories in Britain (a.d. 52). It stood at a spot near the Palazzo Sciarra in the Corso. II. — Great Hall or Salone, decorated with eight columns of pink Baveno granite. The floor is inlaid with ancient mosaics of gladiators, discovered, in 1834, in the ruins of a Roman villa near Torre Nuova, one of the Borghese possessions on the Via Labicana. These mosaics, though barbarous in an artistic sense, are interesting for the costumes, armour, and weapons of the gladiators, as also for their inscribed names. In many respects similar to this is the mosaic floor of boxers in the Christian Museum at the Lateran, The City.] roUte 38.— VilLa borgheseI. 381 Under the statues on the 1. and rt., and above the glass door, are Bacchic reliefs; over the latter, Curtius leapmg mto the gulf. Ill —56 58 Two graceful draped female statues of Graeco-Romatt work. 61 Minos sacrificing to Poseidon-fragment of a relief ; remainder in the Louvre. 62 Leda and the Swan. 64 Relief : A]ax seizing Cassandra, beside the image of Athene. 65, 69 Roman street-Arabs 71 Tomb relief-Graeco-Roman. In the centre 'Princess Pauline Borghese, sister of Napoleon I., hy Canova. Paintings: DossoI)ossi, Apollo and Daphne ; Carava^glo, David with the head of Gohath. IV —In the centre is a statue of David, by Bernini. 78 Herma of Pan, 79 Reliefs from a sarcophagus : five labours of Hercules. Opposite is a similar reUef with other five labours. Late debased art 80 Frieze of another sarcophagus : Scene from the Trojan war. 87 Salocm. II. IV. Vestibule. I. Entrance. in. I Scale. 10 I 15 I 20 yards. I TICTUBE GALLERY AT CASINO BORGHESE— GROUND FLOOR. Sarcophagus with Tritons and Sea Nymphs ; on t^^^^^^^^f^^,^ ^J^^,^^^^^^^^^ is the head of a marine deity. History of Leto and the birth of Artemis and ApoUo. lOOStatue of Venus, of the type of the Venus dei Medici. 103 Boy Hercules. Painting : 7 Venus, by Padovanino. V-In the centre, Apollo and Daphne, by Bernini (1616). 116 Three-sided base, with reliefs of Mercury, Venus, and Bacchus. 115 Boy playing with a bird. 114 Boy crying. VI — Galleria 60 ft. long, opening on the garden, panelled with G J^-di Stt?'ifa^ I.n.i\w^w^thg^^^ (peach blossom, mottled lilac), &c. Two columns and f ^ir Pila^*^^^^^^ ^oriental alabaster. Between them stands a ^^.^ J^^/^^"^^^^ probably unique. The porphyry heads with ^^^^^^ff . ^^^ ^^^ Caesars are modern. The porphjTV urn, in the centre, is said to nave 382 ROUTE 38. — VILLA BOBGHiiSE. [Sect. I. been brought from the ^laiisoleura of Hadrian. In a niciie at the end, 143 Bacchus, To the rt., head of Juno in i^os.su antico. 145 Bronze herma of Bacchus, on pedestal of alabaster. VII.— 172 Hermaphrodite found near S. M. della Vittoria, with that of the same subject now in the Louvre. 181 Female head, on a bust which, though antique, does not belong to it. At first sight this beau- tiful head gives the impression of its being a fine example of true archaic Greek sculpture of the 6th cent. B.C. But against that view is the use that has been made of the drill in working the curls of the hair on the forehead, the drill not having been invented in archaic times. A comparison with 216 in Room IX. will show that in this head the ear is not sufficiently clear of the hair, the eyebrows do not slope forward rightly from the eyes, while the manner of working the hair on the 3rown of the head and down the back of the neck is not appropriate to archaic art, but more to a later period. This head does not seem to belong to the ordinary class of archaistic sculptures in Rome, but appears rather to be the work of a good Greek time, such as the 4th cent. B.C., when for some hieratic motive a true archaic statue was reproduced. The two mosaics on the floor, representing fishing scenes, were found near Castel Arcione, on the road to Tivoli, and are interesting as showing that the ancient mode of fishing with a round or cast net was exactly the same as is now practised on the banks of the Tiber. VIII. — In the centre, Aeneas carrying Anchises, sculptured by Bernini in his 16th year (1613). By a window. Woman carrying a basin. Painting : 22 Dosso Dossi, a sick man and his wife imploring relief from SS. Cosma and Damiano. 23 Titian : Samson. IX. —(Camera Egiziaca), full of rare and beautiful marbles. 200 In the centre stands a marble group of a *Boy on a dolphin, trying to force open its mouth, and called Palaemon, son of Athamas and Ino. It is said to have suggested to Raphael the Jonah of the Cappella Chigi in the church of S. M. del Popolo. 203 Paris. 216 *Draped female figure of beautiful archaic Greek work of the 6th cent. B.C., perhaps the only really valuable sculpture in the collec- tion. The face is an admirable example of the archaic manner; the folds of the drapery are stiff and flat, as was characteristic of the time ; the whole statue m conspicuous from the rarity of such true archaic Greek work in Rome. X. — 225 ♦Fine semi-colossal statue of the Dancing Faun, discovered in 1832, with several others purchased by Prince Borghese, in the ruins of a Roman Villa at the 32nd mile on the Via Salaria. 227 Seated figure restored as Mercury, with petasus on his head and lyre in hia hand; rt. arm also restored. The face retains something of a good Greek type, but the body and drapery are in the ordinary Graeco- Roman manner. 232 Very good ancient copy of the Faun of Praxiteles. 233 Seated statue of Pluto, a fairly good Greek work; both arms restored. 241 Seated group of Dionysus and a girl. We now return to the further end of Room VI., and ascend a stair- case to the ♦Picture Gallery. — This admirable collection is the largest and most important in Rome. It was removed from the Pal. Borghese in The City.] route 38.— vIlla borghese. 383 1891. A few of its treasures have disappeared, among which the most famous was a so-called Portrait of Caesar Borgia, attributed to Raphael, but probably painted by Bronzitw. At the top of the stairs we turn to the rt., and enter Room I.— On the 1., 34 School of Francia, Virgin and Child. 35, 40 44 49 Albani : Four circular pictures representing the Seasons. — ' Only one (44) by his own hand.'— iC. * Good decorative works.'— 3f. 42 Ouercino : Prodigal Son. 51 Guido Cagnacci : Sibyl. 53 Domenichi7io : ♦Chase of Diana. ' A very pleasing composition, fine in its lines and full of characteristic movement, though the expres- sion of the heads is not equally natural throughout.'— iT. ' A charming picture, which is worthy of a purer period of art.'— ilf. 55 Doni4>nichitio : ♦Cumaean Sibyl, one of his most celebrated and graceful paintings. 57 Marco Meloni : St. Francis. 58 Lodovico Caracci : St. Theresa. 60 School of Francia : Virgin and Child, with PICTUBE GALLERY AT CASINO BORGHESE— FIKST FLOOR. SS. Jerome and Catharine. 61 Virgin and Child. 62 Fr. Vanni: Marriage of St. Catharine. 65 Francia: ♦St. Stephen. *A perfect example of his power of spiritual expression with gem-Uke colour.'—^. ' Of his early period (1490-96). Few paintings are so full of the essence of the purest artas this.' — M. . ^ ^ . THi- i-i. f 66 School of the Caracci : St. Francis. 68 Baroccio : Fhght of Aeneas from Troy. II —73 Mola : Portrait of a Pope. 74 Pontorrm : Elderly man in a red velvet tunic, holding a letter. 75 Bronzino : Lucrezia. 'These early works are all very careful in drawing, but black in the shadows. — Jf. 80 Scipi(me Gaetano : Female portrait. 86 School of Raphael : Boy Knight. 92 Baldassare Peruzzi : Female portrait. 94 Bronzino : Cosimo dei Medici. 97 G. B. Moroni : ♦Portrait ; ' does not even belong to the Venetian School.' — M. 384 ROUTE 38.— VILLA BOrGHESEI. [Sect. L ROUTE 38. — VILLA BORQHESE. 385 llL-^Garofalo : 204 Last Supper. 208 Holy Family, with St; Anthony. 210 Virgin and Child. 224 Nativity ; ' both the feeling and execution show it to be a very youthful work.' — M. 240 Virgin and Child, with SS. Paul and Peter. 235 Woman of Samaria. 236 Calling of St. Peter. 242 Holy Family with St. Michael. 244 Noli me tangere. 237 Scourging of Christ. 239 Adoration of the Magi. 217 Dosso Dossi : ♦Circe. ' Here the master is seen indulging in a highly poetical and imaginative feeling, in the greatest na'iveU of ex- pression, and in a richness and depth of colour worthy of Giorgione.' — K. * An early work, about 1516, fresh and full of poetic feeling.'— 3f. 211 Virgin and Child. 218 Mazzolino da Ferrara : ♦Adoration of the Magi. ' One of the best examples of his work.'— iiC. • Clear and bright in colour, with a fine architectural background.' — M. 245 Battista Dossi : Virgin and Child with Angels, in a landscape. IV. — Raphael : Frescoes from the walls of the so-called Casino of Raphael, which once stood in the grounds of the Villa Borghese, but was destroyed in 1849. 303 Marriage of Alexander and Roxana, * from an engraving for which a drawing in Indian ink was made by Pierino del Vaga.' — M. 294 Vertumnus and Pomona. 300 Bersaglio de' Dei. Archers shooting at a target with the arrows of the sleeping Cupid, allegorical of the Passions, from a drawing at Windsor attributed to Michel Angela. v.— 268 Vandyck : Crucifixion ; • copy or imitation.' — M. 272 Pieter Codde : ' Six soldiers in various attitudes, though it is impossible to guess what they are all about.' — M. 273 G. Lundens : Surgical operation. ' A sprightly little painting (1648).' — M. 274 Rubens : Visi- tation. 278 Brueghel: Orpheus. 280, 286 Andrea Solario : Mater Dolorosa and Ecce Homo. 291 Teniers : Interior. VI. — 133 Marcello Venusti : Small copy of *Our Saviour at the column, by Seb. del Piombo (original at S. Pietro in Montorio). 137 Paolo Veronese : St John the Baptist preaching ; * by Battista Zelotti.^ — M. 139 Savaldo : Portrait of a young Man. 101 School of Paolo Vcrojiese : St. Anthony preaching to the Fishes. 106 Palma Vecchio : Lucretia ; * of that period when he was closely connected with Lor. Lotto.' — M. 157 Venetian School : ♦Virgin and Child, with SS. Barbara and Christina, and two donors ; * apparently a contemporary copy of some lost work by Lotto.' — M. 115 Pordenone : *Family Group. 119 Paris B&rdane : Sleeping Venus and a Satyr ; ' an inferior copy.' — M. 125 Correggio : ♦Danae. * The surface glazings have disappeared, but it is still perhaps the most Correggiesque work of Correggio, and a triumph of aerial perspective and chiaroscuro. As to the consummate manner in which the artist has dealt with his subject, it is so true, so human, so chaste in the truest sense of the word, that I may safely say I know no modern work which in this respect is more worthy to be ranked with Greek art.' — M. The little Cupids, it should be observed, are not sharpening their arrows, as is commonly supposed, but trying the golden flakes upon a touch-stone, which accounts for their expres- sion of pre-occupied interest. 124 School of Paolo Veronese : Venus and Cupid, with a Satyr. 127 L. Bassano : Trinity, * finely coloured.' — M. 136 Caravaggio : Boy with fruit. 1 The City.] VII. — 193 Lorenzo Lotto : ♦Virgin and Child, with SS. Onofrio and Augustine. 143 Venetian School : ♦Female portrait ; * by Giorgione: — M. 144 Bassano (or Andrea Schiavone) : Last Supper. 147 Titian : ♦Sacred and Profane Love ; an allegorical composi- tion. * One of the most fascinating and beautiful of Titian's productions, in which is seen the influence of Giorgione.' — K. The contrast between the undraped and the gaudily bedecked figure would have been better expressed by the words Artless and Conventional. 148 Valentin : Prodigal Son. 149 Bonifazio Veneziano : Woman taken in Adultery. 'Either a feeble work of the School, or an old copy.' — M, 110 Caravaggio: Virgin and Child with S. Anna. ' Un- pleasing, but remarkably able.' — M. 156 Bonifazio Veron., Senior : Sons of Zebedee. 163 Pahna Vecchio : ♦Virgin and Child, blessing a female suppliant, between SS. Anthony and Jerome. ' The Madonna looks like a Roman- esque peasant girl. Probably of his middle period (1514-18).' — M. 164 Cariani : Virgin and Child, with St. Peter. * The drawing is poor ; the figures are trivial and plebeian ; the Child is heavy, coarse, and without grace of movement; and the clouds are wooUy. The colouring, however, is refined and glowing.' — M. 170 Titian : ♦Cupids, Venus, and Graces ; ' a magnificent piece of colouring, and probably of the painter's matured period.' — M. ' One amorino tries by fair words to get permission to fly away, while the other is bound.' — Cic. 171 Pordenone : Holy Family, with SS. Jerome and Catharine, and landscape background ; ' one of his coarsest works.' — M. 176 Bellini : Small Virgin and Child (early). ' The picture has little merit, and is only by some pupil or imitator, probably Bissolo.'—M. Vll Bugiardini : Virgin and Child, with St. Catharine. 181 Dosso Dossi : ♦Saul and David, with the head of Goliath. ' A grandly painted picture.' — K. • One of his later, and therefore less powerful works.' — M. 185 Lor. Lotto : Male ♦Portrait. • Shows a remarkable refinement, a rare power of seizing character and expression.' — K. In the background is St. George slaying the dragon. 188 Titian : ♦St. Dominic. 186 Bonifazio Veronese {Jun.) : ♦Prodigal Son. Returning to the entrance, we turn to the rt. into VIII.— 310 Fra Bartolommeo: Holy Family (1511). 'The com- position is apparently that of Fra Bartolommeo; but the careless execution is undoubtedly that of Mariotto Albertinelli. It is signed with the red cross and two interlaced rings — the former referring to the Convent of St. Mark in Florence, the latter to the two friends and co- workers, Fra Bart, and Mariotto.' — M. 318 Carlo Dolci : Virgin and Child. 326 Liccas Cranach : Venm-. and Cupid (1531). • A fine piece of colour.'— 3f. 328 Andrea del Sa/rto : Magdalen. ' A charming little picture by Doni. Puligo: — M. 331 Virgin and Children with Angels. 334 Virgin and Children— all copies, with forged monogram. 336 Bugiardini : Virgin and Children. 343 Piero di Cosimo : Virgin adoring the Child, with St. John and two Angels. 346 Sassoferrato : Copy of Titian's Three Ages. 348 Botticelli : Virgin and Children, with six singing angels (round). • The execution can only be ascribed to one of his assistants. The hands are absolutely lifeless, and the hair is treated without intelligence.' — M. IRome.] 2 c 386 ROUTE 38. — VILLA BORGHESE. [Sect. I. 352 Florentine The City.] route 38. — villa di papa qiulio. 387 350 Ltica Giordano: Martyrdom of St. Ignatius. School : Holy Family (round). IX,— 365 Pomerancio : Holy Family. 366 Florentine School : Virgin and Children. 369 Raphael : *Entombment, painted after his return from Florence, for the Church of S. Francesco at Perugia in 1506. From the nimiber of its designs and studies it evidently tasked his powers to the utmost. ' The execution is severe and careful, but extremely beautiful, the action true and powerful, the expression of the single heads as fine as anything that issued from the master's hand, while the modelling of the Saviour's body, the work of a painter only twenty-four years of age, may take its place among the master-works of Christian art.' — K. Some sketches for this picture were in Sir Thos. Lawrence's collection ; the finest in that of the Uffizi at Florence. The predella, Faith, Hope, and Charity, is in the Pinacoteca at the Vatican. 371 Ridolfo Ghirlandajo: St. Catharine. 375 Umbrian School: Predella— Entombment with Saints. 376 Sacchi : *Portrait of Orazio Giustiniani. 377 Fiorenzo di Lorenzo : Crucifixion, with SS. Jerome and Christopher. * The earliest work known to be by Pintoricchio.'— M. 382 Sassoferrato : Virgin and Child. 386 Perugino : St. Sebastian. 390 Ortolano : *Deposition, with forged signature. A fine picture by Garofalo (about 1508), * executed carefully and with a good under- standing of effect.'- Af. 394 Eusebio di S. Giorgio : St. Sebastian. 395 Perugino : Ecce Homo. 397 Raphael : Portrait, * probably of Pintoricchio. It should be compared with several heads of Apostles in the Coronation of the Virgin at the Vatican.' — M. Formerly attributed to Holbein. 396 AnUmello da Messina : Male portrait — about 1476. * The expression is most unpleasant, but the eyes are full of life.' — M. 398 Taddeo Zucchero : Christ bewailed by Angels; 'a picture of great effect, in which the painter's original gifts got the better of his false principles.'— Z. 399 Timoteo della Vite : ♦Portrait of Raphael as a boy of twelve. 400 School of Raphael : Youth. 401 Perugino : Virgin and Child (copy). 402 S. M. Magdalen. 408 Pontormo : ♦A Cardmal. ' One of his finest portraits.'— iT. 409 Garofalo : Holy Family. 411 Vandyck : Entombment ; • copy or imitation.'— Af. 413 Giulio Romano : Good copy of Raphael's Julius II. 416 Intwcenzo da Imola : Portrait. 355 Sassoferrato : Copy of Raphael's * Fornarina.' Simone Martini : Madonna and Child. X.— 461 Solario : ♦Christ bearing the Cross; 'recalls the style of Quentin Matsys,' and is undoubtedly by a Flemish painter. — M. 462 Sodoma : Pieta— darkened with age. 459 Sodoma : Holy Family. * The execution is good, but the vigour and freshness of his early Lombard days are no longer apparent.' — M. 456 Gianpietrino : Virgin and Child. 425, 427, 440, 442, 463 Bacchiacca: History of Joseph, in five small paintings. 439 Lorenzo di Credi : ♦Virgin and Joseph adoring the Infant Christ. ' Not genuine, but by a skilful Florentine painter.' — M. 434 School of Leonardo da Vinci : *Leda — copy of a fine painting by Sodoma. 435 Marco da Oggionno : ♦Youthful Christ, blessing. 433 Lorenzo di Credi : Virgin and Children. 429 Luini : St. Agatha. 470 Vanity (both copies). 424 Raphael (copy) : Virgin and Child (Casa d'Albi). XI. — Mosaics, by Marcello Provenzalc : 492 Orpheus. 495 Paul V. 519 View of the Villa Borghese in the 17th cent. 514 Female head (drawing), ' by some inferior imitator of Bernardino dei Conti.' — M. At a large fountain basin of grey granite, i m. beyond the Porta del Popolo, is the entrance to the Casino di Papa Giulio, built by Vignola for Julius HI. in 1550. The grounds have since been turned into vineyards. Here a by-road on the rt. leads to the ♦VILLA DI PAPA GIULIO, built at the same time, and called also the Camera Apostolica, because newly created Cardinals and Ambassadors to the Holy See used to lodge here on their arrival, and make their first entry into Rome from the Villa. Here was established in 1888 a Museum (Adm., p. [34]), for the antiquities found at Civita Castel- lana, the site of the ancient Falerii, and elsewhere. These are partly local Falerian products, and partly imported Greek ware ; and as the contents of separate tombs have here been kept together, it is instructive to observe how rude and primitive the local products often were when the contemporary imported Greek vases had attained great excellence. The various periods of Greek vase-painting being now ascertained, it is possible to date the tombs at Falerii where such vases have been found. By this means the collections in the upper galleries have been arranged in three rooms representing three successive periods. On the rt. of the entrance is a room having in the centre an archaic Etruscan sarcophagus in terra-cotta, found at Cervetri ; on the lid are two admirable figures, of a rare size, for terra-cotta. In glass wall- cases are terra-cotta vases, lamps, incense burners, bronze lamps, mirrors and casques, alabastrons, and small vases of coloured and variegated glass — all from Corchiana, near Civita Castellana. On the walls are hung coloured copies from some of the painted tombs at Tarquinii (Corneto), and from the beautiful marble sarcophagus in the Museo Etrusco at Florence, on which is a finely coloured representa- tion of a battle of Greeks and Amazons. This and the opposite room have richly decorated stucco ceilings by Taddeo Zu^cJiero. In the left room is a series of terra-cotta cornices and antefixal ornaments which had served to decorate the ends of roof-tiles of a temple of Apollo at Civita Castellana. These antefixae are made from moulds and represent alternately a winged figure of Artemis Persica holding a lion at each side, and a winged bearded figure wearing a Phrygian cap and holding a torch in each hand. The Artemis Persica was a frequent subject in archaic Greek art, and much of the archaic manner is here still retained as in the figures of the lions, and the type of face of Artemis. But the free rendering of the draperies both in her, and in the figure with Phrygian cap, indicates a period as late perhaps as 400 B.C. The flat cornices consist of short slabs which were fastened by iron rails to the woodwork of the roof. These slabs also were made from moulds and constantly repeat the same pattern, which is generally very graceful and indicative of Greek influence. The model of a temple erected in the grounds (see below) shows how these terra-cottas were employed. In the centre of the room is a coffin of the 6th cent. B.C., made from 2 c 2 388 ROUTE 88.— VILLA W PAPA GiuLiO. [Sect. I. a hollowed trunk of a tree, and containing a skeleton, with which were found many earthenware vases, with rudely incised figures of animals, and others of a light-coloured undecorated ware. Discovered in March, 1889, by engineers who were draining the Lago di Castiglione — the 9kncieiit Regillus. Ascending the stairs, we first enter a small ante-room, m which are some T&mbe a pozzo (well-shaped tombs) in peperino. jiooM I. Devoted to the most primitive class of antiquities from Falerii, consisting of rude pottery, bronze fibulae for fastening dresses, personal ornaments in gold, amber and glass. In the central case : Bronze cinerary urn in the form of a house. Vase of black ware with incised patterns and having a cover in imitation of the bronze helmet with which vases containing ashes were frequently covered in the early Italic mode of sepulture, when the grave consisted of a circular well cut into the rock and only large enough to hold the vase with the ashes. The ridge on the top of this vase-cover represents the crest of the helmet. , , , Case VII. : a large vase of black ware with two rudely drawn horses confronting each other, with which was found the Greek kylix above it, with two large symbolic eyes. The date of the vase is 550- 500 B.C.,' and that would therefore be the date also of the rude local ware from the same tomb, which otherwise might be regarded as primitive. , „ , . . /-. i_ Case VIII. : Contents of one single Tomb, comprising Greek vases of the black figure period (550-500 B.C.), local bucchero nero, silver fibulae, glass beads, trinkets, and a sword. At the windows : stone Sarcophagus, with two examples of Twnhe a pozzo (well-shaped) and Tombe a cipo (hut-shaped sepulchres). Boom II —Frieze, with interesting 16th cent, views of Rome. Vases of the best Greek period, 460-400 B.C., in which the figures stand out in the red colour of the clay of the vase. Central case : Small vase in the shape of a knucklo-bone (astragalus) ; on one side a lion, and below an Eros fiying and holding tendrils which decorate the space about him, all finely drawn, inscribed TIMAPXOZ KAVfOS • on the top a Victory also holding tendrils which serve to decorate 'the space at her sides. This vase is inscribed also with the name of its painter Syriskos (ZVPIZKOZ). Rhyton, in the form of a dog's head. Large crater with a dance of female figures, severe red figure style. ,,. .. Vase with top and rim wanting, Neoptolemos holding aloft the infant Astyanax by one leg, and about to strike with him Priam, who has taken refuge on an altar. On the extreme rt. is Andromache tearing her hair ; a very fine piece of drawing. Below this vase is a kylix with a young huntsman holding bow and arrows in 1. hand and bird in right, also good drawing. To the rt. is a large crater in a later and somewhat more florid style- Zeus ( lEVZ) seated; before him stands Athene (A0HNAA), in front' of whom Victory (Nike) flies holding a branch. The Athene seems to be a copy from the Parthenon ; behind her Heracles (HPAKAHZ) with lion's skin. Behind Zeus stands Hera (PHA), and behind her Hermes with foot raised like one of the youths on the Parthenon frieze and with a wing in his hair ; rev., satyrs and nymphs. <♦( The City.] route 38. — villa di papa giulio. 389 Stamnos, two figures reclining on couches and listening to a flute- player, the style large but a little rough. Case XI. : Very large kylix with design painted in black on red ground ; in the centre a bearded citharist seated on a couch, surrounded by a large pattern of ivy. Case XIII. : a black figure Hydria ; Perseus (name inscribed) beheading !Medusa in presence of Athene (name inscribed). Large red figure kylix with the name of the painter Hieron incised on one handle (HIE RON EflOIEZEN), groups of figures standing in conversation, a very fair specimen of the work of this excellent Greek artist. Case XIV. : Broken body of a red figure vase with battle of Greeks and Centaurs, very spirited and carefully drawn. Above, a large crater with satyr carrying wine-skin, red figure. Cases XV.-XVII. : several good red figure vases. Case XIX., in the two upper shelves, late florid vases. On the lower shelf a kylix with black figures : Heracles drawing his bow, with Athene at his further side armed with shield and spear and striding to rt. This group is placed between two symbolic eyes ; under one handle of the vase lies a dead figure, under the other is a reclining figure. Case XXII., a skull with the gold setting of several of the teeth. Apparently the Law of the XII Tables in Rome had extended to Falerii so far as concerned the burying of the gold settings of the teeth of deceased persons. Room III. — Case A, on lower shelf, rare vases of grey colour with patterns partly in relief and partly coloured. Case B, on lower shelf, two ky likes (drinking bow's), with Dionysos and a nymph, and a border with a Falerian inscription, written from right to left, Fokd .vino .pipafo . aa. carefo, which seems to be the same at Hodie vinum bibeho eras carebo. On one of the two vases this inscription is less complete and less accurate. Case XXX. : Terra-cotta vases with figures in high relief. Statuettes in flying cupids.i Centre Case : Fine vase with triumphal procession. Two kylikes with figures embracing and inscriptions in Etruscan characters. We now pass to a small room containing a very fine terra-cotta Rhyton and some gold ornaments and objects in bronze, all found in one tomb. In a second room are large terra-cottas, among which is the upper part of a figure nearly life size, the face resembling Alexander the Great, but probably intended for Apollo, and a torso of a draped figure in which the borders of the drapery are richly decorated with floral patterns raised and coloured. Stone head, probably of Juno Quirita. All these are from the Temple at Civita Castollana. In a closed room is a fine *Sarcophagus from Cervetri, with life-size figures of a husband and wife, earlier than the 6th cent., B.C. It is in terra-cotta, with remains of colour; it resembles one in the British Museum, but is not restored. Returning to Room II. the centre door leads to the Hemicycle. In cases along the convex wall are objects belonging to the first epoch of the iron age, found on the banks of the river Treia, a tributary of the Tiber, at its source near S. Angelo. Black vases of Villanuova type, with geometrical patterps in white. Specimens in re^ 390 ROUTE 38. — CATACOMBS. [Sect. I. clay from * well- shaped ' tombs found at Narce in the same valley. ♦Large cinerary vase with two handles. On the opposite or concave side are trinklets from Narce, found upon bodies which had been buried in ditches, not cremated. Orna- ments in gold and enamel of Egyptian form derived through the Phoenicians. Vases, some of silver. Then the contents of Chamber- tombs (Tombe a Camera), with Greek vases, and others bearing Etruscan inscriptions. The last compartment represent the best period of art at Narce, before its destruction. Vases from Rhodes and Cyprus, and local imitations of such. *Three large vases of zinc and brass laricalco) and silvered buccJiero. Fine Rhodian Vase. In the grounds to the rt. is a full-sized Model of a Temple, Lhe ruins of which were found at Alatri in 1889. Within is a remnant of its ancient frieze and ornamentation. Behind the Villa is a pretty Fountain with marble slabs, and an underground corridor, to which steps descend. [From the Villa a road ascends to the L, and passes under tbe Arco Scuro, a tunnel 30 yds. long. It then descends, crosses the broad carriage-road which unites the Ponte Molle with the Porta Salana, and reaches the (1 m.) Mineral Springs of Acquacetosa, with a well-house erected by Bernini in 1661. Prom hence a path across the meadows leads in 20 min. N.E. to the foot of a hill, on which stood Antemnae, the * Turrigerae Antemnae ' of the Aeneid, one of the three cities whose daughters became the mothers of the Roman race. A pleasant pathway skirts the river from the Baths to the (20 min.) Ponte Molle; or the traveller may return to the carriage-road, and reach the bridge in ^ hr., or the Porta Salana in 40 min. (Rte, 37). The pathway leads under the hill of the Vigna OUrrt, near the Casino of which is a monument to the Brothers Cairoli, who fell upon this spot in Oct. 1867.] Returning to the high road, 5 min. beyond the Casino Papa Giulio is the little Church of S. Andrea, with an elegant Corinthian front of peperino and a flattened dome, erected by Vignola for Julius III. in memory of his deliverance in 1527 from the soldiers of Charles V., who held him with three other bishops as hostages for Clement VII. Further on a carriage-road branches off on the rt., winds round the low cliffs of tufat at the foot of the Monti Parioli, and leads near the Acqua Acetosa to the (3 m.) P(yrta Salaria (Rte. 37). On this road, i m. beyond S. Andrea, are the scanty remains of the 4th cent. Basilica of St. Valentine, and the very interesting adjacent Catacombs. Having been for many years used as wine vaults, and eventually abandoned, they were rediscovered by Prof. Orazio Marucchi in 1878 Facing the entrance is an arch with pamtmgs of Samts on either side, the central part having been a Crucifixion which was cut away by the owner of the wine-vaults. On the 1. is a fresco with the name of Valentinus scratched beneath it. The inscnptionj are all m fragments, but many of the letters are extremely beautiful. The earhest date from a.d. 307. , ,i .. • i.v The Catacomb of St. Valentine differs from all others m the simplicity of its plan. There is no labyrinth of tortuous passages, but t Neiirer Rome these hills aye foraie4 ot a coarse variety of Travertine. The City.] ROUTE 38. — PONTE MOLLE. 391 only a kind of pronaos, out of which open three short parallel corridors, communicating by arched alleys. On the wall of the pronaos is a singularly beautiful relief of a female head. A higher range of galleries is perforated in the cliff above. This district is now called the Parco Margherita, a large pleasure ground of several hundred acres, crossed by broad carriage-roads, and extending from the Ponte Molle to the Porta Salaria. The main road continues N., and passes on the rt., ^ m. further, the little Chapel of S. Andrea a Ponte Milvio, erected by Pius II. on the spot where he met Card. Bessarione bringing the head of St. Andrew from the East on April 2l8t, 1462. The Chapel now belongs to the Confraternity of the Trinity dei Pellegrini, who have here a little burial-ground. The circular Temple in the garden was adorned with four handsome columns of alabaster, which were destroyed by lightning on Oct. 5th, 1866, and replaced by four of travertine. Festa, 30 Nov. If m. from the Porta del Popolo is the Ponte Molle, a corruption of Milvio, almost entirely rebuilt by Pius VII. in 1815 on foundations of the Pons Milvius, erected (b.c. 108) by the Censor Marcus Aemilius Scaurus. It was here, on the night of the 3rd Dec, B.C. 63, that the envoys of the Allobroges, implicated in the Catiline conspiracy, were arrested by order of Cicero ; and from these parapets the body of Maxentius was hurled into the river after his defeat by Constantine 5 m. higher up on the Via Flaminia. The foundations, and the four central arches, are ancient. A tower formerly stood at its N. extremity to defend the passage, which was converted in 1805 by Valadier into a kind of triumphal arch. At the S. end are colossal statues of the Virgin and St. John Nepomucene, at the N. a rather absurd group of the Baptism in the Jordan, the figures standing 20 yds. apart— all by Mocchi. The Ponte Molle was the scene of military operations on the 14th May, 1849, when the French invading army under General Oudinot attempted to carry it, but failed, the Romans having blown up its northern arch. Beyond the bridge are several much-frequented Osterie (good wine). [A road on the left leads S.W. to the (2 m.) Piazza del Bisorgimento (Rte. 39). The road on the right along the right bank of the river leads E. to the (1^ m.) Bace-course (Tramway on Racing days), passing on the 1. the Rifle Butts, on a hill beyond which are seen the Cavalry barracks occupied by officers belonging to the Scuola di Equitazione. The Race-course is very prettily situated, and is best viewed from the Tor di Quinto, which rises \ m. to the left further on. This road follows the track of the more ancient Via Flaminia, which falls into the main road \ m. beyond the tower.] A few yards N. of the Ponte Molle the road divides— left is the Via Clodia (Rte. 59), right the Via Flaminia. Following the latter over rising ground for IJ m., we pass on the right the mediaeval Tor di Quinto, which derives its name from being about five miles from the Porta Ratumena at the foot of the Capital. A short way beyond we cross the Due Ponti, two bridges which span the streams of the Acqua Traversa and Inviolatella, up which there are good rides to the Via Clodia and Veii. Here falls in on the rt. the more ancient road. Soon after the plain is bordered on the W. by a ridge of hills, with precipitous 392 ROUTE 38. — PRIMA PORTA. [Sect. I. escarpments, composed of volcanic conglomerate, which extends all the way to Prima Porta. ^ m. beyond the bridges, an artificial cavern may be seen at the base of tne clifl on the 1., which once served as the tomb of Quintus Nasonius Ambrosius, a Roman citizen, otherwise unknown. Hence its name of Sepolcro dei Nasonii, which has been wrongly associated with the poet Ovid. In the British Museum are a few paintings detached from the sides of the tomb. It was discovered in 1674, and described by Bartoli and Bellori, who have left careful drawings of its decorations, in their Picturae Antiq. Partly excavated in the sides of the tufa rock which forms the escarpment on the 1. of the road, it had a Doric front, surmounted by a pediment in masonry. The ruin was much injured in 1886 by extensive quarrying of the adjacent rock. In the meadows on the rt. are several ruined sepulchres that mark the line of the Via Flaminia. It was on this flat that took place the battle, so important in the history of Christianity, between Constantino and Maxentius (a.d. 312), ending in the defeat of the latter, who was drowned near the Ponte Milvio. 4 m. from the Ponte Molle the road crosses the Cremera torrent (now Valchetta), descending from Veii. On the opposite bank of the Tiber lies Castel GiuhiUo (Rte. 37), to which there is a pleasant drive over the new iron bridge. A mile further is Prima Porta, close to the station of ad Saxa Rubra, in ancient times the first halting-place out of Rome, 9 m. distant from the Porta Ratumena. The name was derived from the reddish hue of the tufa rocks which bound the Via Flaminia on the 1. Here also is a Sanitary Station of the Agro Romano, with a Hospital and resident physician. On the heights to the rt. stood the Villa Liviae ad Galllnas Albas. Excavations on it were not attempted until 1863, when amongst the first discoveries was the fine statue of Augustus, now in the Vatican Museum. Subsequent re- searches led to the opening of a suite of chambers, richly decorated, which probably formed the lower floor of the Imperial Villa, one of which was covered with paintings in excellent preservation, repre- senting a garden, in which the plants, flowers, and birds are designed with great accuracy. Amongst the latter are a number of white pigeons of the same race as those seen at the present day about Rome, This Villa, founded by Li via on one of her paternal estates, was at first named Veientana, from being in the territory of Veii. At a later period it was called the Villa Caesarum ad Gallinas Albas, from a legend recorded by Dion Cassius, Suetonius, t Pliny, J &c., that an eagle flying over it let fall a white hen, which, lighting on the lap of Livia, with a laurel-branch in its beak, was the progenitrix of the race of birds for which it became so celebrated, while the laurel-berries produced the plantations from which the Emperors were crowned. In speaking of + Liviae olira, post August! statim nuptias, Veientanum suum revisenti preter- volans Aquila galliuam albam ramulum lauri rostro tenentem, ita ut rapuerat deinisit in gremiuni . , . tanta pullorum soboles provenit ut hodie quoque ea villa ad Gallinas vocetur, — Sueton. in Vit. Galbae. t In villa Caesarum fluvio Tiberi iraposita juxta nonum lapideni Flaminift Vi& qua ob id vocatur ad Gallinas.— Lib. xv. 40. The City.] route 39. — piazza del popolo. 393 the death of Nero, Suetonius states that, on the approaching extinction of the descendants of the Julian line, the white fowls began to pine away, and the laurels to wither, the race of both disappearing with the last of the descendants of Augustus. The Villa occupied the table-land above the farm-house Prima Porta in a lovely position, conmianding a magnificent *View up and down the valley of the Tiber, over a great extent of the territories of Veii and Fidenae, with Sabina and its lofty Apennines beyond, and the Alban and Volscian mountains to the south. The modern name of Prima Porta is derived from a fortified gate, which was still standing about 1650. [From Prima Porta the Via Tiberina branches to the rt., running, along the base of the hills, at some distance from the Tiber, as far as (14 m.) Fiano, a poor village on the site of the ancient Flavinia, which gives a ducal title to the family of Ottobuoni. The road passes on the 1. two large breeding-farms for horses and horned cattle — (4 m.) Procojo Nuovo, the property of Prince Chigi ; and (2 m.) Riano, belonging to Prince Piombino. The latter stands 2 m. off the high road.] The tram from Prima Porta follows the Via Flaminia to Rignano, from which Monte Soracte (2265 ft.) may be ascended in 2 hrs. ; and then reaches (2f hrs. from Rome) Civita Castellana,t whence excursions may be made to Falleri, Nepi, and Monte ti(yracte (see Handbook to Central Italy). ROUTE 39. From the Piazza del Popolo to Monte Mario, with Excursion to Villa Madama. [For plan of this Route, see p. 437.] Leaving the Piazza del Popolo (Rte. 1), our road ascends (left) behind the Fountain adorned with a figure of Neptune, and crosses the Ponte Margherita. This fine bridge was opened in 1890. Proceeding along the embankment, we soon reach the Ponte Cavour (1902) and the new Ponte Umberto, which opens on to the Piazza dei Tribunale t See Directory, p. 433. 394 BOUTE 39. — ^VILLA MADAMA. [Sect. I. and the Pal. di Oiustizia. This large huilding, when finished, will have cost nearly 1,400,0002, and taken 25 years to erect. In the centre of the facade above the doorway is a large group— Justice between Law and Force. The standing figures near the doorway are Cicero and Papinian. There are four sitting statues in the inner court, and a fine double staircase with a colossal statue of Law. Behind the Palace of Justice is the Piazza Cavcnir, with a monument to the statesman. Beyond it the Via Cola di Rienzo leads to the Piazza del Risorgimento, whence the Via Angelica runs N. across the plain towards (2^ miles) Ponte Molle. Before that bridge is reached a road ascends on the left to Villa Madama, so called because it was given as a dowry to Madame Margaret of Austria, natural daughter of Charles V., who married Alessandro de' Medici (Adm. on Sat. only, from 9 till sunset). It was built by Giulio Romano for Card. Giulio de' Medici (afterwards Clement VII.), from the designs of Raphael. The beautiful ♦Loggia, or vestibule, surrounded by niches, is richly decorated with paintings by Giulio Romam, and stucco reliefs by Giovanni da Udine. In a small room beyond are ceiling frescoes of Apollo and Diana in their chariot, drawn by horses and oxen, with birds and animals in the compartments, and the Medicean arms in the centre, by Giulio Romano. They are engraved in Griiner's work on ' The Architectural Decorations of Rome during the 15th and 16th Centuries.' The front towards Rome was to have consisted of a hemicycle, decorated with half-columns and niches, but was never completed, and is now almost in ruins. From the terrace there is a lovely ♦View over the plain of the Tiber, the N. part of the city, and the Sabine Mountains. In the garden is a large and picturesque oblong basin for a Fountain. The pedestrian may return by a road, just passable for carriages, which skirts the fountain, and soon winds to the rt., reaching the high road in J hr. About 10 min. further is the Ponte Molle (Rte. 38). On the W. of the Piazza del Risorgimento the Via Leone IV. leads to the Via Trionfale, for Monte Mario. On the rt., at the foot of the hill, is the little Church of S. Lazzaro, founded by a French hermit, together with a Hospital for Lepers, in 1187, but rebuilt in 1536, and givenjbo the Guild of Vinedressers in 1598. In the nave are six ancient columns. Station on the 2nd Sun. before Easter. The road now ascends in curves, passing on the 1. the Church of S. M. del Rosario, erected in the 16th cent, by the learned Giov. Vittorio de Rossi, and given to the Dominicans by Clement IX. in 1668. The Convent was restored by Benedict XIII. , who occasionally resided within its walls. From the front of the Church, reached by a double flight of steps, is gained a magnificent ♦View. On the opposite side of the road, about 1^ m. from the Piazza del Risorgimento, stood the interesting little Church of S. Croce, built by Card. Mario Millini as a Chapel to his villa in 1470, and destroyed to make way for the new fortifications in 1880. It occupied the site of The City.] ROUTE 39. — VILLA MELLINI. 395 the Oratorium Crucis, the last surviving memorial of the Vision of the Cross which appeared to Constantine, before crossing the Alps of Piedmont, and erected on this hill because of its vicinity to the spot where he overthrew Maxentius in fulfilment of the promise. A few yds. further on the summit of Monte Mario (455 ft.) is the Villa Mellini, now included within the modern fort, and only to be visited by a permit from the office of the Military Engineers in the Via del Quirinale. It was built by Mario Mellini, from whom the hill on which it stands derived its name. Its great attraction is the magnificent ♦View it commands over the city, the Campagna, and the distant mountains. Monte Mario is interesting from a geological point of view, being composed of beds of the tertiary marine strata clays and sands, on which rest those of volcanic tufa. The marine beds, especially those of gravel and sand, are rich in fossil shells of the Subapennine or Pliecene period, more than 300 species having been obtained from this locality. They are to be found on the slopes towards the Tiber, behind the Villa Madama, and along a path leading through oak woods, about a mile farther N., in the ravine descending from the Monte della Farnesina. This hill, together with the Monte della Creta and the Janiculum, was included by Cicero, and by the writers of the Augustan age, under the general term of Monies Vaticani. — B. In excavating a moat for the new fortress, a very interesting sepulchre was discovered by the engineers, in the presence of Prof. Lanciani, on the very summit of the hill. It contained six marble sarcophagi of the Minicii family, and the cippus of Marcella, daughter of Minicius Fundanus and his wife Statoria, who died on the eve of her marriage just before completing her thirteenth year. Pliny, in a letter addressed to his friend Marcellinus (v. 16), speaks in touching language of her virtues, her graces, and the sorrow occasioned by her untimely death. The tomb is now in the cloister of the Museo Nazionale delle Terme. Further on is the Villa Stuarty beyond which the road divides. To the rt. the Vicolo della Camilluccia runs along the crest of the hill, affording fine views of the Valle di Acquatra versa (1.), and of Rome and the Campagna (rt.), and descends upon the (2 m.) Via Clodia, whence by the Ponte Molle it is about 2J miles to the Porta del Popolo. The 1. hand road leads to the (1 m.) Church of S. Francesco, commonly called S. Onofrio in Campagna, because it belongs to the Jeronymites who have the well-known S. Onofrio on the Janiculum. It was built out of funds left by Bart. Neri, Abbot of S. Onofrio. Festa, 4 Oct. In this neighbourhood are several handsome Villas and good Osterie^ which have become favourite places of resort for afternoon excursionists (excellent country wine). Just beyond the village on the rt. is the Forte Trionfale, and nearly opposite a gateway leading to a Villa, just inside which descends a path to the Valle delV Inferno (see below). J m. further, on the 1., beyond a large Poultry-farm, is the Stat, of S. Onofrio on the Rly. to Viterbo (Rte. 59). The road goes on to (3^ ra.) La Giustiniana on the Via Clodia (Rte. 59), 396 ROUTE 40. — S. M. IN COSMEDIN. [Sect. I. From the Via Leone IV. a road turns 1. into a wide valley in which are several potteries and brick-kilns. [To "the 1. rises the road which runs round the Walls of Urban YlU.l Continuing along the valley, we pass under a fine (IJ m.) Viaduct of the Viterbo Rly., 120 ft. high. Bearing to the rt., we reach a il^ m.) field gate, where the road ends. Here we follow a footpath through the pretty ♦Valle dell' Inferao, avoiding after 10 rain, a turning to the rt. 20 min. further wo pass under another Viaduct (150 ft.), and continuing straight on ascend in 20 min. to 6'. Onofrio in Campagna. ROUTE 40. Prom S. M. In Cosmedln to th« Trc Pontanc. by Monte Tes- taeeiO). the ProCMtant Ceneitory. th« Pynimld of Caiu.s CMlu5, and the Basilica of S. Paolo niorl le Mura, 11^ fUn at Uita NcuLo bcrsod 1^ ^DrU a. FmK m« p 07^1 fltoivagr. ^ t^l 1«.| OnlMiti^S. M. in Cn— rdin {BU. ^4), th» VU Atxllh fidkni ttmtm CO IW 1. »ft«r 3 mis. the obftn«i of S. Anna, when Ibe M Mittl Cii««l Fubktiui lucendft 1. to tbe ChuichM on the AvfttUno (Rlcu M). Our r«^ now bicoiiMw lb* Fia dtUa ManmattUa^ mmI toon tmahm U»0 Tibtr. at t^ pciiU wnm mvpote to bave Mood lb* PoxH SmLicuTS. M) oatJcd irom ibc* vit>0a«a bouttf (Su6tk4u) of which it vnu ccttitroeUil. U wru erected bj Ancm* Mm^Iium (ilC. «I0), and vTM for ft lOQC tfmik lb* oeily bri4^ that croHMd tba Ttbtr. UfOQ thk Iffilp Hor»iiuft Cock* wiibttood tho ftmy ol PonMia un tho RooMiiMi bid soeoMded in lintkfciig U 4ovn Uhuul blm. It Mrffond fraoiMntlT frnin inontUl>:>Tt4, Mid mm JUto r o d bgr TlbfriW ftnd AatoodiDW Fia*» ilUi is wood, bu^ upon BtMM fitc*. A Mia ol lb* lat#c Kmp«ror vopMMinfet Ibdt Mdfft m » brnkm nreb. In Tao It vhm catiroly do«troTX>d br m flood. In tbe 1Mb ofoi. tbe ttoooM o4 tbo yitrt w«M x«niov«d'bv sfxtiu IV. to BAbo oiikD(»D-V«U»v asd* In IfHO, whsi viMiiaMd oC ibt iomndhtktiA wm blown nn Along with otbcr otsftnwtloDi lo M«d Upon this bridge Horatius Codes withstood tli«» *riny of I'^rMfftft till the Romans had succeeded in breaking it down bobind kioi. It suffered frequently from inundations, and was reslctrcd fcy Tibetint •nd Antoninus Pius, still in wood, but upon stone pi#«H. A oc4n d ih9 latter Emperor represents this bridge as a broken orob. In 790 it w§m entirely destroyed by a flood. In the 15th cent, tbc Mones of ibe pi«f» were removed by Sixtus IV. to make cannon-ballR. *nd» In 18T^ vktl remained of the foundations was. blown up along witb olber ob^lflietfcMM to the course of the river. ^Iin, hownvt'r, (hinks ihttX th* Po*» Sublicius led out of the Fonim Btmriuni, umr U># CirenUr T«inp)««; and that the foundations usually UHKigncd to it beloiplcl {o a Utcr bridge, built by the Emp. Probua about a.d. 268, Section 22 Rte .40 The City.] ROUTE 40. — MONTE TESTACCIO. 397 1/ \ We now reach the Marraorata, one of the most interesting sites on the banks of the Tiber, where most of the marbles were landed which the Romans imported from Africa or the East for the adornment of their city. Here the Tramway turns to the left. 200 yds. further down the river are ruins of the Emporium, in opus incertum — the earliest known example of the use of concrete. Remains also exist of the quays by which it w«us approached on the river-side — one fragment remarkable for its gigantic blocks of travertine, the others of reticulated masonry, of the time probably of Nero or Domitian, resting upon a substruction of Lapis Gabinus, which may be seen when the Tiber is low. Nearly 500 blocks of marble were found here in 1869-70, in the excavations carried on under the direction of Baron Visconti. One of them bore marks which showed that it had been sent to the Emp. Nero from a quarry in Carinthia ; another an unwrought column of Marmor Africanum, 27 ft. high by 5J in diameter, nearly 34 tons in weight, was carried to the .Tauiculum, to be erected there in commemoration of the Council held by Pius IX. in 1870, but that site was abandoned in conse- quence of the change of Government, and the column was erected in the Vatican garden by Leo XIII. in 1886. During the excavations, several landing-places leading to the Emporium, and mooring-rings in traver- tine for boats, were found. On one of the faces of this quay is a relief of an amphora, probably marking the landing-places of wines. In ihU ocigbbottrboocl ir«ro iho Uo«iixa Gjo^iuk, ott* of i mi^rinni or ftore-bouMS 9i smi*!!! Beon^^ in whioh qoMBtititti <4 pfovMMU •mi lorcign inporto rrttQ kii vp for pnhlle ooDtumpiion. TUy oc cuf it d tht wbote Aftt4 b«lWMO thm loot oi ihv AT^nUne tad MoDt« 'FcttMCtoi, «»d oeonMcdof of«i oo^rU vanooDdoi hy TirrmVrt l«0 lAOti^t bJMb. Uore wm dUoovtortd tn Juik, 1886, dO (I. btlow Um lorliee «low to ihm mvr, %hm (oinb cf Sccvioi 0$Xim. bMrioK Ibtt iiuttrlpcioQ : — uuL Kuunoivs. »xn. r, oauia. cm. rii>. q^^ad&. xxx. It U is Iho AuUQOarium (p. 126). ThU HcrvluA StUplciuii CrtMm mu*J(. lukv* btotk OooMU vilh L. AvMbuft OoM» in Um y^t^r H4 u.c. hud fcnuidfaibfc of SttlpicSiu Oftlb^ a dli«H aaeortor of ibc iuxtip. Ct^lm. Among tho mini oi tbo Hoirin vttrs fottnd tUtfhMuli^ tnAa to tho Mttoont o< G76 cubic H. of i^^ovj.— >L. Our T««d now tunkt nvmy from tho rtfvr, ms^ rtin* $,S.K. bHiw«eii the MlopM oi tb« AYcoittno «M ib» nw i^uarU^r oi Tc«i4K«7r»tcb#d bBtcfiplaoan found oo xha Ir^tmtfDtt, it elMkrly reinltd tbal tho moux>d u entiroly formod ol 898 ROUTE 40. — PROTESTANT CEMETERY. [Sect. I. . broken vases, used by the Romans for the conveyance of agricultural products from the provinces to the capital, and nearly all from the fertile province of Baetica (Andalucia), in Spain. This country supplied not only Rome but also the northern provinces of the Empire with oil, wine, wax, pitch, minium, linseed, salt, honey, sauces, and olives prepared in a manner greatly praised by Pliny. Fragments of amphorae, bearing Spanish potters' stamps identical with those of Monte Testaccio, have been often found in England, France, and Germany. Fragments of African vases exist also on the mound, but are of less frequent occurrence. It is inferred that the warehouses of the adjoining quay (Empo- rium), at which the vessels were unladen, were periodically cleared of empty or damaged vases, and the broken pottery deposited, in compliance with an Aedile law, on the site of Monte Testaccio, the surface of which gradually rose by successive discharges of such fragments. In order to ascertain the exact period at which this spot was first appropriated as a rubbish heap, it would be necessary to examine the lowest strata of fragments by sinking shafts ; but it is approximately calculated that the depot was established about the beginning of the Empire. The consular dates on the vase handles, as yet found, range between A.D. 140 and 255, and they prove that the N. end of the mound had • already risen to more than | of its present height towards the middle of the 2nd cent. Upwards of 200 inscriptions, stamped on some fragments found in the upper strata, lead to the inference that the mound was still in use during the first half of the 4th cent. The adjoining gardens, between the mound and the Marmorata, have furnished vast quantities of similar broken pottery, and the depot evidently increased beyond its originally intended dimensions by large masses rolling down its sides. Similar mounds of broken pottery at Taranto, Alexandria, Cairo, and other ancient commercial cities, have evidently been formed in the same way. Several hundreds of amphorae, of the same form, stamps, and dates as those described above, were excavated in 1732, near the Laterau, and in 1789 under the Pincian Hill, near the Muro Torto. The summit of Monte Testaccio, marked by a wooden cross, commands a magnificent ♦View. There were originally three Crosses, indicating the termination of the Via Dolorosa, which began at the Via di Bocca della Verit4. To the W. the hill overlooks the enormous Cattle Market and Slaughter-houses (Mattatoio), erected in 1885 at a cost of 200,000Z. They comprise an Establishment for drinking or bathing in blood, open gratuitously to the poor. Towards the N. is the Municipal Storehouse for the maintenance of the Public Streets, corresponding to the ancient Castra Silicajiorum» Returning along the Via Galvani, a road on the rt. near the end of the street leads to the Protestant Cemetery, open from 7 a.m. until dusk (25 c). It has an air of romantic beauty which forms a striking contrast to the tomb of the ancient Roman, and the massive city walls and towers which overlook it. '-',■1' The City.] ROUTE 40. — NEW CEMETERY. 399 To the 1. of the entrance is the Old Cemetery, surrounded by a dry moat, and now no longer used. Beside the gateway, and well seen without entering the enclosure, is the monument of John Keats, with the inscription : — ' This grave contains all that was mortal of a young English poet, who, on his death-bed, in the bitterness of his heart at the malicious power of his enemies, desired these words to be engraven on his tombstone : " Here lies one whose name was writ in water." February 24, 1821.* This monument was repaired in the spring of 1875, under the direction of Sir Vincent Eyre. The marble medallion portrait of Keats was executed by Warrington Wood from a mask lent by Joseph Severn, the poet's intimate friend. Severn (died 1879) was British Consul at Rome 1861-72, and was buried here in 1882. The grave of John Bell (died 1820), the eminent writer on anatomy and surgery, is close by. It was of this cemetery that Shelley said : — * The English burying- place is a green slope near the walls, under the pyramidal tomb of Cestius, and, as I think, the most beautiful and solemn cemetery I ever beheld. To see the sun shining on its bright grass, fresh, when we visited it, with the autumnal dews, and hear the whispering of the wind among the leaves of the trees which have overgrown the tomb of Cestius, and the soil which is stirring in the sun-warm earth, and to mark the tombs, mostly of women and young people who were buried there, one might, if one were to die, desire the sleep they seem to sleep.' In the preface to Adonais he says : — * It might make one in love with death to think that one should be buried in so sweet a place.' The New Cemetery was opened in 1825, and here was placed, high up under the Aurelian wall, a casket containing the ashes of Shelley. The poet and his friend Williams left Leghorn in a small boat for a cruise on 8th July, 1822. Their bodies were washed ashore on the 19th July near Viareggio. They were cremated on the shore in the presence of Trelawny, Leigh Hunt, and Byron. The heart of Shelley was not burned, but is now at Boscombe. This is the origin of the phrase Cor Cordium (heart of hearts) written by Leigh Hunt upon the inscription, which runs : — Percy Bysshe Shelley. Cor Cordium. Natus iv Aug. MDCCXCII. Obiit VIII Jul. mdcccxxii. Trelawny added from the song of Ariel (Tempest 1, ii.) the words printed in italics below : — ARIEL. Full fathom five thy father lies ; Of his bones are coral made ; Those are pearls that were his eyes : Sothing of him that doth fade, BtU doth suffer a sea-change Into something rich and drange. ^ Sea-nymphs hourly ring his knell. Burthen. Ding-dong. Hark ! now I hear them— ding-dong, bell. Close to the tomb of Shelley lies Trelawny (died 1886). J. A. Symonds (1898) lies near. Other graves are those of Lord Vivian, H.B.M. Ambassador, to whom the honour of a public funeral was accorded in Oct. 1893 ; John Gibson, the sculptor (1866) ; William 400 ROUTE 40. — PYRAMID OP CAIU9 CESTIUS. [SeCt. I. and Mary Howitt (1879 and 1888); and R. M. BaUantyne (1894). The chapel was erected in 1898. The ground is well kept. A sum, subscribed by British and other Protestants, has been invested in the Italian funds, and the interest is applied to defray the expenses of repairs. The * Pyramid of Caius Cestius, now the only sepulchral pyramid in Rome, stands partly within and partly without the wall of Aurelian, who included it in his line of fortifications. Like all the ancient Tombs, it formerly stood outside the walls. It is a massive pyramid of brick and tufa, 116 ft. high, covered with slabs of white marble from the base to the summit, and placed on a square basement of travertine. The length of each side at the base is 33 yds. In the centre is a small chamber, 13 ft. long, the stuccoed sides and ceiling of which are covered with painted arabesques, first brought to light by Ottavio Falconieri, and described by him in a dissertation annexed to the work of Nardini. These arabesques, much injured by damp and the smoke of torches, represent four female figures with vases and candelabra. The entrance is on the side facing the old Cemetery, but the interior is nearly always flooded. [Key at No. 1, Via in Miranda.] At two of the angles are fluted columns of white marble, discovered during the excavations of 1663. At the other angles were pedestals with inscriptions, and a bronze foot, now in the Capitoline Museum, which probably belonged to a statue of Caius Cestius. The inscription on the front, facing the road to Ostia, records the completion of the pyramid in 330 days by the executors of C. Cestius, two of whom bore names well known in the time of Augustus — M. Valerius ivlessalla Corvinus and L. Junius Silanus. Other inscriptions repeated on the E. and W. sides show that C. Cestius was of the Poblician gens, a praetor, a tribune of the people, and one of the seven epuloneSy appointed to prepare the banquets of the gods at public solemnities. He was probably the person mentioned by Cicero in his letter to Atticus from Ephesus, and in his oration for Flaccus. In the 17th cent, the base of the pyramid was buried under 16 feet of soil. It was cleared and restored in 1663 by Alexander VII., as recorded by an inscription placed beneath those already mentioned, and was laid open towards the Via Ostiense by Gregory XVI. The Porta San Paolo, rebuilt by Belisarius on the site of the Porta Ostiensis, forms one of the most picturesque of all the modern entrances to Rome. It derives its name from the fact that St. Paul passed through it on his way to execution. The inner portion is mediaeval. On the Wall of Honorius are several towers, partly rebuilt in the middle ages with materials taken from older buildings. Inside the gateway a broad road leads N.N.E. to the Colosseum, passing on the left, after 5 min., a well-preserved fragment of the Servian Wall. Our road continues due S., passing beneath the railway, and reaching, 10 min. from the Gate, the site of the Cappella S. Salvatore, destroyed in the siege of 1849. It stood on the left of the road, and marked the spot where Plautilla, a noble Roman lady, met St. Paul on his way to martyrdom, and gave him her veil to bind round his eyes. At this point also commenced the sumptuous Colonnade of marble, having a roof covered with sheets of lead, restored by Benedict III. in 855, for the protection of pilgrims from sun and rain on their way to the Basilica of S. Paolo fuori le Mura. '1 The City.] route 40. — s. paolo fuori le mura. 401 A little further on the 1., after crossing the brook Almo, is the Cappella del Crocifisso, commemorating the spot where SS. Peter and Paul took leave of each other, the one to return and be crucified, the other to go forward and be beheaded. A canopy over the door, supported by two colonnettes of marble, encloses a rude relief of their separation. This Chapel was given by Paul IV. to the Confraternity of the Trinity dei Pellegrini in 1568. Beside the altar are two little shrines, with a narrow cornice of mosaic by one of the Cosimati. (Open on Easter Tuesday.) [Close to this spot was observed the curious ceremony of bathing in the waters of the Almo the image of Cybele, which had been brought to Rome from Pessinus in Galatia (b.c. 204), 'after consulting the Sibylline books on the issue of the 2nd Punic War.' The image consisted of a meteoric stone, conical in shape, of a deep brown colour like a piece of lava, and ending in a sharp point. In 562 it was placed in a Temple of Cybele on the Palatine, whence Elagabalus stole it, and placed it in the private Chapel of his Palace. Through ignorance of its value, this relic appears to have been destroyed during excavations carried on by Duca Francesco di Parma in 1730. — L. The washing took place about 100 yds. to the rt., at the point where the Almo falls into the Tiber, and where the sacred image was landed. * So persistent was this pagan custom that until the commencement of the 19th cent, an image of our Saviour was annually brought from the Church of S. Martina in the Forum and washed in this stream.' — Macmillan.^ Just before reaching the Church, the Via d-elle Sette Chiese leads due E. in f hr. to S. Sebastiano (Rte. 42). We now reach, 1^ m. beyond the gateway, the Basilica of ♦S. PAOLO FUORI LE MURA, called the Basilica Ostiensis, from its situation on the road to Ostia. In the beginning of last century there was no Church in all the world more interesting than this. It was the only specimen in Rome of a great Basilica existing still on the original lines, and for British travellers it possessed special interest, being the church of which the Kings of England were protectors previous to the Reformation, as the sovereigns of Austria, France, and Spain were of the Vatican, Lateran, and S. M. Maggiore. It was commenced by the Emp. Valentinian II., Theodosius, and Arcadius (a.d. 388), on the site of a church founded by Anacletus, and enlarged by Constantine, over the catacomb of Lucina, a Roman lady who had embraced Christianity, and had caused the remains of St. Paul to be buried in a tomb upon her estate. It was completed by Honorius in 395, and restored by Leo III. in the 8th cent. The extreme length was 137 yds., transepts 93 yds., and width of nave with its double aisles 72 yds. The nave had 80 Corinthian columns in four rows, surmounted by a fine open roof, formed of immense beams and rafters of pine- wood, without any decoration, as in some of the basilicas of the same period at Ravenna. There were no fewer than 138 columns in the entire building, most of them ancient, and forming by far the finest collection of monoliths in Europe. On the 16th July, 1823, this noble Basilica, in which Christian, worship had been uninterruptedly celebrated for nearly fifteen centuries, was reduced to a heap of ruins. The roof took fire during some repairs IRome.] 2 d 402 ROUTE 40. — S. PAOLO FUORI LE MURA. [Sect. I. and fell into the nave and aisles, where the flames raged with such fury that the marble columns of the nave were completely calcined, and the large porphyry columns of the altars and those which supported the great arch of the tribune were split into fragments. Under the high altar was the sarcophagus of St. Paul. The mosaics of the great arch, the bronze gate cast at Constantinople, part of which is preserved in the Sacristy, the portrait busts of the Popes, the monuments and altars, all combined to increase the interest of the sacred edifice. The only portions which escaped the fire were the W. front, with its mosaics of the 13th cent. ; a colonnade erected by Benedict XIII. ; the tribune, and the mosaics of the 13th cent, on its vault ; the first forty portraits of the Popes ; part of the bronze doors ; 40 columns of the aisles ; and some sarcophagi with reliefs. Immediately after this disaster, large sums were contributed by Catholic sovereigns and princes, and by each successive Pope, for the restoration of the building, according to the plan and dimensions of the Theodosian Basilica. The transept and high altar were dedicated on Oct. 3, 1840, by Gregory XVI., and the whole edifice in Dec. 1854, by Pius IX., in the presence of 185 cardinals and prelates, assembled in Rome for the promulgation of the dogma of the Immaculate Con- ception. The present edifice has already cost more than £3,000,000. The usual entrance is by a Corinthian portico, supported by twelve columns of Hymettian marble, which opens into the N. transept. On one of these columns, formerly in the left aisle, is engraved the name of Siricius, who was Pope in 384. The W. Front towards the river was commenced by Pius IX. ; before it is a square atrium, supported by large columns of pink and grey Baveno granite, and erected at the expense of the Italian Government. The facade is ornamented with modern mosaics of four prophets, the sheep between Bethlehem and Jerusalem, and Christ between' SS. Peter and Paul. Models of the basilica are to be seen in the office of the architect close by.f The *Interior, 130 yds. in length, 65 yds. in width, 75 ft. high, is most imposing. The great size of the building, the polished marble pavement, and the four rows of granite columns which support the double aisles, produce an effect probably finer, though less severe and chaste, than the simple grandeur of the ancient Basilica. The 80 monolithic columns of grey granite with Corinthian capiUls of white marble were quarried at Montorfano, near Baveno, on the Lago Maggiore, whence they were conveyed on rafts to the sea, and from the mouth of the Po to their present site, in sailing-vessels. Beside the great W. door are two columns of Oriental alabaster (yellow streaked with chalky white), presented by the Viceroy of Egypt, who also gave the four shafts of the same material which support the baldacchino. Two large Ionic columns, supporting the chancel arch, were erected in 440 by Galla Placidia, sister of the Emp. Honorius. f CJonstantine's Basilica faced the opposite M'ay ; and was so very small that its entire lenprt^h, incliulinR an Atrium, was comprised within the high road and the E. extremity ol tha existing aisles. The length of the Church iUelf corresponded precisely with the breadth of the present transepts. It is remarkable that each of these two celul)i-at€d Chn» hes, St. Peter's and St. Paul's, has changetl and reversed its orientation. The City.] route 40. — s. paolo fuori le mura. 403 The Ceiling is a fine specimen of modern carved woodwork and gilding, but is greatly inferior in effect to the plain open wooden roof of the Theodosian Basilica. Above the piers of the transept and columns of the nave and aisles, are Medallion Portraits of the Popes, 5 ft. in diameter. All those subsequent to Innocent I. were executed in the mosaic workshop at the Vatican. ' The new series is not, however, fanciful or imaginary, but follows the tradition of the likenesses as they were first produced in the 5th cent.' — L. They were copied from ancient frescoes stiU preserved in the Convent (see below). Between the windows of the Clerestory are scenes from the Life of St. Paul, by modern artists. The windows of the aisles with their figures of Saints in painted glass were shattered by an explosion of a powder magazine in 1891. The colossal statues of SS. Peter and Paul, at the E. extremity of the nave, are by Obice and Oirometti. Over the Chancel Arch are Mosaics, executed by order of Galla Placidia, representing a large medallion of the Saviour with the 24 elders of the Revelation, and restored from the originals saved from the fire. Above, the Evangelistic symbols ; below, SS. Paul,. left, and Peter, right. They indicate an important transition period (440-462), and a new departure in the art. The earlier Christian symbolism had passed away ; we see winged angels instead of the little naked genii, with their grapes; and subjects from the Revelation, instead of the idyllic scenery of the Good Shepherd. The High Altar, under a *Gothic canopy by the Florentine Amolfo (1285), supported on four columns of red porphyry, stands within a larger baldacchino of Oriental alabaster. The malachite on the pedestals was presented by Nicholas I., Emp. of Russia. Beneath the altar is the body of St. Paul, his head being preserved at St. John Lateran. The gravestone is a plain marble slab, rudely engraved with the letters pavlo apostolo mart ... In front of the altar (facing W.) is the highly decorated Confession of St. Timothy, where his remains are deposited. The vault of the Tribune is covered with gigantic *Mosaics (1216- 1227), possibly icopied from others of the 4th cent, and restored. In the centre is Christ enthroned, with a very diminutive Pope Honorius III. kneeling at His feet. On the rt. SS. Peter and Andrew ; on the 1. SS. Paul and Luke. Below are the Twelve Apostles with scrolls and palm-trees and two angels. Outside, on the face of the arch,ithe Virgin and Child enthroned, and St. John .Bapt., formerly on the W. front. All the figures are full of dignity, and we are refreshed by few and simple forms. Below stands a modern episcopal chair, and on either side two columns of pavonazzetto saved from the ancient Church, and brought originally from the Basilica Aemilia in the Forum. The raised floor is paved with disks of costly marble, among which are two of lumachellone antico, with large embedded snails. Looking back on the E. face of the chancel arch, is a medallion of Christ, between SS. Paul and Peter. N. Transept. Over the altar, Conversion of St. Paul, by Cammuc- cini ; at the sides, statues of St. Gregory the Great, by Laboureur, and S. Romualdo, by Stocchi. In the Chapel of St. Stephen is a statue of the saint by kinaldi, and pictures of the Priests in Council and Stoning. 2 D 2 404 ROUTE 40. — S. PAOLO FUORI LE MURA. [Sect. I. Next comes the Chapel of the Crucifix, with a statue of St. Bridget, by Carlo Mademo, and a very ancient one in wood of St. Paul : the Crucifix over the altar is attributed to Pietro Cavallini. Below it is an ancient medallion in Mosaic of the Madonna, before which on the 22nd April, 1541, St. Ignatius Loyola made his vows (see Inscription on the rt.). S. Transept. — On the rt. of the tribune is the Choir, or Chapel of S. Lorenzo, designed by Ca/rlo Mademo, which remains nearly as it stood before the fire. Then the Chapel of St. Benedict, with a sitting statue of the saint, by Tenerani, and "twelve most exquisite Doric-fluted columns of grey marble from the ruins of Veii. The altar in this transept has a Mosaic of Raphael's Coronation (Vatican), and statues of SS. Benedict and Scolastica, Nearer the high altar stands a ♦very curious marble candelabrum of the 12th cent., covered with sculptures by one of the Vassalectus family (signed). A door at each corner of the S. transept leads into a Corridor, which communicates with the E. entrance to the Basilica. It opens immediately upon the *Cloister, a beautiful example of the monastic architecture of the 13th cent. The columns present almost every known variety of form ; spiral, twisted, fluted, and sometimes all three combined. The entabla- ture is of exquisite Cosmatesque design, but most of the mosaic ornamentation has been mischievously picked of! the columns. On the walls are Roman and early Christian inscriptions, and several sepulchral monuments that once stood in the Basilica. In this monastery Pius VII. lived for many years as the Benedictine monk Gregorio Chiara- monti. He was on his death-bed when the fire broke out which consumed the building, and died in happy ignorance of the disaster. The monastery was given to the Benedictines by Martin V. in 1424. In the Vestibule of the Corridor is a huge sitting statue of Gregory XVI. by Rinaldi, and some mediaeval mosaics and frescoes from the ancient Church, miserably restored. Among these are 5th cent, busts in mosaic of SS. Peter, Paul, and Andrew. On the rt. a door opens into the Sacristy. — On the rt. wall. Virgin and Christ with SS. Benedict, Paul, Peter, and Giustina. Elsewhere, single figures of the same Saints. An inner room contains a fine sitting Statue of Boniface IX. (early 16th cent.), and the original silvered *Bronze Doors of the ancient Church, sadly damaged in the fire. They are panelled with 54 oblong scenes from the New Testament, and figures of Saints, and were executed at Constantinople by Staurakios in 1070. The doors, which are about 18 ft. high, were originally double, but were afterwards joined, and pierced with a smaller opening. On the first floor of the Convent is a corridor overlooking an inner Court, the walls of which are covered with Pagan and Christian inscrip- tions in chronological order from the old Basilica. Here also are preserved the frescoes from which the likenesses of the Popes, now in the Church, were taken. In the Library, formerly at S. Callisto in Trastevere, is preserved a celebrated MS. copy of the Vulgate or Latin version of the Bible (seldom shown), and long supposed to have been given to the convent by Charlemagne. It does not, however, date farther back than the 11th The City.] route 40.— abbadia delle tee fontane. 405 cent. The shield bearing the arms of the abbot, a hand grasping a sword, is surrounded by the ribbon of the Order of the Garter, with the motto Honi salt qui mal y pense, indicating the protectorate formerly exercised by British sovereigns over the monastery. The isolated and undefended position of this Basilica, with the buildings grouped around it upon the high road from Ostia to Rome, rendered it specially liable to pillage, and in 846 it was ransacked by the Saracens. For this reason John VIII., about 875, raised the Fort of Johannipolis, which commanded the Tiber and the three roads which led to the sea-coast, and surrounded the Monastery with a wall. No traces however, of this fortification now exist.—!/. Festa, 25 Jan., 30 June, 28 Dec. Issuing from the N. transept of the Basihca, we pass on the rt. tfie Camoanile. a costly but ineffective and unsuitable structure of traver- tin^^surmounted Vith a circular colonnade After i m the road divides at the Osteria del Ponticello, the Via Oshensis bearing rt towards Ostia. Turning to the L, along the Via ^f "^'^'^j";?;' ^^^,!:J^^^^ for A m passing a Fort at some distance on the rt., and then descend towlrds'some hillocks prettily clothed with fir A gate on the 1 now leads through avenues of Eucalyptus to the celebrated group of build- ings known as the abbadia DELLE TRE fontane, a Cistercian monastery founded by Innocent III. Its first Abbot (PaganeUi) became Pope Eugenius lu. in 1145 It was almost abandoned at one time on account of the un- healthiness of the situation, but in 1868 ^^^ t^^^^^^^^.^^f J^^^^^^^^^^ an austere branch of the Order, under whose judicious c^lti^a^^^J^J ?arge tract of surrounding land has been thoroughly reclaimed and planted with Eucalyptus and olive-trees, and excellent v nes. The grounds are entered by an archway, having traces of Paintng on its vault To the 1. is the Dispensary, where a liqueur resembling Ohar- treuse, made from Eucalyptus, is sold by the monks. *SS Vincenzo ed Anastasio, founded in 626 by Honorius I., restored in 772 and sS^nd rebuilt by Honorius III. in 1221, is a good specimen o^ an earlv Christian Basilica, and is built entirely of brick, with very ?of?y Nave, but low transepts aisles, and Choir. In front is a POjtico with four ^anite columns, and scanty remains of paintmg on its outer Piers The arches of the Nave are supported by pilasters seven of ^hlck are adorned with frescoes of the Apostles, from the designs ot Raphael, but painted by his pupils, and ^^^^'^^j'^y./^th/e,^^^^^^ Clerestory has round-headed lancet windows pierced with t^ree vertical rows of circular openings, now filled with glass, ^ut origmally with alabaster or .translucent marble. There are four similar window^^^^^^ the W. front. The roof is of open wo«dwo^^^,^?^^ 1 ^i/ short transepts has two chapels opening E., paraUel ^\^J^ *^^S^^^^^^^ Church is mentioned under the name of S. Anastasius in the list oi tiX visSed^by Siric, Abp. of Canterbury (a.d. 990), m a curious MS. at the British Museum. Festa, 22 Jan. A flight of steps on the rt. ascends to S M. Scala Coeli, which stands over the cemetery of S.Zeno. The Church derives its name from a vision of St. Bernard, who was celebrating mass for certain souls in purgatory, when t^ey apPeared to him ascending by a ladder to heaven. It was entirely rebuilt in 15tt^ 406 ROUTE 41. — S. ANASTASIA. [Sect. I. by Card. Alessandro Farnese, from the designs of Vigiiola, and com- pleted for Card. Pietro Aldobrandini by Giacomo delta Porta. It is an octagonal building, with a central cupola. The vault over the tribune has some mosaics by Francesco Zucca, of Florence, from the designs of Oiov. dei Vecchi, considered to be the first works of this kind in good taste executed in modern times. They represent the Virgin and Child with SS. Zeno, Bernard, Vincent, and Anastasius, and Clement VIII. with Card. Aldobrandini as devotees. On the pavement are some remains of 14th cent, mosaic. Beneath is a Chapel, with the cell in which St. Paul is said to have been confined before his execution, and the altar at which St. Bernard had the vision. An underground passage, now blocked up, led from this Church to the Basilica of St. Paul. An avenue leads hence to the Church of S. Paolo alle Tre Fontane, anciently called Ad Aquas SalviaSy erected on the spot where St. Paul is supposed to have been beheaded, and rebuilt by Card. Pietro Aldobrandini, from the designs of Giaconu) delta J'orta, in 1591). V/ithin it are the Three Fountains which, according to the legend, sprang up where the head of St. Paul bounded three times from the earth ou being severed from the body. By the spring on the rt. is the short marble pillar to which he was bound at the time of his decapitation. The central pavement is a beautiful Roman mosaic of female heads representing the four seasons, discovered at Ostia in 1869. This district of the Campagna is interesting to the geologist from its numerous pits of pozzolana, which is carried to the neighbouring quay (Porto di Pozzolana) on the 1. bank of the Tiber, for shipment. Just beyondithe Abbey a road strikes 1. to (4 m.) S. Sehastiano (Rte. 42). ROUTE 41. From S. M. in Cosmedin to the Porta S. Sebastiano, by S. Anastasia, the Baths of Caracalla, the Churches of SS. Nereo ed Achilleo, S. Slsto, S. Cesareo, S. Giovanni a Porta Latina, the Columbaria, and the Arch of Drusus. Quitting the Piazza della Bocca della Verity at its £. side, and turning to the rt., the first street on the 1. leads to the Church of S. Anastasia, an ancient structure of Byzantine origin, rebuilt in 759, 1201, and 1636, and finally restored in 1817. It gave a title to a cardinal priest as early as 492. In the nave are 14 ancient colmnns buHt up against modem pilasters, seven of which are in fluted Pavon- azzetto marble, with Ionic capitals. In the tribune are two fine columns of jporta santa. Beneath the high altar is a recumbent statue of the Rtc4-I Section 23. Ric4l The City.] ROUTE 41. — CIRCUS MAXIMUS. 407 patron saint, by Ercole Ferrata, in the exaggerated style of Bernini. The roof was added by Card, de Cunha of Portugal, and various memorials of his country are scattered about the Church. In the 1. aisle is a monument to the celebrated Card. Angelo Mai (1854), who was titular of this Church, with an inscription in Latin verses written by himself. In digging its foundations several fragments of walls in opus quudratum, and a street connected with the adjoining Circus, were dis- covered. These remains, which are among the most important yet existing of the Circus Maxiraus, may be visited on application to the Sacristan. Station on Christmas Day, and on Ash Wed. Mass every Sun. at 8. Returning to the Via dei Cerchi, we traverse in its entire length the site of the Circus Maximus, founded by Tarquinius Priscus, restored with con- siderable additions during the Republic, and rebuilt with unusual splendour by Julius Caesar. Augustus embellished it, and erected on the Spina the obelisk now in the Piazza del Popolo. During his reign 3500 beasts were slaughtered here in the Games. The Circus was damaged in the fire of Nero, and restored by Vespasian, Domitian, and Trajan. Stone and marble were now substituted for wood, as a pro- tection against fire ; the structure was lavishly adorned with gold, painting, mosaics, columns, and statues of white marble and gilded bronze ; and in the time of Trajan the Circus must have been the most magnificent building in the world.— If. Constantine enlarged and decorated it, and his son Constantius erected a second obelisk on the Spina, now in front of the Lateran. In the 6th cent. Theodoric made a last attempt to restore it to its former splendour, but after his time it fell rapidly into ruin, ' and for many centuries supplied enormous stores of marble to feed the lime kilns of the degraded city.' — M. Its length was 729 yds., breadth 207, and circuit of the seats 1667. The porti- coes alone, exclusive of the attics, could accommodate 150,000 persons. At the N.W. end were the carceres (now the gas-works), from which chariots started for the race ; the S.E. extremity was curved. A frag- ment of the Capitoline plan of Rome shows this Circus with the Septiaonium behind. In the centre, beginning about J of the way down, ran the Spina, a long low platform, in which were fixed the Metae, or goals. Among other objects set upon the Spina were marble eggs and dolphins, for indicating the seven laps of the race as they were run (see Sala della Biga, Rte. 32). A canal 10 ft. wide and deep separated the arena from the seats, and prevented the beasts from reaching the spectators. Near the Circus, in the direction of the Campus Martins, were the Stabula Factlonum, or stables of the four factions of jockeys and charioteers— aZ6a^a (white), prasina (green), russata (red), and vemia (blue) — named from the colours of their caps and jackets. Domi- tian added two more — the f actio aurata, and /. purpurea. At the end of the Via dei Cerchi, the Via di S. Gtegorio leads in 8 min. 1. to the Arch of Constantine (Rte. 10). Close to this point of junction, on the slope of the Palatine Hill, stood the Septizonium of Severus (p. 117). 300 yds. further we enter the Appian Way, on the site of the ancient Porta Capena, from which the miles along this classical road were measured. It was called by Martial and Juvenal the Dripping Gate {Madida) , because of the water which trickled down from the channel 408 ROUTE 41.— BATHS OP CARACALLA. [Sect. I. of the Aqua Marcia, which passed over it. The exact position of the Gate was determined by the discovery in 1584 of the first milestone of the Via Appia, 120 yds. outside the Porta S. Sebastiano, and more recently by that of the walls themselves. They may be seen in the cellar of the Osteria delta Porta Capena. Further on, the Villa Mattel stands out conspicuously on the 1. Hereabouts, on his return from victory, the surviving Horatius met his sister Horatia, and stabbed her for bewailing the fate of her slain lover. On the rt. a lane leads to S. Balbina (Rte. 26). Further on, on the 1. is the Semenzaio Comunale, a large Nursery Garden, formerly belonging to the Convent of S. Sisto ; it is supposed to occupy the site of the grove and Temple of the Camenae. Higher up the valley, now threaded by the Via S. Sisto Vecchio, was the Fountain op Egeria, where Numa held his interviews with that mysterious nymph. The locality is fixed by Juvenal's description of the journey of his friend Umbricius and himself ; the place was then chiefly inhabited by Jews of the lower orders. Sed dum tota domus rheda coniponltur unA, Sulwtitit ad veteres Arcus, niadidanuiue Capenain Hie, ubi nocturnae Numa constitiiebat ainicae. Nunc sacri foutis nemus, et delubia lucantur Judeis. . . . In vallem Egeriae deacendinms et speluncas Dissimiles veris .... Juc. Sat. III. * In 1887 it was buried by the military engineers, while building their new hospital near S. Stefano Rotondo. The springs still make their way through the newly-made ground, and appear again in the beautiful Nymphaeum of Villa Mattel.' — L. A little further on is the entrance to the ruins of the ♦BATHS OF CARACALLA, or Thermae Antoninianae, in their day the most magnificent in the world, and now the best preserved. They were commenced by Septimius Severus in a.d, 206, chiefly built by Caracalla, enlarged by Elagabalus, and completed by his successor Severus Alexander. They covered an area of 140,000 square yards, and had 1600 marble baths. The baths themselves occupied an oblong rectangular space 240 yds. by 125, in the centre of a square enclosure, surrounded by porticoes, gardens, a stadium, and a large reservoir, into which the Antonine Aqueduct (an arm of the Marcian) emptied itself. In front of this enclosure ran the Via Nova, one of the most magnifi- cent in Rome during the time of the Antonines, forming the principal approach to the Baths. The original entrances to the baths were by the halls (/) on the right and left of the frigidiarum. These halls led to the large courts (a) and (a'). The court (a), on the right, has on the N. an apse, and on the S. a semicircular tribune {b), which retains a part of its brick facing. A colonnade, fragments of which may still be seen, surrounded this hall, and supported a massive vault faced with small square tiles, many of which are yet visible. The fragments of mosaic pavement arranged against the walls, consisting chiefly of marine monsters, have fallen from the upper floor. The pavement under the colonnades has a scale pattern with a graceful floriated border ; that of the tribune was divided into squares inserted between parallelograms, each containing a full-sized figure of some athlete. The City.] route 41. — baths of caracalla. 409 These coarse and clumsy but interesting mosaics, discovered by Count Velo in 1824, are now in the Lateran Museum. From the tribune we enter the large central tepidarium (c), having on the N.E. the frigi- dariuvi (d), and on the S.W. the calidarium (e). ^1 I I I I I I I 1^1 I I I I I . . , u . a • mm " ■■ " • . «" ifii>. . ... ,.. MllllllllllllillllllllllllllllllllllllllilllinTTT Entrance. no 200 =1= PLAN OF THE BATHS OF CARACALLA. 300 Yds. a, a'. Courts with peristyles. b. Semicircular Tribune. c. Tepidarium. d. Frigidarium or Cold Swimming e. Calidarium. iBath. f. Dressing-rooms. V. Entrance flails. g', g. Staircases within the Piers, h, h. Rows of small Bath-rooms. i. Exercising-ground and foot-race Course, k. Reservoir. 1. Seats, m. Sphaeristerium or Tennis-court. The Frigidarium was arranged for cold swimming-baths, its floor being sunk some 3 ft. below the level of the adjacent halls. The existing pavement was put down in 1870. On the side towards the Via 410 ROUTE 41. — BATHS OP CARACALLA. [Sect. I. Appia it is enclosed by a high wall, strengthened by pilasters, and ornamented with niches for statues and groupH. It has been identified by some authorities with the Cella Soleans described by Spartian, and was surrounded by a gallery supported on eight columns of grey granite, the last of which was removed in the 16th cent, by Cosimo de* Medici, to support the statue of Justice in the Piazza S. Triniti at Florence. The Tepidarium (c) has on each long side three recesses : the two central ones open on to the frigidarium and the calidarium ; the four others were used as baths, and were divided from the tepidarium by two pillars of red porphyry, fragments of which, as well as some of the richly sculptured capitals, lie scattered around. The Calidarium is a vast circular vapour-bath, projecting half-way into the gardens in front of the piscina. Twelve granite columns, the bases of some of which still remain, supported an inner gallery. Of the eight pilasters, which appear to have been intended to support the cupola, only two are now in a good state of preservation ; but the span is so enormous and the walls so thin that it is doubtful whether the whole circular space was ever roofed with a dome. Here are some remains of marble pavement, and traces of a hypocaust and flues for heating. In Nov. 1878 the basements of two of the other pilasters were excavated. One of these (y), is pierced for a flight of 22 steps, descend- ing to the subterranean corridors. At the foot of one of these stairs was found one of Theodoric's noted brick-stamps — + RBODN THEODE -j- RICO BONO ROME, the first indication of restorations having been made in the Baths of Caracella by that provident King. The centre quadrangle of the Baths stood on a system of subter- ranean arches and vaults, now ruined and inaccessible, except at this one spot. Their object was to drain the building, through which so many million gallons of water had to bo daily conveyed; and to afford means of communication for the attendants, so that the numerous slaves in service could appear from underground without interfering in any way with the freedom of the persons in the upper halls. The upper part of this staircase leads to a small platform, from which a good survey of the ruins may be obtained. The S.E. Court (a') was completely excavated in 1872. Parts of the mosaic pavements, usually covered in winter with a layer of sand, though sunken, are well preserved, and we may easily trace the ground plan of the surrounding colonnade. The colossal torso of Hercules, placed on a fragment of a column of Giallo antico from the Marmorata, was discovered in 1871 under the Palazzo di Monte Citorio. The two beautiful torsos were dug up in the frigidarium and the tepidarium : the cippi, with inscriptions, on which they stand, belong to the Necropolis of the Appian Way. A remnant of the marble frieze may still be seen on the N. wall. In a room at the N.W. angle is a Bath, to which descend two steps encrusted with marble. Under Paul III. in 1546, and by the lal>ours of Count Velo of Vicenza in 1824, many fine works of ancient sculpture, which now enrich The City.] route 41. — ss. nereo ed achilleo. 411 the Italian museums, came to light in this edifice. Among these are the Farnese Hercules, the colossal Flora, and the Toro Farnese, now in the Museum at Naples ; the Atreus and Thyestes, the two gladiators, the Venus Callipvge, also at Naples, the Sarcophagi of green basalt m the Museum of the' Vatican, the granite basins in the Piazza Farnese, with numerous reliefs, cameos, bronzes, medals, and other treasures, most of which have been lost to Rome with the other property of the Farnese family. Paul III., having enriched his own collection with this abundant spoil, did as much harm as possible to the ruins by laboriously stripping the walls of the greater part of their brick facing, in order to make concrete for the Pal. Farnese. The baths are supposed to have been quite entire in the 6th cent., until the destruction of the aqueducts by Vitiges, during the siege in 637, rendered these and the other Thermae completely useless. From that time they feU rapidly into ruin. These extensive ruins were the favourite haunt of the poet Shelley, who wrote here the prmcipal part of ' Promotheus Unbound.' Between the main building and the Aventine is a large level space (t) for gymnastic and athletic sports ; and higher up, on the slope of the hill, the reservoir for water, or piscinu ik), in connection with the aqueduct crossing the Appian Way, over the so-called Arch of Drusus. At the foot of the front wall of the piscina, facing the larger area reserved for gymnastic sports, were rows of seats (/), of which only the slope remains. On the N. and S. of the area are huge remains (m) of semi-elliptical form, which have been conjectured to have served as tennis courts. The outer enclosure, nearly 400 yds. each way, was laid out in avenues and gardens. Near the S.E. extremity of the area are the ruins of a private house of Hadrian's time, partially destroyed and buried by Caracalla to make room for his Thermae. The apartments are disposed on three sides of a square peristylium ; the walls are painted in fresco, and the pave- ments decorated with white and black mosaics of connldorable lK»auiy, representing hippocampi with rams' heads, tritons, nymphs, A.v.. The best preserved room at the S.E. corner of the peritityliuin m thc» Lararium, or private chapel for domestic gods. These intoroMting ruins have been identified by Sig. Pellegrini with the Jwrti of AHinius Polllo, mentioned by Frontinus. [In the Vigna Ouerrieri, behind the Baths, is a circular Tomb lurgor than that of the Caecilia Metella, but extremely difficult of acccim.] Returning to the main road, on the right u tho Ohnrrh of SS. Nereo ed Achilleo, rebuilt by Uh> 111. In 800 upon an wrlior foundation, and restored for the Oratorlans in 1607 by Cunl. Baronius, who was titular of the Church. It is of BftMlllca form, supiH>rU|ersons attached to the family of the Caesars. That first discovered consists of a large square chamber, with a massive pier in the centre, supporting the roof, and pierced thoroughout with niches for receiving urns. A flight of steps leads down to a square vault, the walls of which were covered with frescoes and arabesques, representing birds and animals. Near this is a second Columbarium equally capacious, but without the central pier ; it is called improperly that of the Freedmen of Pompey : in it are several inscriptions to persons attached to the household of the family of the Caesars, as Afedicus, Obsti'triT, Argen- tarius, Cimbalista, and to a certain Hymnus Aurclianus, librarian of the Latin Library in the Portions of Octavia. On the floor are two rows of smaller urns belonging to the members of a musical confraternity or club. A third Columbarium nearer the road appears to have been tenanted by a superior class of occupants ; it contains family niches, purchased, as stated on the inscriptions, to receive the ashes of the proprietor and his descendants, and often enclosed in a large and decorated recess. Most of the inscriptions lielong to the time of Tioerius, as members of his household are named — amongst others two oflicere of the Library of Apollo on the Palatine; and Sotericus, librarian of the Greek Library in the Porticua of Octavia. A curious record was E laced by a Roman lady, named Synoris Glauconia, over the ashes of er favourite dog, whose portrait accompanies the inscription, in which he is designated the pet or delicium of his mistress. A very touch- ing one in verse is that of Julia Prima to her husband. A slave of the Emp. Tiberius, whose name is lost, is called Caeaaris lusor ^buffoon). The inscription continues thus : Mutus, argulun, imitator^ n. Caesaris Augusti, qui primum invenit causidinw imitan. Tt mimuiih that this poor man, being dumb, tried to divert the gloomy tompor of his master by imitating the gesticulations of the udvucatoM pleading in the Forum. It is known how deeply the lownr claHmiM in Roinii disliked the crowd of solicitors who made the Forum rcitound with their The City.] route 41. — porta s. sebastiano. 415 loud and ceaseless talking from morning till night. This feeling is strongly alluded to in the graceful memorial of L. Apisius Capitolinus, containing a prayer to the gods to keep far from his tomb, thieves, the evil-eye, and above all, jurisconsults. The paintings in this Columbarium are well preserved. The larger sarcophagi on the floor were placed here long after the original construction of the colum- barium. To facilitate approach to the higher stories of niches, the tomb had on all sides wooden balconies, supported by brackets ; this explains the many irregular holes in the walls. On all the great roads leading out of ancient Rome considerable numbers of this class of sepulchres have been found, and particularly on the Appian, Latin, and Aurelian Ways. They bear so great a similarity to each other, that the description of one will, with few exceptions, apply to all. They were called Columbaria, from the rows of little niches, resembling those in a modern pigeon-house, which contained the ollae, or urns, in which the ashes of the dead were deposited. In some cases the ashes are contained in marble urns, on which are engraved the names of the deceased; but they are more generally placed in earthenware ollae, sunk into the brickwork of these recesses, with the names on a marble tablet above. These Columbaria, from their construction, were capable of containing the ashes of large numbers of persons ; they were mon? grmfrallr >*«t ^(uirt for ibe middle classes, freedmen, and persons attacb«# «aHy years , lb© Pokta Appia of the Aurolian Wall, with two lino wmioirtroUr tow««od Urkkwork resting on hubatruotions of whit« flftftrtla block*. proliaMy uVta from tho Teinph. of Mars, which stood o«l««a ol tt on tbe UH. On lb* wall to lh« rt.. of thn arrh in a grartlto of »k Mirh»#l and Ch« DiBCon, with 416 ROUTE 42. — DOMINE QUO VADIS. [Sect. I. a curious inscription relating to the repulse of some invading force. For a continuation of the road, see Rte. 42. 7 min. to the 1. is the Porta Latina (see above), and J hr. beyond it the Porta S. Giovanni (Rte. 11). CAbout ^ m. on the rt., between this and the Porta S. Paolo, are the Bastions, about 200 yds. in length, constructed by Paul III. m the 16th cent., from the designs of Sangallo. They are finely bmlt of bnck with a deep cornice. Here opened the Porta Ardeatina; the Ime of the road which passed through it is determined by several tombs stiU existing in the adjacent vineyards.] ROUTE 42. From the Porta S. Sebastiano to the Tomb of Caeeilia Metella, by the Chapel of * Domine quo Vadis,' the Catacombs of Calllxtus, the Church of S. Sebastiano, and the Circus of Maxentius. [For plan of this Route, see p. 437.] On the 1., immediately outside the Porta S. Sebastiano (Rte. 41), stood the Temple of Mars, where the armies entering Rome in triumph used to halt, the slope descended by the road being the ancient Clivua Martis, mentioned in a beautifully cut inscription in the Galleria Lapidaria at the Vatican. In the Vigna Naro, 120 yds. further on the rt., was found the first milestone of the Via Appia, now placed on the balustrade before the Capitol. Passing under the (4 min.) Rly. viaduct, and crossing the (3 min.) Almo, the mass of ruin on the 1. is supposed to be the Sepulchre of Geta, murdered by his brother Caracalla. 2 min. further, behind an Osteria, on the rt., is the Tomb of Priscilla, wife of Abascantius, a minion of Domitian. It is surrounded by niches, which probably contained statues ; the circular tower upon it is mediaeval. Here the Via Ardeatina, which leads to Ardca (Rte. 57), branches off on the rt. On the 1. is the Chapel of Domine quo vadis, so called from the tradition that St. Peter in his flight from Rome here met the Saviour, who to the above enquiry of the Apostle replied Venio Romam iterum crucifigi. On the floor within is a marble slab, bearing a copy of the foot-marks which the Saviour is said to have left upon the pavement. The original is preserved at S. Sebastiano (see below). The Chapel was rebuilt in 1610, and the front renewed in 1637. The precise spot where the meeting took place is marked by the round Oratory 100 yds. further on the Appian Way, rebuilt in 1526 by Card. Reginald Pole, on ground belonging to the English College. The City.] route 42. — s. urbano. 417 [From this point a rough cart-track, very muddy after rain, runs 1. through fields and between hedges for | m. to the so-called Temple of the Divus Rediculus, a family Tomb, probably of Annia Regilla, wife of Herodes Atticus, and her six children. f Its popular name is derived from a tradition that a temple was consecrated near thic spot to commemorate the * turning back ' of Hannibal from under the walls of Rome, in consequence of a deluge of rain. The Tomb, which stands on the left of the road, washed by the Almo, is well built of yellow bricks, with red in the base and pilasters, and some delicate ornamentation in terra-cotta. It had a portico of four Corinthian columns, now ruined, and a second story, with groined vaulting. 15 min. higher up the stream of the Almo, or \Caffarella, is the so-called Grotto of Egeria, which was supposed in the middle ages to have stood here, instead of within the walls (Rte. 41). It is the Nymphaeum of a Sacred Grove, planted by Herodes in memory of his wife Annia Regilla, and was formerly adorned with statues and faced with slabs of marble. The beautiful clump of Ilex, on a hill to the 1., occupies the site of a portion of the Grove. 5 min. higher up stands the Church of S. Urbano, adapted to Christian uses in very early times from the Temple of Ceres and Proserpine, the cella of which it preserves almost entire. Four fluted Corinthian columns, walled up by Urban Vin. in 1684, support the vestibule. The interior is entirely of brick, and almost square. The middle stage of the wall is divided into panels by Corinthian pilasters, and painted with the life and martyrdom lof SS. Cecilia, Tiburtius, Valerian, and Urban, by Botiizo (1011). Over the altar, Christ blessing, with SS. Urban and John the Evan., and two angels. Opposite, over the door, the Crucifixion (signed)— all much injured by restoration, but extremely interesting as works of art. Beneath the Church is a crypt in which Urban (230) preached and baptized. The Confession was painted, with his image beside that of the Virgin and St. John, by order of Paschal I. about 820. From S. Urbano a road leads W. in 15 min. to the Catacombs of St. Callixtus. About half-way, on the rt., is the approach to the Catacomb of Practextatua (see p.* 461). About | m. E. of S. Urbano are the Baths of Acqua Santa oh the Via Appia Nova (Rte. 50).] From the round Oratory the Appian Way ascends for ^ m. between walls, passing a succession of vineyards in which numerous Columbaria ha^'been found. On the 1., exactly 1933 yds. from the Gate, were those of the Freedmen of Augustus and Livia, of which nothing now remains except a series of inscriptions, above 300 in number, preserved in the Vatican and Capitoline museums. The tomb was well illustrated by Fr. Bianchiniin 1727, and appears to have contained the ashes of no fewer than 6000 servants attached to the Imperial Court during the reign of less than fifty years, one-tenth of whom were in personal f Herodes was born at Marathon A.D. 104. His father became enormously rich by the discovery of a treasure at the foot of the Acropolis, and left a laige fortune to his w»n. On coming to Rome Herodes was appointed tutor to Marcus Aurelius and Lucius Verus, and afterwards manied Annia Regilla. She died m chUdbirtn, and Herodes was accused by her brother of having caused her death. To clear himself from this suspicion he consecrated a whole tract of country to her memory, and built a tomb, with other monuments, in her honour.— /<. [Ronie.] 2 e 418 ROUTE 42. CATACOMBS OF ST. CALLIXTUS. [Scct. I. attendance upon Livia. In explanation of this enormous number it has been remarked that many of the servants of Augustus died very- young, and that their children, brothers, and sisters were sometimes buried with them. The sub-division of ofi&ces was also absurdly minute, extending so far as to assign separate duties to the boy who carried his master's coat, and to the governess of a lady's pet dog. — L. In the Vigna Vagnolini is a very large Columbarium of the Volcbii, in three divisions, with about 5000 loculi for cinerary urns. On the rt., nearly 1^ m. from the Porta S. Sebastiano, is the entrance to the "Catacombs of St Callixtus, beneath that triangular space which separates the Via Appia from the Via Ardeatina or Strada della Madonna del Divino Amore, and which in classical times was occupied by the Campus of the god Rediculus. These catacombs are very extensive, and have been only partially examined (see Plan). On the 1. inside the entrance is the Ticket Office (1 fr.). The Catacombs are under the charge of French Trappists, who assign a guide and tapers to each party of visitors (no extra fees). We descend by a flight of ancient steps (A), which date from a period subsequent to Constantine, and near which stood a Church, erected over the spot where Pope Damasus and his family were buried. Some frag- ments of its walls may be seen in the neighbouring farm-buildings. At the foot of the steps is a kind of vestibule (B) surrounded with loculi or graves, and remarkable for the numerous inscriptions (a a) scratched on its stuccoed walls by devotees and pilgrims. They consist chiefly of invocations to the saints and martyrs here interred, mostly written in a very barbarous style. After passing a sepulchral cubiculum (F), a narrow gallery brings us to the sepulchral chamber (C) of the Popes, in which were deposited, as shown by their inscriptions in Greek characters {bbb 6), the bodies of Urban (a.d. 230), Anteros (236), Fabianus (261), Lucius (253), and Eutychianos (283). To the names of the two latter are added the designations of eps. and martyr. Some of the graves remain without inscriptions ; there is reason to suppose that in one of them lay St. Sixtus II., martyred under Valerian (258). Where stood the altar (a) is an inscription composed by Pope Damasus (384), engraved in the beautiful characters of the numerous inscriptions set up in the catacombs by that pontiff. It expresses a wish to be laid near the other Popes, although in his humility and respect, he dared not aspire to such an honour : Hie FATKOR DAMASrs VOLUI MEA CONDEKE MEMBUA sed cineues timed sanctos vexake Piorum. Pascal I. removed the remains on the invasion of the Lombards. Hound this cubiculum are fragments of twisted marble columns, with Corinthian capitals, one of which served probably to support a credence- table. We next reach by a narrow passage a larger crypt (G) of irregular form, in which were discovered the remains of S. Cecilia. They had been placed by St. Urban in a sarcophagus (a) cut out of the tufa, but were removed by that general plunderer of the catacombs. Paschal I. , to her Church in the Trastevere. On the wall are 7th cent, paintings of our Saviour, in a circular recess (6), where burned a lamp at the tomb of the martyr : adjacent (c) a full-length figure of St. Urban, and above, S. Cecilia. From the gallery (E E) open several cubiaila (F F), •3 i§ ■— J '-3 So a ja c • g OD-S « . o i i • P-i .2 8 ligSS S -r * ® 00 -S 5 o I e .J "Sj-a o B a ^' T^ % •• • i m V- P^' ^ I ♦--, ^ -' fi The City.] route 42. — catacombs of st. callixtus. 419 interesting for their paintings, chiefly referable to Baptism and the Eucharist, the fish being the principal emblem of the former. Over a niche in one of them are four male figures with uplifted hands, each with their names ; in others are peacocks, emblems of immort^Jity ; uaou2U> I'LAX or tick rA»r«or nui €4TAComw or »w cjoajXTt^ C0; ft. OnvmpTCUtaiv. «. Pititli^ of »^ Vi^an aoj Oe^ P. Rlw iMiiic t»qilkty, i« Orfiiiwliia qf Me ttt <>fiMn|? tho roek, and AtMndii^ U> t^ Moont; * Oravf^imr hvrd, with tb«iiitoi^«d lU iMttl^rtiQ Uddog u|^ bi» b«d: « BMiquot. proUbl;* of Ibt ttvtn di«npl«« aUvdtd to ia St. John xxi. All tt»MO ass .''■Jim MBJIHIriM a -de ^teway^v^h ^a^^^^^^^^ X^^rtTLve^Ie^h^sutn^f^Ej^^^^^^^ fek rrni^^nt'^pfs^^^t = Bt^^B Z\aJ^ Tf i« aQ7 vds lone 7 broad, and from 2 to 5 ft. nign. it ww* dtorateVti^va^ri^us wf^^^ of art,' among which w- t^^.^^^^^ standing in the Piazza Navona. At each extremity of the Spma. an emrnenc^e, on which the MeUu stood, -»->, ^J.^.^f ^^^^.^^^^ greater part of this Circus was excavated at the excuse <^^^ Torlonia; to whom the estate upon which it is situated beiongea. 424 ROUTE 42. — TOMB OF CAECILIA METELLA. [Sect. I. During these works, the Spina, Carceres, and great Entrance were laid open, together with many fragments of statues and reliefs. The ruins of a circular building, 200 yds. N., are supposed to belong to an Imperial Villa, on the site of the Triopium of Atticus. Further on in the Via Appia is the ♦Tomb of Caecilia Metella, wife of Crassus, and daughter of Quintus Caecilius ^letellus, who obtained the name of Creticus for his conquest of Crete, B.C. 68. This noble mausoleum is one of the best preserved sepulchral monuments about Rome. It stands on the extremity of a stream of lava from an eruption at the base of the Alban hills near Marino. A circular tower, nearly 70 feet in diameter, rests on a quadrangular basement of concrete, consisting of small fragments of lava and of brick, united by a cement formed of lime and Pozzolana. The building is strengthened by large square bondstones of travertine, which project at intervals from the mass to support the external marble coating. This coating was stripped at various times for making lime, and Clement XII. removed the larger blocks to construct the Fountain of Trevi. The circular part of the tomb is coated with magnificent blocks of the finest travertine, fitted together with great precision. It has a beautiful frieze and cornice, over which a conical roof is supposed to have risen. The battlements which have usurped its place were built by Boniface VIII. (Caetani) in the 13th cent., when the tomb was converted into one of the strongholds of his family. The frieze is decorated with reliefs in white marble, representing festoons alternating with rams' heads, from which, having been mistaken for heads of oxen, the tower obtained the name of ' Capo di Bove.' On a marble panel below the frieze, on the side towards the Via Appia, is the inscription : — CAECiLiAE Q. CRKTici . F. METELLAE . CRA86I. The interior Contains a circular dome-shaped chamber, lined with brick about 15 ft. in diameter ; it was opened by Paul III., who is said to have stolen two sarcophagi from it for the Pal. Faruese. The roof has entirely disappeared, but the inclination of the stonework shows that it was conical. Tliere is a stem round tower of other days, Firm as a fortress, with its fence (»f stone, Sach as an army's battled strength delays. Standing; with half its battlenieDts alone. And with two thousand years of ivy (at>wn, The garland of eternity, where wave Tlie green leave* over all by time o'erthrown ; — What was this tower of strength V within Its cave AMiat treasure lay so lock'd, so hid?— A woman's grave. ChUde Harold, Canto Iy., Byron. Adjoining the tomb are extensive ruins of the Caetani fortress. As early as the beginning of the 13th cent, the Savelli family had converted the ruin into a stronghold ; the Caetani, before the close of the same cent., obtained possession of it, and built those towers and battlemented walls which now form, from many points of view, a ruin scarcely less picturesque than the massive tomb itself. Their armorial bearings are still visible on the walls. On an adjacent wall are fragments of two marble tombs, discovered in 1824, belonging to Q. Granius Labeo, Mil. Tribune of the 8rd Legion, and to T. Crustidius. The pavement of the Appian Way, then remarkably perfect at this spot, was laid open at the same time, but the polygonal masses of lava have been removed. There I The City.] route 42.— catacomb of s. nereus. 425 is a subterranean passage leading from the fortress to a catacomb, which is supposed to have been excavated by the Caetani. On the opposite side of the road is the ruined Chapel of St. Nicholas (1296), one of the few Gothic edifices about Rome, enclosed \s'ithin the fortifications of the Caetani. It consists of an oblong nave, at the W. end of which is a round apse. There is a very small wheel- window in the opposite gable, with four wide lancets over it, and six trefoil-headed lancets on each side. The whole is built of peperino bricks, the windows having marble jambs and heads, with a buttress between them. The roof, very low in pitch, is destroyed, but the spring of the arches shows that they were pointed, and corresponded in number \vith the windows. . A short distance further on the left are the quarries of lava which have furnished a large proportion of the paving-stones of ancient and modern Rome. This lava contains many interesting minerals— Melli- lite, Breislakite, Pseudo-Nepheline, Comptonite, Gismondite, &c. : of which some fine specimens may be seen in the Museum of the Sapienza. For a continuation of the Appian Way, see Rte. 49. From the Domitie quo vadis (p. 416) the Via Ardeatina bears to the rt., crossing in 15 min. the Via delle Sette Chiese. Turning back to the rt. we soon reach the CaUcombs of SS. Nereus and Achilleus, or of Domitilla. The entrance (1 lira) is close to the farm-buildings of Torre Marancia, where stood in Imperial times the Roman Villa Amaranthiana, which belonged to a branch of the Flavian gens. Among the Christian victims of the Domitian persecution were the Emperor's first cousins Flavius Clemens, martyred, and his sister Flavia Plantilla, exiled. The daughter of Plantilla, Flavia Domitilla, was also exiled, but returned when Trajan, the tolerant, was Emperor. She founded a Christian cemetery in the grounds of the family Villa, and deposited there the remains of her martyred servants Nereus and Achilleus. The catacomb has two principal ^Ueries, with several lower or intermediate floors, there being 5 levels in some parts. Much of it dates from the 2nd cent. The entrance is from a handsome vestibule lately erected, in which are some Christian inscriptions, and a marble sarco- phagus found in a cemetery on the surface. We descend by a wide flight of steps into the galleries of the upper tier. These stairs are ancient, and the frequent walling of the galleries, many parts of which were widened subsequently to their original excavation, is attributed to Pope John I. in the 6th cent. Near the bottom of the stairs is a chamber ornamented with Christian emblems and arabesque ornaments, in which it is supposed that S. Petronilla, a lady of the family of the Aurelh, was interred. One of the peculiarities of this cemetery is a very large Luminare, which served to light one of the extensive sepulchral chambers, the floor of which is paved with marble slabs. On the lower tier are two semicircular apses, with a narrow intermediate gallery, on one of which is a painting of Christ, represented as a young man in the midst of the twelve Apostles. On the floor is a vessel containing scrolls of papyri ; the seated figure on the rt. of the Saviour is considered to be St. Paul, that on the 1. St. Peter. In the opposite apse is a representa- tion of the Good Shepherd. In another chamber is an inscription to M. A. Restitutus, and to his iv^mWy fidentibiis in domino, in which the 9 WUiatfil 426 ROUTE 42. — BASILICA OF S. PETRONILLA. [Sect. I. cubiculura is designated as an Hijpcxjeum. In a third a representation of Orpheus, one of the few Pagan personages introduced into the Chris- tian paintings, as symbolical of the charm of the word of God over barbarous nations. The painting of Elijah ascending to heaven from his chariot is not unlike the relief of the same subject in the Lateran Museum ; but, by a strange oversight of the artist, Mercury is repre- sented at the horses' heads, which can lie best explained by his having copied a pagan design. At each corner of this chamber are pilasters cut out in the tufa, covered with stucco, which had been painted. On the wall of another gallery is a *curious representation of the Virgin and Child, to whom four Magi, instead of three, are bearing gifts, supposed to date from the end of the 2nd cent. There are several Greek inscrip- tions. These Catacombs are excavated in the softer and more recent volcanic deposits of the Campagna, ' in which numerous decomposing crystals of leucite may be observed.'— 3facnji/ton. In some parts of the lower galleries may be seen projections of the older red lithoid tufa, similar to that of the Tarpeian rock. In the centre of this series of Tombs was excavated in 1873 the celebrated Basilica of SS. Petronilla, Nereus, and Achilleus. The subterranean church is built at a level corresponding to the first and second stories of the Catacombs, its size being equal to that of S. Lorenzo. The pavement was purposely sunk as low as this, in order that the tombs of the above-mentioned martyrs might be enclosed in the altar without being raised, or touched at all.— L. It consists of a nave and aisles, separated by eight columns of cipollino. The doors, A A' A', lead to the galleries of the surrounding cemetery. The Presbyterium was enclosed by a marble railing {cancello), the foundations of which can still be traced. In the apse, and behmd the altar, of which no trace remains, stood the marble episcopal chair from which St. Gregory read his 28th Homily: it was removed by Leo III., in the 8th cent., to the Church of SS. Nereus and Achilleus (Rte. 41). Near the niche B, a curious graffito is preserved on the wall, representmg a priest, dressed in the casula, preaching to the people— a record of St. Gregory's sermon. , On the pavement were numerous tombs, some of them belonging to the galleries of the pre-existing cemetery, walled up and covered during the construction of the Church, and others of posterior date. One of them is dated a.d. 390, and another in the presbytery, 12th May, 396, which fixes the period of erection. Among the inscriptions is the well-known eulogium of Pope Damasus, in Latin verses, in honour of the saints buried in the Church. Another contains the letters . . rvm . . ORVM, which may be completed S^imZcRVM Flavionwu, as Domitilla, the owner of the villa above, and founder of the cemetery, belonged to the Flavian family. In Nov. 1875, a fresco was discovered representing a Christian matron, named Veneranda, and the figure of S. Petronilla beside her. In Feb. 1875, excavations brought to light a Greek inscription, in fine letters of the earliest period of Christian epigraphy, commemorating Flavins Sabinus and his sister Titiana, members of the Imperial Flavian family. But the most interesting discovery has been that of a *Column, such as in the ancient rite was used to support the canopy over the altar. On its surface is a relief, in the style of the 4th cent., representing the execu- The City.] route 42. — basilica of s. petronilla. 427 tion of a martyr, who, with his hands bound behind his back, and tied to a pole in the form of a cross, surmounted by a triumphal crown, is about to be slain by a soldier with upraised sword. Over the head of the martyr is the inscription acillevs. A fragment of a fellow-column I PLAN OF THE BASILICA OF S. PETRONILLA. has been found, representing the martyrdom of Nereus, the companion of Achilleus. A large and elaborately decorated cubiculura, dis- covered in 1881, has the name of Ampliatus engraved above the arcosolium. Proceeding further along the Via delle Sette Chiese we soon reach the 428 ROUTE 42. — ANNUNZIATELLA. [Sect. I. Catacomb of Commodilla (entrance at gate on left). This catacomb was re-opened by the Cammissione di Archaelogia Sacra in 1903; m 1904 a passage was re-opened which had been walled up in the pontificate of John I. (523 6). Many of the loctili are still closed; the distinctive marks in glass and bone, and the terra-cotta lamps, glass drinking cups, bottles, still in situ. Commodilla was probably a noble Roman matron who owned the ground. Pope St. Damasus repaired and decorated the catacomb, which is mentioned in all the itineraries of pilgrims. A stairway leads down to a chapel, where were interred the martyrs St. Felix and St. Adauctus, who suffered in the persecution of Diocletian. Tradition states that while Felix was being led to execution an unknown man called out that he professed the same faith and was willing to die for it along with him. The incensed magistrate took him at his word ; the two were executed together, the nameless victim being afterwards given the name Adauctus ('added to '). Of the fresco paintings, well preserved, one represents the noble Roman matron Tortora, kneeling at the feet of the Madonna enthroned, with the Child, and being presented by St Adauctus ; St. Felix stands on the other side. Another represents Christ with SS. Peter, Paul, Felix, Stephen, and others. Another represents St. Luke with his attributes of physician, and is covered with the scratched names of the priests who said mass at the adjoining altar. These paintings are of the fifth and early sixth centuries. About 200 inscriptions have been found dating from 367 to 527. [Returning to the Via Ardeatina, and then keeping to the right, we reach, about two miles distant, the Chapel of the Annunziatella, an ancient place of pilgrimage, rebuilt in 1270, and restored by Card. Francesco Barberini in 1640. It now belongs to the Guild of the Oonfalone. The chapel stands on a high ridge, com- manding the valley of Grotta Perfetta, and crowned by a large Fort. In digging the foundation of it, and in excavating its moat, a small Cata- comb was discovered, surrounded by pagan tombs. The district is interesting as the place in which the cultivation of the Roman Campagna is being tried on a rather large scale. The Govern- ment has purchased many hundred acres of good ground, has cut it in small allotments, and given it away to farmers for a nominal price, with the condition of cultivating each plot in vineyards, olive groves, or corn-fields, and of building farm-houses.] SECTION II. THE CAMPAGNA -» — »- I w «'Mw '>->U^I^ ROME AND THE CAMPAGMA. INDEX map London > Bdwu, Of TNC •CAM «CH> r I .MdbtfomeX Isola^ S acr* lb>J MHfftUKMOM s^ 431 LIST OF EOUTES. SECTION II. THE CAMFAaifA. Names of important places are printed in black letters only in the Routes under wliich they are described. KOCTE PAGE 43. From the Porta S. Lorenzo to Tivoli. bv Hadrian's Villa . 437 44. From the Central Station to Subiaco, by Tivoli and Mandela 451 45. From Rome to Subiaco, by Palestrina .... 459 46. From the Porta Maggiore to Palestrina, by the Via Praenes- tina 468 47. From Rome to Frascati . . . . . . . 472 48. From the Central Station to Albano, by Cecchina or Marino 479 49. From the Porta S. Sebastiano to Albano, by the Old Appian Way • 482 50. From the Porta S. Giovanni to Albano, by the New Appian Way, the Basilica of S. Stefano, and the Tombs on the Via Latina 487 51. From Albano to Ariccia, Genzano, and Nemi . . . 490 52. From Rome by Tram to Albano, by Grotta Ferrata, Marino, Castel Gandolfo, and the Lago di Albano.— Ascent of Monte Cavo 495 53. From the Central Station to Segni, Cori, and Sermoneta, by Civita Lavinia and Velletri 504 51. From the Central Station to Porto d'Anzio and Nettuno, by Cecchina ......... 5lo 55. From the Central Station to Fiumidno, by Porto . . 514 56. From Rome to Ostia, by River or Road .... 518 57. From Ostia to Porto d'Anzio 529 58. From the Central Station to Cervetri, by Palo . . . 532 59. From the Trastevere Station to Viterbo, by Bracciano. — Excursions to Veii, Galera, and the Baths of Stigliano. 536 60. From Rome to Mentana, by the Via Nomentana and Monte Rotondo 544 [ 433 ] DIRECTORY TO THE CAMPAGNA. Albano.— Hotels : *Europa (or Posta), in the main street to the rt. ]ust above the Stat.; good rooms, and excellent Restaurant; R. L. A. 8 fr., B. 1 fr., luncheon, 2^ fr., D. 4 fr., both including wine. Pension, 8 to 10 fr. Ristorante Salustri, on the other side of the Piazza, good and moderate. Caff4 in the main street, close by. Omn. for Genzano eight or ten times a day (40 c). Carriages numerous (make a bargain). Page 480. Anzio.— Hotels : *Albergo delle Sirene, on the sea, large, clean and comfortable. R. L. A. 4J to 5 fr., B. 1 fr. 25 c, luncheon, 3 fr., D. 4 fr. Pension, 8 to 10 fr., mcluding very poor wine. Carriage, 75 c. Villino Milio, well situated. Trattoria Turcotto, on the quay, good. Carriage to Nettuno, 1 fr. Omn. 25 c. Boats, 4 fr. the hour. Page 510. Br&cciano, —Albergo Sabazio, fair; Albergo delta Posta, tolerable. Page 542. Castel GandoUo.—Ristoranfc della Ferrovia, finely situated above the lake, but scantily supplied (better food at Albano). Page 499. Cervetri.— Small Inn in the Piazetta, to the 1. within the cate Page 632. • ^ Civita Castellana.— .4 /6crgo Nataliicci, Corso Umberto I., clean, fairly good. Diligence from Stat., 1 lira. Carriage from Stat., 4 lire : two-horse, 8 lire. Page 393. Cori.— Albergo Unione, small but very tolerable, a few minutes above the bridge. Omn. to the Stat., 50 c. Guide to Segni 5 fr Page 508. ® ' Fiumicino.— Trattoria delV Eden, near the sea, good. Fresh fish every day. Page 517. Frascati. — * Hotel Frascaii, in a fine healthy situation near the Stat., with garden and extensive view. R. L. A. 3^ to 5^ fr., B. 1^ fr., luncheon, 2^ fr., D. 4 fr., without wine. Pension, 8 fr. and upwards. Trattorio delta Villetta, good food and excellent wine of the country ; the landlord will find rooms. Lodgings at the Villa Muti. Page 473. Frattocchie. — Good wine and tolerable food at the Osteria. Page 479. ^ Genazzanc— Good accommodation at the Casa delta Missione (see Subiaco). Page 466. Genzano. — Small Imi in the Piazza ; good wine. Page 492. Ladispoli. — Inn on the sands, poorly supplied except in the bathing season. Page 536. [Rome.] 2 v 434 DIKECTORY. [Sect. 11. Marino.— Inn on the left of the road to Albano. poor. Pat^e 497. ^ ° Monte Cavo. — Poor Restaurant. Page 502. Nemi.— Small Inn, De Sarictis, with tolerable food, but good wine I'age 493. ^ Olevano. *Alb. di Ecmia, below the town. Pension, 5 fr. One- horse carriage to Palestrina or Subiaco, 8 fr. Casa Baldi, higher up, similar charges. Both much frequented by artists. Page 467. Ostia. — Poor Osteria on the rt. in the Piazzetta. Page 519. Palestrina.- i/Oca?ufa delV Armellino, in the Corso, good food. Casa Bfrnardini, to the rt. above the Piazza Savoia. liotli moderate. Omn. to the Stat., 50 c. Page 461. Palo (see Ladispoli).—FoT a carriage to Cervetri, write to the Station Master. Page 532. Porto d'Anzio. — See Anzio. Rocca di Papa.— Small Inn, Rosalia. Page 501. Roncig^iione. — Aquila d'Oro, small inn. Page 544. Se^i,— Trattoria on the rt., just within the gate, very poor. Guide to Con, 5 fr. Page 507. Storta (La).— Good roadside hm, the old Post-house. Excellent country wine. Page 537. SuhiaiCO,— Hotel Aniene, new and comfortable, electric light. Restaurayit Aniene, food tolerable. Good accommodation at the Casa della Missione, reached by an avenue of trees to the 1., just above the Coach I'office. Ladies are always welcome, but male visitors should be provided with an introduction from some well-known ecclesiastic in Rome, as the Convent is kept by Sisters. Very comfortable, and suited for a stay of some days. Locanda della Femice, poor. Luncheon mav be obtained at the lower Monastery of S. Scolastica. One-horse csir- riage to Olevano, 8 fr ; for two persons, 10 fr. Dil. to Cineto Romano, 2J fr. Page 455. Terracina. — Albergo Reale, very fair. Page 510. Tivoli. — Hotels : Albergo delta Regina, in the Piazza del Plebiscito, good rooms and food. R. L. A. from 2^ fr., luncheon, 3 fr., D. 5 fr. with wine. Pension, 7 to 10 fr. Albergo della Sirene, comfortable. Alb. della Sibilla, close to the Temple, with good view of the ravine above the Falls ; prices rather lower. Ristorante delk Cascate, at the entrance to the Falls, good ; excellent trout and wine. Omn. from the Stat., 50 o. Visitors by steam tramway who propose to take the Villa Adriana on their way to Tivoli can get food at the Villa Adriana Statioji. Guide for the Falls, Cascatelle, and Hadrian's Villa, 5 fr. ; useful to save time. It is better to employ a local guide than to bring one from Borne. Entrance to the Ville d'Este, half a franc. Post Office behind the Alb. della Regina. Page 443. DIRECTORY. 435 The Campagna.] Velletri -Albergo Qallo, at the upper end of the town, ^ m. from the Stat good food and wine, moderate charges LocmiM della Camvana ' near the first ascent from the Stat., tolerable. GoodCal? near the Church of S. M. in Trivw. Page 506. Viterbo -Grand Hotel (formerly ^^6. Crrandxyri), Piazza della Roeca, neayihe Public Garden and the Stat, for Attigliano ; good clean rooni«; rp^fturant only open in the bathmg season (June-Septj. Alb. lltnZl i^l ce^re of the town, with tolerable T-tU>r.a^; A^^^^ Anpelo, close by. Carriage to or from either Stat., 1 lua. Page 544. ■^ "^ Pase 461. Zagarolo.— Small Inn. Omn. to the Stat., 50 c. 2 F 2 r "•■■csr •»r ' I— *! UUL nJjavioj'vxncQi ENVIRONS OF ROME Routes described' i/vtherloji.dhook.marked'dius ■ [437] VMuJUoni KTmi' VI \lCasMt$MtJt9fuiitt)nfo ^f^mipprtt VILLA MA*»»«*, IT V Quit Y.Cd^anlova SI * i^'alicaTins t5i>t ^ma - QDOOaa fTJfcrt SECTION II. THE CAMPAGNA. ROUTE 43. From the Porta S. Lorenzo to Tivoll, by Hadrian's Villa. Steam Tramway. Miles. Stations. lA Ponte Lucano 10 Villa Adriana 17 Regresso i8 Tivoli Miles. Stations. Porta S. Lorenzo I Portonaccio 3 Ponte Mammolo 7 Settecamini 12 Bag^ni . In order to visit Tivoli and Hadrian's ViUa in one day, it is adviH- able to travel to Tivoli by train (the best route for scenery), and return by the steam tram to the Villa Adriana Station, and thence to Rome as tjfce tram leaves at the most convenient time, late in the after- noon. ' The train takes about 1 hr. to Tivoli, the tram about IJ hr. It is much cheaper to take a return ticket by the tram (3 fr., 1st class : 2 fr. 20 c, 2nd class) ; the single train fares being 4 fr. 55 c, 1st class, 3 fr. 20 c, 2nd class. , o. . ^ j ^u t> *« Half an hour before the steam tram leaves the Stat, outside the ir'orta San Lorenzo, a connecting electric tram leaves the Piazza Venezia. Tickets for Tivoli, with liberty to break the journey at Hadrian's Villa, may be bought in this tram. The visit to the Villa takes two to three hours. A meal can be obtained at the tram station of Villa Adriana. The steam tram passes on the rt. the Church of S. Lorenzo, crosses over the Rly. at the large Goods Stat, of Portonaccio, and follows generally the Via Tiburtina. After a slight ascent of I m. we cross the Acqua Vergine, and a little further pass between the i^or^€ Tiburtina (rt.), and the Forte Pratalata (1.), two of the outlying forts of Rome. 3 m. from the city gate we cross the Ajiio by the modern Ponte Mammolo. The ancient bridge, remains of which may be seen 300 yds. up the stream, was repaired by Alexander Severuss mother, Mammaea, and by Narses ; blown up by the French in 1849, and partially repaired in 1870 by the Acqua Marcia Co., whose main pipes pass over it now. The Anio,also called Teverone, rises on the Simbruine mountains, in a deep gorge near Filettino. After a course 438 ROUTE 43. — BAGNI. [Sect. II. of 40 m. it forms the cascades of Tivoli. It separated the land of the Sabines from Latium (Aequi, Hernici, and Latins), and falls into the Tiber, 4 m. above Rome, near Antemnae (ante amnes). After crossing the river, an ascent and descent of a mile bring us into the wide plain of Prato Lungo, through which flows the torrent of Le Molette, descending from Santangelo and Montecelio. On the rt. some curious mounds and square mediaeval towers, bordering on the Anio, indicate the caverns or ancient quarries of Cervara, which are supposed to have furnished tufa for the buildings of the early Republic. A road branches on off the 1. to (10 m.) Montecelio. 8 m. Osteria delle Capannacce (246 ft.), the highest point between the Ponte Mammolo and Ponte Lucano. A mile further we pass over a considerable portion of the ancient road, paved with polygonal blocks of lava, and observe the ruined apse of the Basilica Ad septem fratres, now Sette Fratte, erected by St. Simplicius. In this Church S. Sinforosa of Tivoli was interred after her martyrdom under Hadrian ; it was named after her seven sons. Near the (10 m.) Osteria dclU Taver- nucole, a column on the road-side marks the boundary between the Agro Romano and the territory of Tivoli. [Pathway on the 1. to the (|m.) extensive ruins of Castell' Arcione (275 ft.), a 13th cent, strong- hold, now the property of Duke Grazioli. Having become a resort of brigands, it was dismantled by the people of Tivoli in 1420.] The wooded region seen on the rt. beyond the Anio comprises the Tenute (farms) of Lunghezza and Castiglione, near the sites of Collatia and Gabii. From here the vegetation is less luxuriant, owing to the nature of the soil, which between this and Rome is entirely volcanic, whereas we now enter on the Travertine region, which extends to the base of the Apennines. The three low pointed hills on the 1., capped with castles and villages, are: Santangelo in Capoccia: Poggio Cesi : and Mmitecelio. Road on the 1. to Motitecelio and Palovihara (1220 ft.). We now pa^b on the L (200 yds. from the road) the La^o dei Tartan, so called from the incrusting property of its waters, which produce by deposit the best qualities of Travertine. Upon the surface are floatmg masses of water-weed cemented by sand and dust blown hither by the wind, which form the so-called I&ole Natdnti. 1^ m. N.E. are the smaller lakes of S. Giovanni and dclle Colmiell£, the ancient Aquae Albulae. The water (80^ Fahr.) was examined by Sir Humphry Davy, who found that it contained more than its own volume of carbonic acid gas, with a small quantity of sulphuretted hydrogen. Near them are the ruins of the Baths 'of Agrippa, frequented by Augustus and enlarged by Zonobia, in recollection of whom they are still called ' Bagni della Regina.' The lakes, which bear the njodern name of La Solfatara, have an average depth of 170 ft. They are drained by a canal 9 ft. wide and 2 m. long, which carries their sulphurous waters into the Anio. It was cut by Card. Ippolito d'Este, governor of Tivoli, in order to prevent the inundations and malaria to which the country was liable from the overflow of these lakes. The milky water runs m a strong current, and is always marked by a disagreeably fetid smell of sulphuretted hydrogen gas. The road crosses the Canal, and reaches the Stat, of ' 12 m Baeni. Here is the large and well-appointed bathing establish- ment of the Acque Albule (73° Fahr.), supplied with these mineral The Campagna.] route 43. — Hadrian's villa. 439 waters by means of a conduit at the rate of 65,000,000 gallons in 24 hours. 1000 persons may bathe simultaneously. The Baths are par- ticularly suited to chronic skin diseases, gout, and rheumatism, and are much frequented in summer. Handsome Casino, and swimming bath for ladies and gentlemen. A road of ^ m. (and a branch Rly. for trans- port of material) leads to the enormous Cava del Barco, a quarry which furnished travertine for the buildings of ancient Rome. A mile N. is the Casale Bernini, built by that architect when tie stones for the colonnade of St. Peter's were being quarried. 2 m. beyond the canal we cross the Anio by the picturesque Ponte Lucano. The piers and the arch next to the 1. bank are ancient ; the central arch was restored in the 6th cent., and that next the rt. bank in the 15th. The entire bridge was repaired in 1836. Close by is the *Tomb of Plautius Lucanus, one of the best-preserved sepulchral monuments about Rome. It stands on a square base, and is surmounted by mediaeval fortifications of the time of Pius 11. The decorated front, flanked by pilasters, although ancient, is posterior to the body of the tomb, which was erected in the year B.C. 1 by M. Plautius Silvanus, for himself and his wife Lartia, and his child. It was subsequently used by his descendants, one of whom, Tiberius Plautius Silvanus, served in Britain, and died a.d. 76, as we see by the long inscription on its eastern side. The entrance to the sepulchral chamber was from behind. Aulus Plautius, one of this family, laid out the plan of an encampment on the site of the Tower of London, and may possibly be regarded as the founder of the city. A short distance beyond the bridge some ruins may be seen in a garden on the rt., supposed to have marked the approach to the Villa Adriana. On one of them is a mutilated relief of a man and horse, called by the local ciceroni Alexander and Bucephalus. 16 m. Villa Adriana. It takes about 20 minutes to walk to the entrance to Hadrian's Villa ; take the first turning to the right. Cab (bargain necessary) 1 J lire for one person ; 2 lire for two. Tickets (1 fr.) at the Casa delta Guardia, approached by a fine avenue of cypress-trees. ♦HADRIAN'S VILLA, formerly belonging to Duke Braschi, was pur- chased by the Italian Government in 1871, with the exception of the S. portion, comprising the Academy, Odeum, Inferi, Lycaeum, and Pry- taneum, which are still in private hands. A custode admits visitors to them bv a gate near Timon's Tower. The" Villa was built about a.d. 130 from the Emperor's own designs, with the intention of representing all he had seen most striking in the course of his travels. It covered a space of 8 to 10 m. in circuit, and must have been more like a town than a villa, judging from the number of buildings revealed by successive excavations. It containe d a Lyceum, Academy, Poecile in imitation of that at Athens, Vale of Tempe, Serapeon of Canopus in imitation of that at Alexandria, a stream caUed the Euripus, Greek and Latin Libraries, Greek and Latin Theatres, Thermae, a Hippodrome, Imperial Palace, Lodgings for Slaves, Barracks for the Guards, a Tartarus, Elysian Fields, and numerous Temples. Hadrian was here when he was seized with the illness of which he died at Baiae. The villa is supposed to have been ruined during the siege of 440 ROUTE 43. — Hadrian's villa. [Sect. II. Tibur by Totila (544) ; for many centuries subsequent to that event it was plundered by the Romans, who converted its marbles into lime, and removed its statues and colmnns to adorn their palaces and churches. The beautiful mosaic of Pliny's Doves in the Capitol, many of the Pseudo-Egyptian antiquities in the Vatican, and numerous statues of the highest class, were found among these ruins, and many of the museums of the great European capitals owe to it some of their most valuable treasures. The designation of the buildings is for the most part purely conjectural, but the details are full of interest, and the Villa supplies one of the latest examples of opiis reticulatum mixed with brick-facing. The entrance-gate and the alley of trees beyond are supposed to occupy the site of the porticus (1), which leads to the Greek Theatre. The seats, the corridors beneath them, and the proscenium are still traceable. A path leads round the outside wall of the stage to the upper Casa delta Guardia. To the 1. is a confused mass of buildings called the Palestra (10). In one of its chambers are remains of reliefs in the style of the Tombs on the Via Latina. An avenue of cypresses leads to the Poecile, built in imitation of that at Athens, described by Pausanias. The lofty reticulated N. wall of the Colonnade, 250 yds. in length, is still standing. Some of the blocks of travertine on which the columns stood, and the marble veneerings of the wall, were discovered by Signor Rosa, under whose care all the Poecilo was cleared out in 1873. The building was oblong, curved at the narrow ends, and raised on an artificial platform of masonry with vaulted chambers underneath, which are supposed to have been occupied by slaves and soldiers. From the end of the cypress avenue we turn 1. into the so-called Sala dei Filosofi, a square hall with a semicircular apse, and seven niches for statues. The circular building (3), entirely excavated in 1873, was probably a Nymphaeum. It had a mosaic pavement representing sea-monsters. The area was surrounded by marble columns, supporting a frieze ornamented with marine subjects of fine workmanship. Several of the columns have been re-erected. In the centre is an island, reached by a small bridge ; originally there were two swing bridges, opening on to vestibules which led to a semicircular hall adorned with columns. Beyond were the atrium and triclinium, with bath and bedrooms on each side, sumptuously decorated. The beautiful statue of the Faun, in rosso antico, now in the Capitoline Museum, was discovered here. On the E. are some ruins called the Greek and Latin Libraries (4 and 4). To the N. lay a Garden, from which a corridor leads N.P:. to a Balcony, commanding a beautiful view over the Vale of Tempe. Ascendmg some steps we reach ten small rooms with varied pavements in black and white mosaic, of tasteful design and perfect preservation, only revealed in 1880. These rooms are supposed to have been used by the Emperor's guests, and each is supplied with a bath and other conveniences. We now pass through the Doric Peristyle (5), at the comer of which on the rt. is a large oblong enclosure called the Oiardino. Beyond it 18 the Oecus Corinthius (8), with an apse at each end and two fountains. Bearmg 1., we next reach the Piazza d'Oro, surrounded with colon- nades, and so called from the richness of the decorations discovered nl IValktr &■ Boutall se. 442 ROUTE 43. REGRESSO. [Sect. n. here in the 18th cent. At its extremity is a domed building with an apse and fountain. Returning to the Oecus Corinthius, we now pass through the so-called Basilica, and observe a long and imposing line of arches divided into three floors. Below it is a Cryptoporticus, and further down some ruins supposed to be those of the Emperor's Private Rooms. Adjoining them to the E. is a Stadium. Passing it on the rt. we reach the Thermae, part of the roof of which is well preserved, and has some fragments of stucco reliefs. Our path continues S. to the Serapeon of Canopus, built in imitation of the edifice bearing the same name at Alexandria. The oblong Atrium in front is supposed to have been filled with water, as several conduits and covered channels may be seen behind the temple. Some chambers called the apartments of the priest, and a semicircular gallery with a painted ceiling, are still standing. The works of art discovered among these ruins are preserved in the Egyptian Museum of the Vatican. [This forms usually the limit of the visitor's excursion, though the remainder is well worth exploring. Beyond the Serapeon is the so- called Torre di Timone, with the ruins of the Academia, and of another Theatre. Near it are some subterranean corridors, supposed to be connected with the Tartarus, and the presumed site of the Elysian Fields. Beyond this are the ruins of a bridge or aqueduct upon a double tier of arches ; and J m. further W., near the Church of S. Stefano, are confused ruins, to which the names of Prytaneum and Cynosarg^s have been given.] Returning in a straight direction from the Canopus, we may diverge to the rt. to visit the second group of Baths, and then continue nearly due N. to the entrance gateway. Immediately before reaching the Poecile, we pass on the 1., below the pathway, the Cento Camerelle, a number of vaulted chambers in two and three stories, with remains of galleries on the outside from which they were originally entered. They are supposed to have served as Barracks for the imperial guard, and had no communication with each other. We now cross the Poecile, in the centre of which are traces of a piscina, and return to the Entrance Gateway. J m. beyond the Tramway Stat, for the Villa Adriana, the old Via Tiburtina proceeds to the 1. in a direct line to Tivoli, which it enters a little above the Villa of Maecenas by a steep ascent. Halfway up, on the rt., is a well-preserved monument, recording a levelling of the Clivus Tiburtinus in the time of Constans and Gonstantius. The name of the latter Emperor is effaced. The ascent to Tivoli through pleasant groves of olives takes 1 hr. on foot, or J hr. by tramway. Near the foot of the direct pathway may be seen some portions of an ancient road. The Tramway Stat, of 17 m. Regresso lies at the extremity of a sharp curve, and is so called because the tram-cars back out of it, continuing their ascent upon another line of rails. [From this point a road runs back on a higher level to the (J m.) Villa Braschi, from which the panorama is magnificent. It is built Y »* \ t [ ,' .«.! ENVIRONS OF TIVOLI. l.ozuion Bdwmrd Stutford, 12. 13 8, 14. Long Acre. W.C Stan/ord's Geocf} Estah^, Londoro. The Campagna.] ROUTE 43. — TIVOLI. 443 over the Aqueduct of the Anio Novus, which may be well seen in the wine-cellars beneath, those of the Anio Vetus and Aqua Marcia running at a lower level. The specus, 9 ft. high by 4 wide, had become choked up with calcareous incrustrations ; where these have been removed the fine Roman brick lining may be seen. At Casciano, under the Casino of the Greek College (^ m. further), are the extensive remains of the Villa of Cassius, which have contri- buted largely to the principal museums of Europe. Nearly all the statues and busts in the Hall of the Muses at the Vatican were found here, and were purchased by Pius VI. for the Museo Pio-Clementino. * The opus reticulatum of these ruins has a peculiar arrangement of coloured tufa in its squares.' — B. The substructions assigned to the Villa of Brutus the elder (the Jurist), below the Strada di Casciano, afford a fine specimen of Roman work, more than 35 yds, in length. A bridle path ascends S.E. from Casciano in 1^ hr. to Monte Spaccato (1965 ft.), worth ascending for its magnificent ♦view over the Anio. On its S. slopes are some remains of an ancient city in large polygonal blocks, supposed to be those of Aefulae. Under the mountain runs a tunnel 3 m. long, constructed for an Aqueduct by Domitian. Its engineer restored the Temple of the Bo7ia Dca upon its summit as an ex-voto, of which some beautiful columns and a pavement yet remain.] The Tramway Stat, of Tivoli is just outside the town at the Poita Santa Croce. Near it on the 1. is the Public Garden, with good views of Rome and the Campagna. On the rt. is the Castle, erected by Pius II, in 1460 upon the ruins of the Amphitheatre. It has four circular towers, which form very picturesque objects in the views of the town. Here Ignatius Loyola, then serving as a priest at Tivoli, drew up the rules of the Jesuit Order. TIVOLI t (Pop. 13,000), the ancient Tibur, a city of the Sicani, founded about 460 years before the traditional date of Rome, was one of the early rivals of the Eternal City, with which it subsequently entered into alliance. The Roman historians tell us that the Sicani were expelled by Tiburtus, Coras, and Catillus, grandsons of Amphiaraus, who came from Greece with Evander ; and that the settlement derived its name from the eldest of these brothers. This circumstance is frequently alluded to by the poets : — Turn geniini fratrcs Ti])urtia inoenia linquiint, KrntiJK 'I'jhurtl (li»;tain cognouiiiii; gentem, CatillufMHie, ac«'r<|«if Coras, Ajgiva juventus. Virg. Aen. ni. 670. Moenia Tihuris udi Stabant Argolicae (luml posuere inanus. Ovid, Fasti, iv. 71. Nullam, Vare, sacra vitc prius severls arborem Circa mite solum Tiburis, et moenia Catili. Hor. Od. I. xviii. 1. The classical associations of Tivoli have made it a memorable spot in the estimation of the scholar ; its scenery inspired some of the most f See Directory, p. 434. 444 ROUTE 43. — TIVOLI. [Sect. II. beautiful lyrics of Horace, who has sung its praises with all the enthusiasm of a fond attachment : — Me nee tam patiens Lacedaemon. Nee tam Larisaae percuasit eanipua opimae, Qukm domus Albuneae resonantis, Et praeceps Anio, et Tiburnl lucua, et uda Mobilibus pomaria rivis. Od, I. vii. 10. He tells us that he often composed his verses while wandering among the groves and cool pastures of the surrounding valleys, and expresses his anxious wish that it may be his lot to spend his old age in its retreats : — Tibur Argeo positum colono, Sit nieae secies utinam senectae; Sit modus lasso maris et viarum Militiaeque. Od. II. vi. 6. In the early period of the empire Tibur was the favourite residence of many of the ipoets, philosophers, and statesmen of Rome, the ruins of whose villas are still shown in different parts of the valley. The epithet of Superbum, given to it by Virgil, is still borne as the motto of the city arms ; and Catullus and Propertius have commemorated the beauty of its position with a partiality scarcely less remarkable than that of Horace. The Villa of Catullus is supposed to have been at S. Angelo, on the hill-side N. of the Great Cascade. It occupies a remarkably sheltered position, an advantage to which the poet refers. Syphax king of Numidia died in this territory B.C. 202, two years after his captivity. He had been brought from Alba Fucensis to grace the triumph of Scipio, and was honoured with a public funeral. Zenobia also, after gracing the triumph of Aurelian, spent the latter years of her life in the neighbourhood of Tibur, surrounded with all the pomp of an eastern princess. During the Gothic war, when Rome was besieged by Narses, Tibur was occupied by the troops of Belisarius. It was afterwards defended by the Isaurians against Totila, and treacherously surrendered by the inhabitants, whom the Goths repaid with such fearful barbarities that Procopius declares it impossible to record their cruelties. Totila, after being defeated in his attempt to take Rome, retired to Tibur, and rebuilt the town and citadel in 547. In the 8th cent, it lost its ancient name, and assumed that of Tivoli. It was afterwards besieged by Otho III., who was only deterred by the entreaties of S. Romualdo from putting to death the entire population. Its history during the middle ages is a continued record of sieges and struggles against the Emperors and the Popes. It afforded a retreat from Rome to the Enghsh Pope, Adrian IV., and to the Emperor Frederick Barbarossa, after the insurrection caused at Rome by his coronation (1155). At this period Tivoli appears to have been an Imperial city independent of Ronae, and to have been the frequent subject of contention between the Emperors and the Holy See. In 1241 it was seized by Frederick II., assisted by the powerful house of Colonna. In the 14th cent. Cola di Rienzo made it his headquarters during his expedition against Palestrina, and harangued the people in the square of S. Lorenzo. In the following century it was occupied by Braccio Fortebraccio of Perugia and by the Colonna. . ^ .^. / ^i. Modern Tivoli (760 ft.) is one of the most important cities of the Comarca. It is situated on the slopes of Monte Ripoli, supposed to The Campagna.] ROUTE 43. — TIVOLI. 445 have been so called from Rubellius, the proprietor of one of the Tiburtine villas. The chief sights of Tivoli are the Falls, the Temple of Vesta,'andthe Villa d'Este. From the Tramway Stat, the most direct route to the Falls is through the town by the main street (guide not necessary) to the Pon^ Oregoriana. Crossing the bridge the entrance to the Palls is on the rt. Admission jj fr. ; Sunday free. On Sunday there is another entrance near the Temples of Vesta and Sibilla which serves on week days only as the point of exit (see below). From the railway station a road soon reaches the Porta S. Angelo, beyond which the entrance to the Falls lies a few yards to the 1. History. — The * Falls of the Anio were seen to the greatest advantage at the beginning of last century. The water was carried over a massive wall erected by Sixtus V., and fell into the dark gulf called the Grotto of Neptune, producing one of the most striking scenes of the kind. The inundation of 1826, however, completely changed the character of the cascade ; a great portion of the wall of Sixtus V. was destroyed by the rush of waters, which swept away the church of S. Lucia and 36 houses on the 1. bank of the river. It undermined the base of the rock below the temple, and the course of the river had to be diverted in order to preserve from destruction this part of the town. The grotto of Neptune therefore now receives only a small proportion of the falling water.f The new Falls were formed by cutting two tunnels of 327 yds. through the limestone rocks of Monte Catillo, on the other side of the valley (see below). This was ably executed by the Roman engineer Clemen te Folchi, and the Anio was turned into its new channel in 1834, in the presence of Gregory XVI. The catastrophe of 1826, by diverting the course of the river, laid bare the ruins of two ancient bridges and several Roman tombs (see below). The bridge highest up the river was probably the Pons Valerius, over which the Via Valeria passed in its course up the valley. The second bridge is generally designated as the Pons Vopisci, from the name of the owner of the adjoining Roman villa, with which it appears to have been connected. Among the tombs was that of Lucius Memmius Afer Senecio, pro-consul of Sicily (a.d. 107). Description. — Within the entrance gateway is a Restaurant. To the 1. of it lies the direct path to the Cascades; to the rt. runs a road through a shady garden, which occupies the angle between the old bed of the Anio and the new. Passing on the 1. an ancient arch and some walls faced with opus reticulatum (the ruins of the Pons Vopisci), we reach in 2 min. the upper end of the double tunnel cut by Gregory XVI., which cannot however be entered from this point. We return therefore nearly as far as the Restaurant, pass through an archway under the high road to the rt., and follow a level path, affording fine views of the Temples on the 1. After 5 min. we reach a Terrace which overlooks the New Waterfall (320 ft.), at the point where it emerges from the Tunnel. A gateway on the rt. which the custodian will open (20 c.) leads to the mouth of the tunnel, through which the traveller t The illumiDation of the Grotto of Neptune, the Cascades, and the Temple of the .Sibyl by electric light, takea place occasionally during the spring, and is advertised in due course at Rome. 446 BOUTE 43. — TIVOLI. [Sect. IL may walk along a paved footway beside the stream (steady head required). Beturning for a few yds. along the level pathway, we descend to the rt., passing on the 1. some remains of Roman buildings. Bearing generally to the rt., we reach in 10 min. a group of cypresses, where a path mounts for a few paces and then descends in 5 min. to a platform commanding a splendid *View of the Falls. Returning, and contin- ually descending, we gain in 6 min. the bottom of the higher valley, excavated (entirely since Roman times) by the ancient bed of the river, and closed by the ♦Siren's Grotto (path slippery and wet with spray). Again retracing our steps and turning to the 1. we ascend to a gallery hewn out of the rocks on the I. bank, pass through it, and turn 1. once more to the (10 min.) +Grotto of Neptune (also slippery), where are some fine sections of travertine. The beauty of these two grottoes consists in the disappearance and reappearance lower down of the thundering stream. We now return t-o the gallery and ascend m zigzags to the 1., reaching in 10 min. an iron gateway leading to the Temples of Vesta and Sibilla. The ♦Temple of Vesta is a circular building of the best period of art, finely placed on the rock overhanging the valley of the cascades. ¥^^^^^ RESTORED ELEVATION OP TEMPLE. PLAN OF TEMPLE. It is 7 yds. in diameter, and was surrounded by an open corridor of 18 Corinthian columns, 10 of which remain. They are of stuccoed traver- tine, 18 ft. high, exclusive of the capitals. The entablature is sculp- tured with festoons of flowers and heads of oxen ; the architrave bears the broken letters l . gellio . l . Lucius Gellius was Praefect of Attica in the time of Augustus. The cella, which is quite 200 years older than the columns, is built of small polygons of tufa and travertine, and retains one of its two windows and a door. Close by is the Temple, now generally considered to have been dedicated to the Tiburtine Sibyl (Sibilla Albunea). It is an oblong edifice of travertine, with four Ionic columns built up into each side wall. Subsequently converted into a church dedicated to St. George, it was restored to its ancient form in 1885, when the cur6's house, which covered the rt. wall of the cella, was pulled down, and some pedestals with interesting inscriptions were discovered. From the open space in front of the Ponte Gregoriano the main street ascends into the town, passing on the rt. the small Church of S. Michele, with a good Campanile, and a slab-tomb of 1472 on the rt. of the door. Further on a street on the rt. leads to the Gesi^, on the The Campagna.] ROUTE 43. — TIVOLI. 447 tower of which is a Meteorological Observatory. We next reach the Piazza del Plebiscito, where on the 1. stands the new Gothic Church of S. Biagio, belonging to the Dominicans, and said to occupy the site of a Temple of Juno. In the Ist chapel rt. is a good painting of S. Vincenzo Ferrero, and at the end of the 1. aisle are some old frescoes and slab- tombs from the original Church. Descending to the 1. we reach the Church of S. Andrea, built by S. Silvia Anicia, mother of St. Gregory, on the ruins of a destroyed Temple of Diana. In the nave are ten columns, of granite and cipollino. A short distance S.W. is S. Vincenzo, with the specus of an aqueduct, reached by a few steps from the nave, in which S. Sinforosa concealed herself during Hadrian's persecution. At the end of a long street is the Hospital of S. Giovanni Evangelista, and immediately opposite a Chapel with some damaged frescoes, and a porcelain figure of the saint, attributed to Giorgio da Gubbio. From the adjacent gateway an avenue leads in 5 min. to the Castle (see above). Passing it, and re-entering the town by the Porta S. Croce, we observe immediately on the rt. a large new College, behind which stands the Franciscan Church of ♦S. M. Magg^ore, with a fine pointedi doorway and wheel window of 1393. The nave is entered from its narthex by a good Gothic arch, and has some beautiful remains of Cosmatesque pavement, part of which (by the piers rt. and 1.), as well as the central portion of the 4th altar rt., came from the old Ambo, At the 1st altar rt. is a tolerable 14th cent. Virgin and Child. In the corner, to the rt. of the Church, is the entrance to the ♦Villa d'Este (Admission 50 c), built in 1549 from the designs of Pirro Ligorio for Card. Ippolito d'Este, son of Alfonso II., duke of Ferrara. The casino is decorated with frescoes by Federigo Zucchero, MuzianOy and others, representing events in the history of 'tivoli. The garden, though almost a wilderness from neglect, is most attractive, with its overgrown shrubberies, ruined fountains, and picturesque points of view. It Is laid out chiefly in terraces oti the hill-side, and has some remarkably fine specimens of ilex and cypress. The Church of La Caritk, in the Via del Campitello, was erected by St. Simplicius, Pope, in the 5th cent., on the ruins of the villa of Metellus Scipio. In the nave are ten columns of cipollino, and over the altar in the crypt a lamb and other subjects in fresco. A descent by winding streets leads hence in 5 min. to the Cathedral of S. Lorenzo, rebuilt on the foundations of the ancient basilica in 1636, and occupying the site of a Temple of Hercules Saxanus. Good campanile. At the Ist altar 1. is a good Tomb with recumbent effigy of 1485. Within the pilasters of the nave are said to be enclosed &ome Doric columns of the Temple, one of which is still visible in a passagie beyond the rt. aisle. Further on, behind the Church, is the original apse of the Temple in opus reticulatum of the time of Tiberius. In the Sacristy are portions of a Cosmatesque ambo. At the side door, slab- tomb of 1389, and four columns of granite. From the Ponte Gregoriano a road leads in 15 min., along the base of 448 ROUTE 43. — TIVOLI. [Sect. 11. Monte Catillo, to the circular terrace constructed by Gregory XVI. 10 min. further on is the Chapel of S. Antonio and a second terrace, commanding the *finest view of the falls, and of the Cascateile, a group of minor cascades. 15 min. beyond this point is the Madonna di Quintiliolo (see below), whence a path along the margin of the valley amidst a grove of magnificent olive-trees leads to the (20 min.) Ponte delV Acquoria, where one ^ of the massive arches of the Roman bridge, by which the Via Corniculana crossed the Anio to reach Tivoli, is still in excellent preservation. The name Acquoria is derived from aqua aurea, a cool crystalline spring, rushing from the rocks to the 1. of the bridge in a vineyard. A steep ascent to the 1. leads to the lower part of Tivoli, by the ancient Clivus Tiburtinus, on which portions of the Rome' road may be seen in good preservation. Near the point where the Clivus Tiburtinus joins the old road to Rome, is the Ternpio della Tosse (see below), and higher up the so-called Villa of Maecenas and the modern Villa d'Este. From the Tempio della Tosse an ancient road descends to the (1 m.) Tramway Stat, for Hadrian's Villa. There is no exact clue to enable us to discover where the Villa of Horace stood, but local tradition has long assigned its site to the ex- convent of S. Antonio, on the rt. side of the ravine, opposite the Cascateile. Mr. F. Searle, the present occupant of the convent, making researches under the building in 1885, found a nymphaeum, with mosaic pavements and chambers above. From the locality, mentioned by Suetonius as near the grove of Tiburmis, and a show-place until a century after the poet's death, it is not impossible that this may have been the retreat in which Horace expressed a wish to end his days. The church of the Madmma di Quintiliolo is built on the ruins of the Villa of Quintilius Varus, commemorated by Horace. Its situation on the slopes of Monte Peschiavatore is one of the most beautiful that can be imagined. The magnificence of the villa is proved by the numerous statues, mosaics, and other works of art which have been found among its ruins. The so-called Villa of Maecenas is the most extensive ruin about Tivoli ; the name rests on no classical authority, and dates from the time of Pirro Ligorio. The excavations of 1886 revealed several fragments of inscriptions, which prove beyond doubt that these are the ruins of the Halls of the Augustales, a club formed for the purpose of perpetuating the worship of the Imperial family. Adjoining them are the remains of an enormous Temple of Hercules Victor. The existing ruins consist of massive substructions, now converted into iron-works, and of the remains of a square atrium, which was surrounded by a Doric portions, with a temple on the raised space in the centre. The so-called Via Constantina, or road leading from the Ponte Lucano to Tivoli, was covered over to enlarge the atrium of the Temple. Near this are the works of the Hydraulic Company which supplies electric light to Tivoli and Rome. The Tempio della Tosse lies on the rt. of the Via Constantina, a little further on, and is difficult of access. It is a circular edifice covered with a dome, having a central opening to admit the light ; around are circular niches with traces of early Christian paintings representing the Saviour and the Virgin. The Tempio della Tosse, The Campagna.] route 43.— monte gennaro. 449 with its vaulted roof, ten-sided interior, and semi-circular niches, is very much like a diminutive Minerva Medica (Rte. 15), and may possibly have been a Nymphaeum of the Villa of Turcius. Ascending hence in 10 min. to the Porta del Colle, and turning to the rt. within the gateway, we reach in 10 min. the Stat, of the Tramway. About ^m. beyond the Porta S. Giovanni, on the Via dei Arci, are the remains of an octagonal tomb, in the shape of a funeral pyre, of C. Aufestius Soter, a physician, whose inscription was found near the spot. About i m. farther, the road to Empiglione, the ancient Empulum, passes under the arches of the Marcian aqueduct, where it crosses the valley, and near this the specus of the Anio Vetus is visible. On the opposite side of the river we see the magnificent arches of the Claudian aqueduct, surmounted by a tower of the middle ages, built by the Tiburtines as a defence against the attacks of the Orsini, lords of Castel Madama : they are 45 ft. high and 25 ft. in span. On the upper road to S. Oregorio, a mile from Tivoli, is an interesting Tomb of the Etruscan type, about B.C. 300. The water force available at Tivoli would suffice for a large number of mills, and at one period they amounted to 65. It is now used for manufactories of paper, coarse woollen cloth, iron, and for oil and corn. Here also is an important Electric Light factory, by means of which Rome is lighted. The agricultural resources of the town are consider- able, and the hill on which it stands bears 150,000 fine old olive-trees. The 'specialities of the district are the Pizzutello and Pergolese grapes, tomatoes, and asparagus. The travertine stone quarries are also valuable municipal property. Excursions from Tivoli. Travellers who are desirous of exploring the classical sites of the Sabine hills should make Tivoli their headquarters for some days and arrange a series of excursions to the most interesting localities. Many of these sites are celebrated by Horace, and others stiU retain m their names and ruins the traces of cities whose origin is anterior to that of Rome Information on all points connected with such excursions is courteously given at the office of the Alpine Club (p. [12]), under whose direction travelling parties are organised every week m the winter and spring. A ♦beautiful carriage-road leads S.E. from Tivoli to (18 m.) Pale^- trina It runs S. from the Pmte Lticano (see above), and skirts the base of the hills, to the (6 m.) Ost^ria di Corcolle; then through a picturesque country, by way of (8 m.) Passerano, with its fine old castle, a fief of the Barberini, to (11 m.) Gallica^w and (U m.) Zagarolo; beyond which it joins the Via Labicana (Rte. 46), and turns E. to Palestrina (Rte. 45). Monte Gennaro. The ascent from Tivoli takes 5 hrs. ; horse, 5 fr., guide, 5 fr. The path is that taken by the peasants in going to the festa of the Pratone, the meadow between the two summits of the mountain, livoii is lR07fie.} ^ ^ 450 ROUTE 43. — s. POLO. [Sect. II. quitted by the Porta S. Angela, and the high road ia followed nearly as far as the Stat, of S. Polo, where another road turns 1., and leads in 1^ hr. to the village of S. Polo (2345 ft.). Here a guide (necessary) may be had for 3 fr. We follow for some distance a bridle-path commanding fine views of the valley of the Licenza, and at length strike into the forest beneath the singular insulated limestone mass of Monte della Morra. The last ascent to the Pratone from this side is steep, but the opening of the plain is so beautiful that the contrast of scenery renders it by no means the least interesting portion of the journey. The ascent from the side of Licenza to the Pratone is less difficult, and follows the depression in the chain between Monte Morica-on the rt. and Monte Rotondo. The Pratone is celebrated for its pastures, and the traveller will generally find it covered with cattle. From this plain we ascend 1. to the summit of Monte Gennaro (4170 ft.) — with the exception of Monte Semprevisa (5065 ft.), above Kocca Massima {Southern Italy Handbook), the highest point of the chain which bounds the Campagna on the E. Mons Lucretilis, which Horace has celebrated in his beautiful ode already quoted, was probably one of the peaks of this ridge, and many writers identify it with Monte Gennaro itself. The ♦view over the immense plain of the Campagna is one of the finest in Italy. It embraces the line of coast as far as Monte Circello, the range of the Volscian moun- tains beyond the Alban hills, and nearly all the valleys of the Apennines from the Neapolitan frontier to Soracteand Monte Cimino on the N.W. On the summit is a pyramid of loose stones, used by Boscovich, in his trigonometrical survey of the Papal States. The pedestrian may descend S. by the Scarpellata, a zigzag pass, constructed in parts with solid masonry, enjoying fine views of the picturesque town and castle of Monticelli, and the village of S. Angelo in Capoccia, the doubtful site of Medullia. The pass leads down to Marcellina, a straggling village in a hollow at the foot of Monte Morra. Near this are some fine examples of polygonal walls. Farther on we pass the ruins of a Roman villa at Sralzacane, opposite to which are the Colli Farinelli. Beyond this, leaving the convent of Vitriano on the rt., we enter the valley of the Anio through fine groves of oliyes clothing the slopes of Monte Quintiliolo, as far as the Ponte dell' Acquoria. There is another descent from the summit W. in 1^ hr. to Palombaia, or E. in 3 hrs. to Rocca Oioviyie (Rte. 44). TIVOLI & PALOMBARA. REFERENCE HE SEA SM7 En^fUufi Milt Hi4t'rn,i^f f,^ .1.1.. .i TIVOLI & PALOMBARA. ALTITUDES ABWC THE SEA lah ¥>'et Note.. The hriflhis erufraved on the maps are aiMftres Bngliah, MUes Londuu' Bdwiuul Slaiifot-a. 12. 13 * 14, Long ^\cr.-. W.r Kiiometres The Canipagna.] route 44. — crrva&a. ROUTE 44. 461 From the Central Station to Sublaco, by TlvoU and Mandela. MUes. Stations. Rome 6 Cervara 8 Saione 10 Luog^hezza 13 Bag:iii 17 Montecelio . 22 Paiombara 25 Tiyo^ {hulTct) 27 S. Polo dei Cavalieri 30 CmuI B8«d«xnA 32 Vtcovaro ^ MandidJL (Btai^ek ktuffom Mande^ 8 Manuto 14 Subiaco 51 Subiaco The views from the train at Tivoli and otbcr po&iiU ar« chunmiMip, and the monasteries at Subiaco are (if gr#ai »it4«iod« in tho n>CHl attractive scenery. The Rly. diverges rt. from the Flocvoeo Uno sooQ after p4$«dn|; through the city walls, and crosses ih9 OittpHpM on Ibt & q( tlu) inuttvay and carriMp^road. Beyond* bridge cw a loop-line i% roMhof the Sial. of Rtnma Prtni^tina, On ibo rt. m a Focty aM f urtbor 00 iN MOD t^Jbrd^' Schinvi (RV*. 46). 6 in. Ca ilie ri. of ibe Rly, m thv Tvrrt di SofiiHta^ a modiac\ui U>5^r, vUk a nauno baUMnuDtcd ««itoaa romxM ita bMa. On iha 1. U U>e Cattlt ci Rui^tica, ooca ilia prcMrty of Lucnlhis, and of AvUtm Iho fiather of Luciua VcvtH. Duniiiing aenratai amall afHiiwiU oi the Attio, wo roaoh 8 m. Salot» among whuMi nu; ' 4q the rt, lie tbo «otir«ea of the Aeova Vtrgim$. Tb« train now t^ ..^^4, and lh««i ran» diemn a »t«ep Snoiitte to 10 m. I^MC^icssav the ancScot CoftolM, a oollcotloo ol lann-bttUdlni^. on the ffiteoia baiottial caMW, fonnorly ihm iiro|ierty of the Mni :. ttom whom St dMMttdkd by inlicfitaooe totbe rlocxmtiao Duke 8itio«tL It now b(4osup9 to tb» GtuU^. It i» beantlhiUy situated in a ihMp beod of the Amto at iU oooflMOoe with the Om. A vUit U> I/inifbcaa and a roam through the picturceque woods in it4 vicinity form a pli«Mint oxcuM^eo (rocnn Rome. A lii^t %>thSe!e aaar be nreeurcd at the Station. In the valtej d V^tUUaoaio^ 2 m. S. ol liim((hcsia, i« a tine cttxxcat of Utb, 00 wkick wBniavoiM quattiat wtre ovenad \m anewni iimat. The tnin now tuna 'SJL and cpom w the Amio, On quxtling the Siat. a £uo piece ei Feliag^e wall U p^Mxl oc tho L Fuhmt 1. ar« the ruined xffalU of C^tUlT Arcum* (p. 436). Wo bow travec«o an opan haalk toveced with ihrubsw On the rt. u a l^no view ol th« hilU ; on the 1. ar» umi tha wtnM of the Bleettic la^^bt oaU«, 18 m. Bagni, tU Stal. for (W Acfm AUmU (Rte. 48). S c 2 452 ROUTE 44.— CASTEL MADAMA. [Sect. IL Crossing the high road and Tramway, we reach the Stat, for 17 m. Montecelio (Pop. 2700), the ancient Camiculum, rises 2 m. N.in a fine position (1275 ft.), crowned with the remains of the baronial castle of the Cesi, enclosing a beautiful little Doric temple. The hill town of S. Angela (1310 ft.) is seen on the 1. The line now crosses the Rio del Prati, and ascends a narrow valley in curves along the rt. bank of the torrent, turning afterwards abruptly S. to the Stat, for 22 m. Palombara. The village lies 6 m. N., the road to it passing through (2 m.) Marcellina. From Palombara Stat, there is a good route to Monte Qetmaro, an alternative to that described from Tivoli (p. 449). The train still ascends. On the rt. a magnificent view of Rome and the Campagna. Tunnel of 370 yds., followed by a stone \iaduct of ten arches. View of the Cascatelle and of Tivoli. Tunnel of 615 yds., and a view of the Falls. Tunnel of 85 yds., beyond which the round Temple is well seen on the edge of its ravine. Two more viaducts and a tunnel of 520 yds. bring the traveller to 25 m. Tivoli (Rte. 43). The Rly. now ascends the rt. bank of the Anio. On either aide of the road are numerous fragments of anciunt walls in opiis reticulatum. On the rt. a portion of the Marcian aque- duct, consisting of several arches crowned by a square tower, spans the VaUi ^UfH Arci (fUK^dm) ImAkaif to (0 m.), Kuviguosul, tlm %tuucA Hm niixtt of thto town wmmi tA % wiU 170 yds. long. baUt ol nairowlulAUMk* 4fi. boscim^^od lo m to formM«lM»,lM09«ak«i bilag fllkd in with ftooMiL Tb«« ftc« rNMlnt iJio of (me eootmMo •oclcMurMi. mutklttr th4 pcobable «itc>c4 the «litadoI. S xn. W., : Qp IW T»ll#y. arft ibci ruiDi of an ftndeot city on a ihree*oocnMfed )iill, in po^xfMMl blocks d HmftitoaM, whfeh hm\^ bten rofoirtd to Saxvla, ttDotbir ^ ft mimt f ol Tlbior. A niU farther is CieiUano. t! m.S. Polo (Pop. 2MH. The aM«nlein vilkM of S, A4» dei C^uUUri mi5 fiL), Crott which Ibe Motol lo Ucote GeuMio ii mo«t eo«T(oien(ly ni*de. lie* loore ihuk 8 m. led Two tonsMli ImA to 80 m. CMtd Uwiaaam (Pbp. 8180^. on ea emlntaeo (1485 It) lo ll>e rt. hvjofod Ibe Anio. Further on i* tho mlttad BMAiftml fomett of Sccmb la Irmv^riauo ^ Iv, high« with LnacHptkio (o C MMttiiu Bamu^ prMfcc( of tho Fftliffi (ehM enoneer M Oirllilffe. «DDd« M4rcuft Siiuiuft, tho ialhtr4n4«w cl OiUgiD^ aI this pUbco tho MoAqg^ vrfili vmimA e totj iatecviitti^ •npcffvotiiiotf of the Min»-eo«iiiiav vokuie ooi[fjtoim«niU oo the ABeieoi omvcfftiBO brtoeiA ol tho y^Xkj of the Aslo. 8(2 m. Vioofvaro (Fofi 8d00), Iho Mkeiont Vari^, oo the n« benk ; the tel, with a picturo»quo view upon a pool tomtd by the AnJo beloro nlintging ovnr a c)iMcafc te eMendixv Uie hill« Uie lAcitium lORfvi » orMMtd on e modcra leWi^ MM^i ile JiuMtion with the AaIo. Soom vny ancociil ■cfltimi ti£Mmn0i lia^'o ba«i dbcos^ired here, oottlelifeing hiiaaan boelaa, Htnt imDianicoti, ramerkiiUe lor their 0inM«aM0iili0Okerrow'heade,kniviB, MM leneine d doneitlo eftlmeh] [Another roed iMiit doe N. from S. CotinMo lo (S m.) Reoco Gi/ft^m, fThat point nuhveUo ho reeched direct from VIoo^tato, tytningoU to Ike I. al (I ni.) 5. Jme; but il t^ a pity lo ini«i»^ i>. CoaisnMo.) Rocot Ciovane If iKiMledl on a eletp rock eboro the roed, sad if imppiia^il to ht ih« eadent Arx Jononu {Roeto Giunom). Near the C Mirch is preMTixden in»criplion recordii^t tho r^MUiralion of aTompte ol Vioiory la Voepefien. Antiquerioi rMnrd thie m a proof thai it is the VWiun Veeuaee, or Taomple of Jubo Vlctrlx* ceiehoited by Uocmo. On Ihe oppceite Mde el the torr»n| ta aetu Maodele, kMwee n whloh ead the litaam ere fimgrnanta of polyyiBil welki, euppowd lo be i\w tuh aruciioiiii of a temple. About 9 m, Carlher uip the TmUey ie Mce^rt (Pop. 980^. the ancxnt Di^nfia^ Maaeite MUt I. la Hi. It U towUrully Mtnalod on a htll ekove Ibt hnfti cirer etreeni wbxh Horeoe edcftmtM uMkr tho F-ame name. Tht:> nUs oi ibe SaUne Farm or Viuu OF HoflLACS h pUo«d by the bMi eadberiliM oo the lefi of the road. ebo«t mMfmy t«t«cen it end the liror, a ■boort dittanM before yt^ r^ich tho Tiil^p», I4M^ now ctSMtnA but tome Irifliiitnu of a 454 ROUTE 44, — MANDELA. [Sect. II. white mofiaic pavement partly covered by a vineyard. There are three terraces and some massive substructions of a more magnificent villa, of a later date, on the site of that of the poet. The names of many places in the neighbourhood preserve some record of classical times. The Fonte degli Orazini, or Oratini, on the slopes of Monte Rotondo, cannot be mistaken : and La Rustica, on the rt. side of the valley as we ascend, recalls the Ustica of the poet : — Utcunque dulci, Tyndari, flstulA Valleg, et Usticae cnbantis Laevia personuere saxa. Od. I. 17. 10. Higher up the valley, in a romantic spot under Monte Comazzano, are two springs, identified by some antiquaries with the Fons Bandusiae : — O Fons Bandusiae, splendidior vitro Dulci digne mero, non sine floribus Cras donaberis hoedo. Od. III. 18. 1. It is, however, also contended that the poet's villa stood near the Cappella delta Casa, on a kind of plateau at the foot of Monte Corrignaleio, which has been considered to be Horace's Lucretilis. This site is at a short distance from Rocca Giovane, and near the ancient road that led from the Fanum Vacunae to Tibur. 1 m. beyond Licenza is the village of Civitella (2380 ft.), from which a bridle-path leads W. in 3 hrs. to Palombara, passing by the Fons Bandusiae and the N. foot of Monte Gennaro. It then descends near the Romitorio di S. Nicola, through a rocky rftvine. To the geologist this excursion will prove most interesting, as affording an excellent section of the secondary strata so rarely found together and within so limited a space in the Southern Apennines. Rocca Giovane is the best point on this side of the mountain for the ascent of Monte Gennaro (Rte. 43) .3 The Rly. passes through a tunnel beneath the Convent of S. Gosimato, and reaches the Stat, of 34 m. Mandela (Pop. 800), the village rising on a hill (1695 ft.) 2 m. N. The wide valley on the rt. is that of Sambuci, up which a bridle- path leads in 2 hrs. to Cidliano (2030 ft.), a village called Bicilianum in the early documents of the Abbey of Subiaco, and from thence across a mountain pass to (4 hrs.) Genazzano (Rte. 45). In the summer of 1874, the ruins of a temple, and of a large villa (probably of one of the Caecilii), and several antiquities, were discovered at Ciciliano. Opposite Mandela, perched on a conical peak (2625 ft.), is the village of Saradnesco (Pop. 600), said to have been founded by a colony of Saracens, after their incursion in 846. Lanciani thinks they may have been a foraging party cut off from the main body, afterwards allowed to live in peace, by substituting the cross for the crescent. Some of the inhabitants, who come to Rome every winter clad in their picturesque costumes, as painters' models, have preserved their Arabic names, as, Almansorre (El-Mansour), etc. At Mandela a light railway starts for Subiaco. It soon crosses the Anio and then reaches the station of Anticoli-Roviano for The Campagna.] route 44. — subiaco. 455 5 m. Roviano (Pop. 800), with a feudal castle now belonging to the Massimi (1715 ft.). On the 1. bank, 2 m. from Roviano, rises Anticoli. 1 m. beyond Roviano the Via Sublacensis separates from the Valeria, the latter branching off on the 1., the former continuing along the rt. bank of the Anio to Subiaco. The Via Valeria, after passing by Arsoli, a fief of the Massimi (good specimens of ancient armour in the Pal. Massimi), continues through (7 m.) Carsoli, into the Abruzzi (see Handbook for S. Italy), running generally parallel with the Rly. 8 m. Marano, a short way beyond which are the celebrated springs of the Aqua Marcia and Claudia. The former is collected into several ugly reservoirs, and carried down to Rome by a gigantic syphon ; the latter bursts in large volumes of bright crystal water from the base of the mountains. The aqueducts are chiefly fed by two little tarns, the Laghetto di S. Lucia and della Serena. The fons caeruleus, mentioned in the inscriptions of Claudius, Vespasian, and Titus, on the Porta Maggiore, as one of the sources of the Claudian, is still recognis- able by the blue colour of its waters. On the left is Agfosta (1255 ft.), from which a path ascends E. in IJ hr. to the populous village of Cervara (3530 ft.). Onthe opposite side of the Anio are Canterano and Rocca Canterano. The beautiful ridge extending S.E. from Saracinesco to Canterano is the Costa Sole (4000 ft,). 14 m. Subiacof (Pop. 8000), the ancient Sublaqueum, in the territory of the Aequi, and now chief town of the Comarca (1535 ft.), derived its ancient name from the three artificial lakes of the Villa of Nero, below which {sub lacu) it was built. It is remarkable for the beauty of its situation, which is surpassed by few inland towns of Italy ; and for its famous monasteries, well worth visiting. The Cathedral of S. Andrea, rebuilt by Pius VI., Abbot of the Monastery for many years, stands upon lofty substructions of local stone. A marble arch at the entrance to the city records its consecration on May 18, 1789. The Palace of the Abbot, on the summit of the hill, enlarged and modernised by the same Pontiff, commands one of the ♦finest panoramic views in central Italy, and contains some old architectural remains, and an altar-piece by ffonthorst. About a mile beyond the town the high road to Olevano turns to the rt., crossing the Anio by a stone bridge, and ascending the hill in zig- zags. 100 yds. before reaching the bridge, a mule path on the 1. leads up to the Monasteries, passing several Roman remains. On the opposite bank of the river are 'some ruins of Nero's Villa. It was here that the coenaculum of the tyrant was struck by lightning while he was feasting, and the table thrown down by the shock. The Villa overlooked the artificial Lakes, which Nero formed by damming up the waters of the Anio. These lakes seem to have been in existence as late as the beginning of the 14th cent., when the dykes were carried away by an inundation. In one of them Placidus was saved from drowning by Maurus, at the command of S. Benedict— the spot being traditionally marked by the round Chapel just above the bridge. 15 min. after quitting the high road we reach the celebrated ♦Monastery of Santa Scolastica (closed 12-3), founded in the 5th cent., and restored in 981 by the abbot Stephanus. Santa Scolastica was t See Directory, p. 434, 456 KOUTE 44. — SAGRO SPECO. [Sect. II. the sister of St. Benedict, whose hermit life in this district has given it its fame. The Monastery has three cloisters: the first is of recent date, but contains a fine column of porphyry and another of giallo antiio, found in the ruins of Nero's Villa. The second cloistkr dates from 1052, and is very interesting as one of the earhest examples of pointed architecture : one of the arcades is of marble, ornamented with reliefs, and surmounted by a statue of the Virgm between two lions. Opening into the Church is a beautiful Gothic doorway, and opposite a cSrious relief of a stag and a wolf drmking The *third cloister, as well as the Refectorv, were erected by Abbot Lando in 1235 , the mosaics on the arcade, which is supported by single and double shafts alternatively, are Cosmatesque. In the Refectory is a good pavement of enamelled tiles. The Church, dedicated to S. Scolastica and con- secrated originally by Benedict VII., in 981 was completely altered in the eighteenth century. In the Cajfypella degh Angeli are some 15th cent, frescoes and a Cosmatesque altar. In the crypt is a finely painted chapel, in which are preserved the remains of a venerable Bede, a Genoese-not our countryman, who lies at Durham. In the Sacristy is a fine Cosmatesque pavement. The monastery was once famous for its library, rich in MSS. and charters, and it obtained a celebrity in the history of typography as the first place in Italy m which the printing-press was established, by the Germans Sweynheim and Pan- nartz Their edition of Lactantius in 1465 was their first production : and a copy is still preserved in the monastery. They remained at Subiaco until 1467, when they removed to Rome Since the suppres- sion of monastic orders in Italy, the Convent of S. Scolastica and the Sagro Speco have been proclaimed national monuments, and are now left in the custody of a few monks. , • i , j • 10 min. higher up is the entrance to an ilex grove, which leads m another 10 min. to the ♦Saero Speco, so called because it encloses the Grotto to which St. Benedict retired about a.d. 494, when only 14 years old. The monastery, which has been several times rebuilt, stands upon a shelf of the rocky hiU, supported by nine lofty arches. Within, it presents a perfect labyrinth of chapels on various levels, whose walls and ceilings are covered with paintings of great interest and beauty. Over the entrance door, the Virgin and Child ; on the Vault four Benedictine Saints (15th cent.). On the 1. wall of the corridor Christ with the Evangelists; above, Virgin and Children with St. Maurus (Umbrian School). Upper Church (1075), one of the earliest examples of pointed architecture in Italy. Good pavement in imitation of the antique (1746) ; two colonnettes of pavmiazzetto, from the Villa of Nero, irescoes probably by Cavallini :— on the rt. waU, Entry into Jerusalem with two beautiful groups of boys and children ; Resurrection ; Noli me tangere ; 1. waU, Betrayal, Scourging, Procession to Calvary ; over the arch, Cmcifixion. On the rt.. Incredulity of St Thomas; m imettes Ascension, Descent of the Holy Spirit ; on the Vault, Evangelists and Latin doctors. Further on, scenes from the hfe of St. Benedict (15th cent.). In the rt. transept, Paul the hermit, probably hy Cm:allim ; SS Benedict and Scolastica at their last meal together ; St. Benedict watching the flight of his sister's soul to heaven. On the rt., bt. The Campagna.] route 44. — sagro speco. 457 Placidus preaching, and continuing to preach after they had cut out his tongue ; his martyrdom, and that of his sister, S. Flavia ; SS. Peter and John healing the cripple. To the left of the garden door, small stained glass window (Virgin and Child). On a marble column to the rt., cinerary urn found in the Villa of Nero. In the Sacristy are some frescoes, and a small Collection of Paintings. In front of the high altar a flight of 14 steps descends to the Middle Church (1053), which is covered with frescoes of the 12th and 13th cent., mostly legends of St. Benedict and his companions. In a niche at the foot of the stairs is a Virgin and Child with two angels, signed Mcujister Conxolns (1219). On the 1. wall, St. Benedict repairing the broken sieve for his nurse ; his reception by Romanus ; the Saint in his Cavern. On the rt.. Innocent III. Descending 12 more steps, on the 1. is a fresco of SS. Stephen, Thomas k. Becket, and Nicholas. Death of St. Benedict, at Monte Cassino ; Miracle of the lost hatchet ; the Saint sending Maurus to save Placidus from the water. By the window, legend of the poisoned loaf and the raven. We now enter the Sagro Speco itself, in which St. Benedict lived for three years. Here is a beautiful statue in white marble of the youthful Saint by Antonio Raggi, pupil of Bernini (1657), entirely free from the vices of the School. From this level descends the Scala Santa, so called because it replaces the steep track by which the Saint climbed up from the valley to his cave. On the wall are paintings dated 1466. They represent : (1) The Triumph of Death. (2) The Trois Vifs et Trois Morts, a favourite allegory of the middle ages. They were evidently painted on the Scala Santa because it leads from the Monastery to the burial-place of the Monks. On the 1. is the *Cappella della Madonna, adorned with frescoes of exceptional value. On the rt. wall. Virgin and Child with SS. Gregory and Sylvester, by Stamatico Oreco ; opposite, Death of the Virgin. The remaining subjects are probably Florentine and of earlier date. Outside the Chapel, St. Gregory, by Stamatico (1489). At the foot of the stairs is the Grotta dei Pastori, rebuilt in 863, and retaining a very ancient fresco of the Virgin and Child with SS. John Evan, and Luke. A door on the 1. opens into the Roseto, originally a bed of thorns, in which St. Benedict roUed himself to subdue temptation. They were changed to roses by St. Francis when he visited the Monastery in 1223. On the wall above is a fresco of the legend in three scenes, probably by Manente (17th cent.). Remounting the Scala Santa and the second flight of steps, we now pass to a corridor above the Grotto of St. Benedict, which leads to the Cappella di S. Gregorio. Under the arch, four Virgin Saints ; on the rt. S. Chelidonia, attr. to Conxolus. The frescoes representing the Consecration of the Church, and the figure of St. Michael beside the window, are supposed to have been painted by the monk Oddo, who has inscribed his name round the head of a diminutive kneeling figure close by. In a chapel on the rt. is a portrait of St. Francis, without either halo or stigmata, probably the most authentic which has been preserved, with another figure of Oddo, who is said to have painted the fresco of St. Gregory on the rt, outside the Chapel (1230), 458 ROUTE 44. — suBiAco. [Sect. IL The Sagro Speco is not inferior in interest, whether artistic or historical, to its famous rival sanctuary of Assisi ; and although the Church of S. Francesco exhibits finer architecture, the scenery around the cradle of the Benedictine Order is incomparably grander. On the opposite bank of the river is the picturesque mass of Monte Carpineto, covered with hornbeams (carpini), from which it derives its name. Excursions from Subiaco. A good carriage-road, and two beautiful foot-paths, lead over the lower slopes of Monte Carpineto to the picturesque town of Olevano (Rte. 45). 4 hrs. S.E. of Subiaco, up the valley of the Anio, is Trevi, the Trebia or Aicgusta Treba of the Romans, a town of the Aequi, once important from being near the frontier of the Hernici ; in the piazza are some Roman fragments. 2 hrs. further E., near the village of Filettino, are the Sources of the Anio, in a gorge surrounded by the grandest and wildest scenery in the Roman Apennines. An excellent carriage-road runs S. across the pass of the (10 m.) Arcinazzo (2700 ft.) to (::J0 m.) Alatri, passing by (20 m.) Guarcino. ■ On the way may be visited the celebrated grotto near Collepardo, the remarkable depression called the Pozzo di Antullo, and the interesting Certosa di TrisuUi. (See Haiidbook for South Italy.) The top of the pass is marked by the ruins of a viUa of Trajan, commanding a fine view over the wide plain of the Arcinazzo and the mountains of Trevi and Filettino (4500 ft.). The descent into the valley of the Cosa from Guarcino, winding in numberless zig-zags, bears a striking resemblance to the St. Gotthard route in the Val Tremola. Another very agreeable excursion may be made during the spring or summer months into the mountains N.E. of Subiaco, leaving the town by the Madonna della Croce, and passing the Church of the Capuchins, through the high plains at the foot of Monte Livata and Campo dell' Ossa. In 4 hrs. the traveller may reach the summit of Monte Autore (6075 ft.), one of the highest peaks in this part of the Apennines. The ♦views are splendid, extending on one side over the valley of the Anio and the Campagna to the sea ; and on the other embracing the Lake of Fucino, Monte Velino, and the central chain on the N. to the Terminillo Grande. On one of the spurs of the Autore is a chapel dedicated to the Holy Trinity, and much frequented in the month of June by the mountaineers of the Abruzzi. Here rises one of the highest sources of the Vairone and Anio, on the banks of which is the hamlet of Valle Pietra. The scenery is very picturesque. The valley on the N. of Monte Autore is called Campo delta Pietra. This excursion must not be attempted without experienced guides, to be procured at Subiaco. Information as to their trustworthiness can be obtained from the Brigadier of the Carahinieri Reali. o z < > bl o z < o o < o CO y v^"""^ • \ ^' REFERENCE ALTITU0C5 AHOii^ THF St* Mrtn I40C^^^^^^ p = ,.. '**^^^H^H L.. iiofl^H^ ' ' ooo^^B^ 1000 J6^ •c:. 80 Ci ; . - • roc . : ■ . • 00 iSfcl MO \ "^ •oo 300 • .3a too «»€ mo . 920 <- I I i ^^ c fl < n £ a 1 I ff 1 *4 The Campagna.] route 45. — ciampino. 459 / i- V ■:'% ■ ROUTE 45. From Rome to Sublaco, by Palestrina.— Rail or Road. Miles. Stations. 22 Zag^arolo 24 Palestrina Miles. Stations. Rome 9 Ciampino 17 Monte Compatri For plans of this Route, see pp. 483, 495, and 458 (as shown by the Index Map, p. 431). Palestrina Station (4J miles from the town, diligence in an hour) is a little more than an hour by rail from Rome. By making an early start, seven hours may be spent in Palestrina, and the return made to Rome early in the evening of the same day. The road is far pleasanter, either by the Via Labicana (best), or by the Via Praenestina (Route 46). 1. t> ^ The Rly. passes on the rt. the Minerva Medica and the Porta Maggi&re, leaves the Florence and Tivoli lines on the 1. and that to Civitavecchia and to Marino on the rt., crosses the Acqua Felice near the Porta Furba, and passes on the 1. the Batteria Porta Furba and the tumulus of Mcmte del Grano. To the rt. are the Tombs on the Via Latina and the fine arches of the Aqua Claudia. Crossing the Marmo Rly. we pass on the 1., 6 m. from Rome, the racecourse of Capannelk, and soon afterwards reach 9 m. Ciampino Junct. Stat., where the lines to Terracina and Frascati branch off to the rt. Passing under the direct Ime to Albano by Marino, we now turn E., and ascend through cuttmgs at the foot of the Alban hills. On the rt., less than 2 m. distant, is seen Frascati, and further on the more loftily situated Monte Porzio. 17 m. Monte Compatri Stat. The town (p. 479) rises 2^ m. on the rt. Nearer the Rly. on the same side stands Colonna. Fine views on either side are gained on the approach to 22 m. Zagarolo Stat., where the train turns S.E. The village lies IJ^ m. to the 1. 24 m. Palestrina Stat., 4^ m. from the town, which is reached by crossing the Rly. and turning to the 1. about ^ m. further on— the \ia Labicana continuing E. to Valmontoiie. Carbtage-Roads.— The best, although some miles longer, is the Via Labicana; the other is the Via Praenestina (Rte. 46). Continuing in a straight direction from the Porta Maggiore, we enter immediately on the Via Labicana. Nearly ^ m. from the Gate we turn to the 1. and cross a bridge over the Naples Rly. On the rt. are the arches of the Acqua Felice. 2 m. from the gate is the Torre Pignattara, so called from the pignatte, or earthen pots, used m the construction of the concrete vaults to lighten their weight. Here, on the site of an Imperial Villa called ad duas Laubos, was raised the Mausoleum of the Empress Helena, mother of Constantxne, who died 460 ROUTE 45.~OSTERIA DEL FINOCCHIO. [Sect. II. ^^ oo®^n^® ^* ^ ^'®^ advanced age. It was converted into the Church of SS. Peter and Marcellinus in the 4th cent., but the present chapel IS entirely modern. The large porphyry sarcophagus which contained the body of the Empress is now in the Vatican Museum. The remains now visible are those of a large circular hall, with walls of great thick- ness. In the interior are eight recesses. Fine view from the upper part of the building, which serves as a Castellum of the Acqua Fel^e A flight of steps leads from the sacristy to the extensive Catacomb of SS. Peter and Marcellinus, remarkable for its paintings- an Agape or Love Feast ; the Virgin receiving the Offerings of two of the Magi • Christ between SS. Peter and Paul, and below, four saints buried here— Petrus, Gorgonms, Marcellinus, and Tiburtius, and four streams issuing from beneath a mound, on which stands the mystic lamb. Over one is written the word jordas. From inscriptions found here it appears that the ground above this Catacomb was occupied by the cemetery of the Equites Singulares, from the 2nd to the 4th cent. a.d. The galleries below were excavated in 1880-82 for the sake of extracting the pozzo- lana, large beds of which lie under the tufa. Some damage was thereby done to the tombs, but greater facilities were given for exploring the Catacombs. It was then discovered that these depths had been the haunts of Pomponius Laetus t and his academicians, scores of whose names are written over the paintings and elsewhere. 5 min. further on, in the Vigna del Grande, is the so-called Catacomb of St Helena. Descending we see to the rt. the ruins called Centocelle. Here were found the Cupid, Adonis, and Lycurgus now in the Vatican. On a knoll beyond is the lofty 13th cent, tower of S. Giovanni. 4 m. further is the picturesque Torre Nuova, formerlv Rocca Cenci, but called Nuova after the restoration of the Church and castle by Clement VIII. in 1592. 8 m. Ponte della Catena. Near this are seen the arches of the modern Acqua Felice, 9 m. Osteria del Finocchio (so called from the quantity of fennel grown hereabouts). Bridle-road on the 1. to the (2 m.) Osteria delV Osa ; another on the rt. to Frascati, crossing the dry lake of Comufelle {p. 478). A gradual ascent of 1 m. brings us to a high ground, whence is a fine view over Gabii, and the subjacent plain of Pantano with its extensive farm buildings. Crossing the plain, the ruins of the Aqua Alexandrina are seen on the 1. The road now ascends, passing on the 1. the quarries of Laghetto, surrounding a small basin considered to mark the site of the Lake Regillus (p. 478). In an inscription dis- covered here in 1871, this lake is called Speculum Dianae. The road for the next 2 m., as well as the hill of Mcmte Falcone (665 ft.), to the 1., lies upon a current of lava, extending beyond the 15 m. Osteria della Colonna. 1 m. S. on the doubtful site of the ancient Labicum, which gave its name to the road, rises + Founder of the Roman Academy for the revival of classical studies, to which many of the most learned men of the age belonged. Some of its prominent members were imprisoned by Paul II. (1464) in the Castel S. Angelo ui)Ou the suspicion of a conspiracy against tlie Poi)e. ^ . r The Campagna.] route 45» — paLestrina. 461 Colonna (1140 ft.). From this town, memorable on account of its capture and sack by CoriolanuS) the princely house of Colonna derives its name. Its history during the 12th and 13th cent, is a continuous record of the contests of the Colonna with the Popes and Roman baronSi It was seized in 1297 by Boniface VIII., and again by Cola di Rienzo in 1354, on his expedition against Palestrina. In the 17th cent. Colonna, Gallicano, and Zagarolo became the property of the Rospigliosi. Colonna now belongs to Duke Gallese. Beyond the Osteria we cross the Naples Rly. 3 m. further is the Osteria di S. Cesareo, ^ ra. beyond which the main road descends towards (9 m.) Valniontone, while that to Palestrina branches off on the 1. 2 m. further still, after re-crossing the Rly., a road on the 1. leads to 1 m. Zagfarolot (Pop. 5217), situated on a long ridge, almost insulated by two streams that join below the town, which consists of one narrow street nearly a mile in length. From the numerous antiquities discovered it is supposed to occupy the site of an Imperial Villa. One of these antiquities, a sitting statue of Jupiter with the eagle and thunderbolts, is placed over the gate towards Rome. Many of the houses are as old as the 13th cent. : the churches are decorated with marble columns and inscriptions found upon the spot. Zagarolo was a place of some importance in the middle ages. In the 12th cent, it belonged to the Colonna : in the contest of Boniface VIII. with that family it was destroyed by the papal party, and rebuilt by the Colonna on their recovery of Palestrina. It was captured by Card. Vitelleschi in the pontificate of Eugenius IV., and partly destroyed. It was the scene of the conference of theologians commissioned by Gregory XIV. to revise the Vulgate. An inscription in the Palace records this event, and gives the names of the prelates who took part in it. In the 17th cent, it became the property of Prince Rospigliosi, to whose eldest son it gives a ducal title. 3 m. N. is Gallicano. Returning to the point from which we left the high road, an ascent of 2 m. brings us to the Parcodei Barberini, a large villa and farmstead, approached by two handsome alleys of elm trees. The pavement of the Roman road which connected Tusculum with Labicum and Praeneste, is well preserved parallel to the modern highway. 1 m. from the Parco dei Barberini, or the Villa del Triangolo, as it is more generally called, the road to Cave and Genazzano branches off on the rt., whilst a gradual ascent brings us to the lower part of 23 m. PALESTRINAt (Pop. 7000), the ancient Praeneste (1550 ft.), one of the earliest Pelasgic cities of Italy, and the residence of a king long before the foundation of Rome. Few places in the neighbourhood afford the traveller so many examples of the different styles of building which prevailed in Italy in the early periods of her history. Its ruins present us with four distinct epochs; in the enormous polygonal masses of the city walls we have a fine example of Pelasgic architec- ture; in the smaller polygonal constructions we recognise a later period, when the Pelasgic style was generally imitated in those districts where the local materials were of limestone ; in the quadrilateral massive substructions we see the style of the age of Sylla and of the t See Directory, p. 434. 462 uouTE 45.— PALESTRiNA. [Sect. II. latter times of the republic ; and in the opiis reticulatum and brickwork we have some good specimens of Imperial times when Praeneste became a Roman municipium. The contests of Praeueste with Rome, and its conquest by Cincinnatus and GamiUus, are well known. Pyrrhus and Hannibal reconnoitred Rome from its citadel, and the young Caius Marius, after his defeat by Sylla, killed }u»iiMi^lf within iLx walls. On his return from the war against MithridutoK, Sylla n'vongod himself on Praeneste for the support given to his rival bydoatroyiug the town and putting the inhabitants to the sword ; but hn afturwardH rebuilt the waUs, and to atone for his cruelties embelliahod tho Tomplo of Fortune, the magnificence of which made the Athenian philoMophfir Carneades declare that he had never seen a Fortune no fortunate M that of Praeneste. Under the Emperors, the city wait th« fnqiMnt residence of Augustus, Tiberius, Nero, and Domitian ; Hadrian built a magnificent villa in its vicinity, of which considerable romainit are »tiU visible. The partiality of Horace for Praeneste in wull known : in Ium epistle to Lollius he tells him that he read tbo Iliad during hitt residence in the city (£p. ii. 1) ; and in one of hia mo«t beautiful odo* he mentions it among his favourite retreats, claHMing it with Tibur, Baiae, and his Sabine farm : — Vester, Camoenae, vester in arduon Tqllor Sabluos ; seu mihi frigiduui iCBMlC. M«l ntar MplMll*, 8m IhvMm f Utmn Btlie. "m ita ruins u adsr Stoiano Colonao. Tlie work proceeded uu rapidly, thut wbcA Ilcnrr of LliZMttbottrg conio to Rome to \w rrown««d in 1^1 1, Palostrifta viim in a 6i siot^i to n^vii biak and tho other GhibcUino chieAi, if tbe Gi»eijpb psrtv, b et• Diria. ii!) Tbo carTlsgo.roid runs olomc tbe Via defU Artiont, *kig%kDK tbe iMNot tstroos cS tbs Temtdo |iitfecas, Ottd entors tbe town at tho BtriA 4bl Mgt, nsiinx on tne rt, eooM Isfgt rsoltaeukr Mookt of hard tul^ On tbe N. side ol the Pi4u§& Sawna are lo«r Corinthian capitals half botrSctl in tbo wall, with nnailTH of oolumnt in coutsoo, obd a Will of opMt rHkmlatum . IW^de the oofilals^ below tbe level of tbo r<«d, it 464 ROUTE 45.— PALE8TRINA. [Sect. II. a small chamber containing inscriptions and cippi, supposed to have been the Treasury of the Temple. A gateway in the corner to the 1. leads into the courtyard of the Seminario, where similar work may be seen supporting the second terrace, and at its foot the grotto whence were extracted the Scn-tes Praenestinae. At a short distance on the 1. is an inscription to ' Fortuna Primigenia.' The Cathedral, dedicated to S. Agapito, is largely constructed of opus quadratum, and is believed to have been the basilica of the ancient city. Its bells, doors, and relics have been carried to Corneto. High up on its front is incised a curious sun-dial, half concealed behind modern trumpery. In the 2nd chapel 1. is an altar front of fine Cosmatesque mosaic. On the wall of the porch is an ancient Calendar, and an inscription relating to the foundation of the building by S. Agapito. At the foot of the steps which descend from the other side of the street are some more blocks of opus quadratum. Walking W. along the Corso, we pass on the I. the Casa Barberini, with a pleasant garden. Nearly opposite, a lane on the rt. leads to the house of Giov. Pietro Ltiigi, the musician, better known as Palkstrina. Higher up, in the Contrada del Borgo, are some polygonal blocks of the Third Terrace, from which steps lead up to a species of niche behind a cottage, coimnanding an extensive view. At the top of the Via del Tempio, on the 1., are remains of walls and bases of columns. Here also may be traced the foundations of two towers which flanked the platform. We now reach the Pal. Barberini (adm. 50 c), built on the foundations of the hemi- cycle that stood before the Sacrarium of the Divinity. On the 1st floor is the celebrated *^Iosaic pavement, probably of the time of Domitian, found in one of the approaches to the temple. It was so hit^hly prized when first discovered, that Card. Francesco Barberini m 1640 employed Pietro da Cortona to remove it to its present site. It is generally' considered to represent a popular f^te at the inundation of the Nile. The names of the animals are given in Greek characters : among these we recognise the rhinoceros, sphinx, crocodile, giraffe, lioness, lizard, Ivnx, bear, and tiger. From this hall there is a fine view. In the Chapel, on the ground floor of the 1. wing, is an unfinished Vietk hy Michel Angelo. . Passing the Chapel on the rt., and avoiding the steps immediately above the fountain, we now follow a paved path to the rt. In a few minutes, the Church of S. Francesco is seen below on the 1. Followmg the new road, we soon reach on the rt. a long stretch of polygonal wall which mounts the side of the hill towards the citadel. In a vineyard about i m. below on the 1. are two large Reservoirs, overgrown with shrubs, and inaccessible. a. ^ ^i. i 1.-1, Returning a short distance, we follow a short cut to the 1., whicH leads in ^ hr. to the Citadel, now called the Castel San Pietro, from a tradition that it was for some time the residence of the apostle. The old fortress of the Colonna family, although dilapidated, still preserves many memorials of the middle ages Over the principal gateway is the well-known armorial coluimui with the initials (S. C.) of Stefano, who rebuilt the town and castle, as The Campagna.] route 45. — palestrina. 465 we learn by the inscription, in Gothic characters : — magnificus . dns. STEFAN — DE COLUMNA REDIFICAVIT — CIVITATEM PRENESTA CU — MONTE ET ARCE . ANNO 13.82. The Church, dedicated to St. Peter, was erected in the 17th cent., on the site of a pre-existing one of the time of Gregory the Great, and restored in 1730. It contains a picture of the Saviour delivering the key?} to St. Peter, by Pietro da Cortona ; two handsome Cosmatesque candelabra ; and a cippus, now used for a holy- water basin, on which is an inscription to Publius Aelius Tiro, a commander of the German cavalry in the time of Commodus. The *viEW from this commanding eminence (2545 ft.) can hardly be surpassed in this district of beautiful panoramas, and the traveller who enjoys it cannot be surprised that Pyrrhus and Hannibal ascended the hill to reconnoitre the localities about Rome. Towards the extremity of the plain is Rome, with the dome of St. Peter's rising prominently above all the other buildings ; in the middle distance we see the site of the lake of Gabii, and the Anio winding through the Campagna from the hills of Tivoli to its junction with the Tiber below the heights of ancient Antemnae. To the 1. are Rocca Priora, Monte Compatri, Monte Porzio, Colonna and Frascati ; while behind them is ^Monte Pila, concealing Monte Cavo from our view. Further 1. is the valley of the Sacco, in which we recognise Valmontone, Anagni, Paliano, and Cavi: and on the declivity of the Volscian Mountains, CoUe Ferro, Monte Fortino, Rocca Massima, and Segni. On the rt., among the hiUs of which Palestrina forms a part, are Poll, Monte Aflfiano, and the heights of Tivoli. Immediately behind the citadel are Rocca di Cave and Capranica, most picturesquely perched on two pointed peaks. Descending to the town, in the Via della Rifolta are other polygonal blocks belonging to the Third Terrace. Bearing 1., we reach the Porta delle Monnche^ from which a wall of the same construction ascended to the citadel, and reached down to the Porta del Sole, which stands a short way below. Issuing from this Gate and turning to the rt., we follow the Via degli Arcioni, so called from the arches in its well- preserved ancient walls, now serving chiefly as blacksmiths' shops and stables. In a Garden on the 1. are some fine remains of capitals and friezes, and close by the ruins of a Fountain. On the rt. in the Orto Barberini is a well-preserved ♦Reservoir in ten compartments, 107 yds. long and 100 ft. deep, arranged after the manner of the Sette Sale. It was probably built by Tiberius about a.d. 18, and is one of the most remarkable monuments of the kind. The inner walls are lined with the finest cement, and a staircase leads down to the floor, which is, however, usually flooded. On the terrace above the adjacent wall of opus quadratum is the Flower Garden of the Casa Barberini. Continuing W., and skirting the brick exterior of the Reservoir, round the corner are remains of pavement belonging to the Vin Praenestina. Wo re-enter the town by the Porta San Martino, and soon reach the W. extremity of the Corso. Among the antiquities discovered at Palestrina are the fragments of the Fasti of Verrius Flaccus, found here in 1773 by Card. Stoppani, and now preserved in the Pal. Vidoni at Rome. The celebrated cistac. or jewellery caskets, exhibited in the Kircherian Museum, Barberii i Library, and elsewhere, were also found here. Palestrina was the birthplace of Giov. Pietro Luigi (1524-94), better known as Pales- [Bome.'\ 2 h 466 ROUTE 45. — GENAZZANO. [Sect. II. TRiNA, the greatest musician of the 16th cent., sometime Choirmaster of St. Peter's in Rome. 5 min. below the town, near the Church of the Madonna delV Aquila antiquaries place the site of the Forum erected by Tiberius and the Roman municipium. At Colombelle, close by, was the Necropolis in which were found the celebrated Cistae, and other treasures. 'At ^.M.della Villa, about a mile further, are the ruins of an extensive ViUa built by Hadnan, and enlarged by Antoninus Pius. The style of its construction presents a great similarity to that near Tivoli- the colossal statue of the Braschi Antinous, now in the Vatican Museum was discovered here. ' An excellent road leads from Palestrina to (15 m.) TivolL passing through Zagarolo and Passerano. » r o Palestrina to Subiaco. This extremely interesting road leaves Palestrina by the Porta del Sole, and runs S.E. to the (1 m.) Pcmte dello Spedaletto. Beyond the bridge, in a field to the 1., is an octagonal ruin bearing a remarkable analogy to that of the so-called Tempio deUa Tosse at Tivoli The older antiquaries described it as a Serapeon, as a Temple of the Sun and as the Schola Faustiniana ; it is now generaUy considered to be a Chrishan church of the 4th or 5th cent. In aU parts of the country around the lower town are numerous ruins and traces of foundations the remains probably of patrician villas. * The same direction is maintained as far as , ^.^-^S^^^.^^^P- ^^^)' ^"® ^^ *^^® i"o»t picturesque places in this l)eautiful district (1285 ft.). Before reaching it a torrent is crossed on a tine bndge of seven arches. Perched on a rock 4 m. 1. is Rocca di Cave (3070 ft., Pop. 788). Cave was bmlt by the Colonna as early as the nth cent. ; it was one of the dependencies of Palestrina, and shared m its fortunes and reverses. It is memorable for the treaty of peace signed in 1557 between the duke of Alba and the Caraffeschi A steep descent on leaving Cave brings us into the valley, whence the road again ascends to the Church of S. Giacomo, finely situated on a hill overlooking the valley of the Sacco. [3 m. from Cave a road on the 1., through the Olmata, leads to (1 m.) Genazzano t (Pop 4000), a highly picturesque town, on the slopes of a steep hiU (1230 ft.) above the Capranica torrent, suriiounted by a baromal castle, which is cut off from the rest of the hill by a drawbridge It derives its name from the ancient Roman famUy of xenucia, the rums of whose villa are still visible. It passed to the bolonna family at the same time as Palestrina and Colonna. It is said to have been the birthplace of Martin V., and was the scene of the murder of his kinsman Stefano Colonna in 1433. In the following year it was occupied by Fortebraccio, during his attack on Rome. li 1461 t^t Vjf ^^®/.^?^® ^°' ^°°^® *^™®' and in 1557 it was the headquarters of the Duke of Alba prior to the treaty of Cave. The rich Chapel of the Madonna del Buon Consiglio is one of the colebrated shnnes in this part of Italy. On St. Mark's Day (April 26) t See Directory, p. 4.S3. The Campagna.] route 45.— olevano. 467 the peasantry assemble from all parts of the surrounding country; there is probably no place in the neighbourhood of Rome in which the artist will find so many subjects for his pencil as at the Festa of Genazzano. There are some pretty pieces of pointed architecture here, especially an upper floor in the principal street. The Via Empolitana, very picturesque in many parts, passing by San Vito, Pisciano, and Ciciliano, descends the valley of the Ampiglione, the ancient Empulum, into the valley of the Anio near Tivoli — a very interesting excursion for the pedestrian.] At the Ponte Orsino, 7 m. from Palestrina, a road turns rt. to (3 m.) Paliano (Pop. 6000), finely situated on a rocky hill (1580 ft.), in the territory of the Hernici, at the entrance of the valley of the Sacco. It is rather a fortress than a town, being strongly defended by towers and bastions of the 16th cent., and has only one approach, over a drawbridge. Paliano appears to have risen in the 10th cent. It was one of the strongholds of the counts of Segni until the pontificate of Martin V., who conferred it on his nephews Antonio and Odoardo Colonna. It is celebrated for its defence by Prospero Colonna against Sixtus IV., when Prospero, fearing treachery on the part of the inhabitants, seized the children of the principal citizens and sent them to Genazzano as hostages. It remained in the Colonna family until 1556, when Paul IV., in his quarrel with Marcantonio, deprived him of his feudal possessions, and conferred Paliano with the title of duke on his own nephew Giovanni Caraffa, who was afterwards beheaded by Pius IV. The fortifications were built by the CarafFa, and were so perfectly impregnable, that Paliano became an important frontier fortress against Naples. It is now a prison. After the victorj' of Marcantonio Colonna II. over the Turks at Lepanto, his family were reinstated in their Imronial possessions, and have ever since held Paliano. A tolerable road leads S.S.W. to the Stat, of (6 m.) Segni, where the train may be taken for Rome or Naples. From the Ponte Orsino another road turns 1., and ascends in long curves to (4 m.) Olevano t (Pop- 4500), a very picturesque town built on a rocky hill (1875 ft.), in the midst of the most romantic scenery, and much frequented by landscape painters from Rome. It is entirely a town of the middle ages, and is said to have derived its name from the appro- priation of its revenues to provide certain churches of its territory with the incense called Olibanum. In the 12th cent, it was a baronial castle of the Frangipani, who sulwequently exchanged it for that of Tivera, near Velletri, when Olevano became the property of the Benedictine monastery of Subiaco. In the 13th cent, it passed to the Colonna, who held it till the 17th, when they sold it to the Borghese, who still possess it. The approach from the side of Subiaco is extremely fine : the old castle of the 13th cent., built by the Colonna on a massive rock, is seen to great advantage; and the insulated hill of Paliano combines with the distant chain of the Volscian mountains to form one of the most l>eautiful scenes in Italy. In the Piazza is a fountain with an inscription recording the creation of an aqueduct by Pius VI., and its restoration in 1820 by Benedetto Greco, * for the love of his country.' f See Directoiy, p. 484. 2 H 2 468 ROUTE 46. — OLEVANO. [Sect. II. The Church is dedicated to S. Marghetiia. On the E. of Olevano are the ruins of an Imperial villa, in which numerous ancient fragments and a marble urn with reliefs, now preserved in the Colonna castle at Genazzano, were discovered. Three routes, all beautiful, lead from Olevano to Subiaco. The carriage-road (14 m.) runs N. for 2 m., passing on the 1. the Serpentara, a grove of evergreen oaks, which was on the point of being cut down, when some artists raised a fund for its preservation. It is now the property of the German Emperor. Below the loftily perched village of Civitella the road turns to the rt., and descends a long slope to a partly dramed lake, above which Bojate is seen to the rt. This mountain village appears, from some remains of walls built of large rectangular blocks, to occupy the site of an ancient city. The road then traverses a pass into the valley of Aj^le, which is on a hill also to the rt., and to which a cross road turns off at the top of the next ascent. Affile is mentioned by Pliny, and its antiquity is confirmed by numerous inscriptions and marble fragments discovered in its neighbourhood, which we see in the walls of the churches and other buildings. The road having thus reached the shoulder of Monte Carpineto, forming the 1. bank of the Anio, descends to the bridge of S. Mauro, from which a path on the rt. leads in J hr. to the Monasteries of Subiaco. The second rout* (a hocee-path) follows the bij^h rc«d to th«» poini OmMUa rd«5 H.). On U10 ftnlbcr tidft ol &m vilkiRriS« mm^ rtxm4rkAl>ie •ttm^n% iuuaM innnel anotfti anaa. O a ll iilia waa oita of iba oarly words lu Italy, aud her c(>ufesuere manus. Ovid, Fast . IV. 71. Its position, fortified by Pelasgic walls, was so strong as to resist the attacks of Hannibal, and the Romans set so high a value on its alliance that they admitted its inhabitants to the privileges of Roman citizens. It was the birthplace of Cato, and the scene of Cicero's Tusculan Dis- putations. At the close of the 12th cent, the city embraced the Imperial cause, and for some years maintained a gallant struggle against Rome. In 11G7, on the march of Frederick Barbarossa into the Papal States, the Romans attacked Tusculum in the name of the Pope. Count Rainone of Tusculum was assisted by a Ghibelline army under Raynaldus, Abp. of Cologne, and Christian, Abp. of Mayence ; a general engagement took place in the plain near the city (May 30, 1167), in which the Romans, 30,000 strong, were totally defeated. Machiavelli says that Rome was never afterwards either rich or populous, and contemporary historians confirm the accounts of the carnage by calling the battle the Cannae of the middle ages. The action lasted from 9 a.m. until night; and on the next day, when the Romans came out to bury their dead, the Count of Tusculum and the Archbishop of Mayence surrounded them, and refused to grant the privilege of burial except on the humiliating condition that they should count the number of the slain. In the following year the Romans again attacked the city, and the inhabitants, abandoned by their count, surrendered unconditionally to Alexander III. The cause of the Pope was not then the cause of the Roman people, and the surrender of Tusculmn to the Church was regarded as an act of hostility by Rome, whose vengeance was deferred but not extinguished. The Pope, how- ever, repaired to Tusculum, which became for many years his favourite residence. It was here, in 1171, that he received the ambassadors sent by Henry II. of England to plead his innocence of the murder of Becket. In 1191 the Romans renewed their attacks, obtained possession of the citadel, and put the inhabitants to the sword. They razed the houses to their foundations and destroyed the fortifications. No attempt was ever made to restore Tusculum on its ancient site, and Frascati rose from its ruins on the lower slopes of the hill. Ascending by the ancient Via Tusculana, we reach, in a depression between two hills, the Amphitheatre, of concrete faced reticulated work, 75 by 57 yds., capable oi holding 3000 persons. The few remains of seats yet visible are of sperone. Beneath them is a well-preserved 47G ROUTE 47. — FRASCATI. [Sect. II. portion of a corridor. [15 min. to the rt., on rising ground commanding a fine view, are extensive ruins, called by the local guides the Villa di Cicerone. They formed the substructions of an extensive building; and may possibly be a part of a villa of Tiberius.] Beyond the Amphi- theatre we ascend an ancient pavement formed of polygonal masses of lava, passing on the rt. some remains of baths, and the ground-floor of a house with an atrium and cistern. Returning to the pavement, and avoiding a turn to the 1., we reach in 10 min. a small house, in tht; walls of which have been embedded some fragments of statuary. This is the supposed site of the Fonim. Further on is the *Theatre, the l>est preserved in Italy, except those at Pompeii. It was first excavated by Lucien Bonaparte* and afterwards, in 1839, by the Queen of Sardinia. Most of the seats, as well as the orchestra and scena, are well preserved. To the rt., behind the curved wall, are some remains of steps, probably part of a lecture-room. Behind is a large subterranean piscina or cistern, which had a vaulted roof supported by three rows of piers. Below the Theatre on the 1. runs an ancient paved road, with remains of the N. wall of the city, in huge blocks of speroTie partly restored in opus reticulatum. Here is a *Piscina with a pointed roof of overlapping stones, 10 ft. high, and in front of it a small ancient Fountain still supplied by a leaden pipe with delicious water. This chamber is one of the oldest constructions of Tusculum, anterior to the use of the circular arch, and coeval with the Mamertine prison at Rome. Passing through a gate behind the Theatre on the rt. we reach in 15 min. the hill on which stood the Citadel (2295 ft.). The Arx occupied an oval plateau, the precipitous sides of which were in some places purposely cut down. It had two gates, one towards the W., easily traced behind the theatre, and the other towards the valley and the Via Latina, excavated in the volcanic rock. From the summit the ♦View over the classical region of ancient Latium is very grand. Looking towards the N. we see the Camaldoli convent, Monte Porzio, the whole range of the Sabine Apennines, with Tivoli, Montecelio, Palombara, Soracte, and the volcanic chain of Monte Cimino. Towards Rome stretches the great breadth of the Campagna, with the sea beyond, and the thickly wooded hiUs of Frascati with its villas in the fore- ground. Looking E., the view extends over the whole Latin valley traversed by the Via Latina, and separating the central mass of Monte Cavo and Monte Pila from the outlj-ing range, on a spur of which we stand. Closing in this valley on the E. is the Monte de' Fiori ; beyond which is easily made out the bluff of the Volscia.n mountains, on the sides of which stands the Pelasgic town of Segni ; more to the rt. the peak of Rocca Massima in the same range, followed by Monte Pila, the Campo di Annibale, Rocca di Papa, the long ridge of Alba Longa, and (on the rt.) Castel Gandolfo, with Marino and Grotta Ferrata below. The hill of Tusculum is very interesting from a geological point of view. It is formed chiefly of a volcanic conglomerate of yellow cinders, under which has risen a mass of lava, which constitutes the precipice on the S. side. In the vicinity of this lava the volcanic conglomerate dipping N.W. has been so hardened, or baked, as to form a very solid rock, called by the Italian writers sperone, and seldom met with else- where amongst the Latian volcanoes ; it is composed almost entirely of garnet, and is the stone used in all the subjacent ruins. The Campagna.] route 47. — frascati. 477 [On a knoll of red earth, 40 min. S.E. of the Arx, are the scanty ruins of the Castello della Molara, raised in the 13th cent, by Card. Riccardo degli Annibaldi, who received there with splendid hospitality Pope Innocent IV., and for some time St. Thomas Aquinas. From the Annibaldi this castle passed to the Savelli, the Altemps, and the Borghese, who still possess it. From the Via Latina, about a mile beyond the knoll, a road ascends 1. in ^ hr. to Rocca Priora, which is not visible from hence.] Descending to the gate at the foot of the Arx, we pass through another gate to the rt. below it, and follow a broad pathway, turning to the 1. at a wall. Lower down rises on the rt. the (| hr.) Convent of the Camaldoli (1611). It was the retreat of Card. Passionei, who collected in his garden here no less than 800 inscriptions brought from Rome, and indulged his classical tastes by the formation of a valuable library. 10 min. lower down a road on the 1. leads in 15 min. to the Villa Falcctnieri. We bear to the rt., and reach in 5 min. the entrance to the Villa Mondragone, belonging to Prince Borghese. It was built by Card. Marco Altemps in the time of Gregory XIII. The Casino, designed principally by Vansanzio, contains no less than 374 windows. The grand loggia of the gardens was designed by Vignola, the fountains and waterworks by Giovanni Fontana. This villa, long uninhabited, is now leased to the Jesuits as a School. After enjoying the ♦View from the Terrace, the visitor may descend in 10 min. through an avenue of cypresses to the lower gate on the road to Colonna. Turning to the 1., he will reach in 10 min. the entrance to the Villa Tavema, built for the cardinal of . that name in the 16tli cent., by Girolamo Eainaldi. It is the property of the Borghese family, and was the favourite residence of Paul V. 10 min. further is Frascati. Immediately below the Hotel Frascati are seen the olive plantations of the Villa Sora, belonging to Prince Piombino. It was the residence of Gregory XIII., where he held meetings for the reform of the Calendai- during his Pontificate. To the rt. of the public garden is the entrance to the Villa Torlonia, with its lofty terraces, fountains, and statues, shaded by fine trees. Beyond the public garden, on the tram road, is the Villa Grazioli. — The Casino, built on the ruins of an ancient villa towards the close of the 16th cent., by Card. Montalto, nephew to SixtuB v., is decorated with frescoes of that period. The *Stanza dki. Sole, painted by DomenichiiWy represents the sunrise, midday sun, and sunset— remarkable for the foreshortening of the bigae. In the lunettes are painted scenes from the early boyhood of Sixtus V., his ploughing the paternal field, and resting under the shade of a tree. The Stanza DELLA NoTTE is a good work of Annibale Caracci, with Hesperus and Mercury surrounding the car of the Moon. Ancient Villas. — The villas of the ancient Romans were as numerous on the Tusculan as on the Alban hills, and Strabo parti- cularly mentions the sumptuous ones looking to the N., and especially 478 BOUTE 47. — FRASCATI. [Sect. II. that of LucuUus, which Nibby places towards the Orti Sora, where are extensive remains of reservoirs. According to some opinions it was situated between Grotta Ferrata and the castle of Borghetto, while others recognise it in the extensive substructions called the Grotte d^l Seminario, the Centronix and the Orotte di Lucullo. In the villa of Servius Galba, so called from a leaden pipe bearing his name found in some ruins extending from the Sora Gardens to the Sterpara wood, were also discovered two fragments of statues, one in heroic costume, probably representing the Emperor himself, and the other consular, both of which are placed on the stairs of the municipal palace. A statue of Fortune was also found there. Among the illustrious Romans who had villas in this territory was A. Gabinius (consul, 68 B.C.). It is supposed to have occupied the hill belonging to the Cavalletti family, above Grotta Ferrata, and its towering edifices were criticised by Cicero, as being like one mount above another. (2) The Railway to Frascati leaves the central station, passes through the city wall near the Porta Maggiore, and runs S.E. nearly parallehto the aqueduct of the Acqua Felice, as far as Ciampino, where it turns E., passes the little station of Grottaferrata, and then ascends to Frascati. The town is reached from the station by a flight of steps. (3) The Road to Frascati takes the same route as the tram as far as the Osteria del Curato. From the Osteria del Curato the road turns 1., passing the l^orre di Mezza Via, and then ascends to Frascati. Frascati to Palestrina. — Carriage-road. 16 m. The road issues from the lower part of the town, passing on the rt. the gates of the Villa Tavertia and V. Mondragane, and further on some vaults of an ancient building. In the plain, 2 ni. to the 1., is the dried-up lake of the Comufelle, supposed by some antiquaries to be the site of the Lake Regillus, the scene of the memorable battle between Rome and the Latins under Tarquin and Mamilius the chief of Tusculum, B.C. 496. Some, however, place it at the Logo delle Cave, near Monte dei Fiori, between the 20th and 21st m. on the Via Latina, and others in the great level space occupied by Pantano below Colonna. The lake of Cornufelle forms a curious basin, whose artificial outlet may still be seen. Beyond this the road skirts the base of Monte Porzio Catone (Pop. 1965), on the summit of a hiU (1535 ft.), supposed to derive its name from a villa of Cato of Utica, between Monte Porzio and Colonna, at a spot still called Praia Pcyrcia, where there are some ruins. The modern village was built by Gregory XIII., whose armorial bearings may be seen over the principal gateway. In 1078 Gregory, Consul of Rome, granted the Church of S. Antoniyio, in this place, to the monastery of Monte Cassino. The ecclesiastical students of the English College in Rome have their country quarters here. [A good road leads S.E. to (4 m.) Rocca Priora (2520 ft.), passing on the rt. Monte Salamom (2540 ft.). Rocca Priora (Pop. 2200) is supposed to be the ancient city of Corbio, one of those occupied by Coriolanus when he marched against Rome. Corbio was destroyed in 445 B.C. by the Aequi. Rocca Priora belonged to the Savelli, and was sold by The Campagna.] route 48. — frattocchie. 479 them to the Popes in 1597. The castle dominating the village has been restored in the mediaeval style, and is used as the town hall. From a walk round the summit of the hill there is an exceptionally fine ♦View over the Latin valley and mountain ranges beyond.] 2 m. further E. the road passes Monte Compatri (Pop. 4030), another town perched upon a height (1915 ft.), belonging to Prince Borghese. with a baronial mansion. It is supposed to have risen after the ruin of Tusculum in the 12th century. 10 min. higher up is the Convent of S. Silvestro, which served as a refuge of that saint in times of persecu- tion. The present edifice dates from 1665. The Carmelite friars show a picture attributed to Gherardo delle Notti. In the sacristy is an ancient sepulchral urn, with a Greek inscription to Flavia Albina. Here lived for 12 years, while writing his Cristiade, Girolamo Vida, afterwards liishop of Alba, mentioned by our poet Pope as forming, together with Raphael, the chief glory of Leo X.'s age. The road descends in zigzags to the plain, and reaches the (4 m.) Osteria di S. Cesareo, ^ m. further the Via Labica^m turns to the rt., while our road continues straight on, and after 1 m. crosses the Naples Rly., and follows it for some little distance S.E. Further on, the road to the rt. leads to the Stat, for Zagarolo. We turn E., and follow the Via Praenestina to (4 m.) Palestrina (Rte. 45). ROUTE 48. From the Central Station to Albano, by Cecehina or Marino. — Rail. For plans of this Route, see the Index Map, p. 431, and the maps on pp. 483 and 495. Miles. Stations. Rome 9 Ciampino II Frattocchie Miles. i8 22 Stations. Cecehina Albano There are two lines. One goes from the Central Station to 9 m. Ciampino Junct. [Branch Rly. 1. to (4 m.) Frascati (Rte. 47)], and then turns due S. to 11 m. Frattocchie, t from whence the pedestrian may return to Rome by the Appian Way— a charming excursion. The Rly. crosses the modern road and ancient Via Appia. Beyond this there are several deep cuttings through the lava-currents descending from the Alban craters. The stream flowing from the lake is crossed at a short f See Directory, p. 433. 480 ROUTE 48. — ALBANO. [Sect. II. distance below its exit from the Emissarium. Fine \iews of Castel Gandolfo, Albano, and Ariccia. The line turns S.E. to 18 m. Cecchina Junct. [Rly. E. to Velletri {Rte. 53), S. to Nettuno (Rte. 54).3 Here carriages are changed, and a oranch Rly. ascends 1. to (4 m.) Albano, skirting the W. side of the Valley of Ariccia, and affording fine views of its Viaduct and Castle. Miles. Stations. Rome 5 Acqua Santa 7 Capannelle Miles. Stations. 15 Marino 17 Castel Gandolfo 19 Albano The other route, which is more beautiful, crosses the Florence and Tivoli lines, leaves on the rt. the Rly. to Civita Vecchia, and afterwards that to Cecchina, and passes under the Acqua Felice near Porta Furba. It then crosses the Via Latina. View of the Aqua Claudia 1., S. Urbano and the tomb of Caecilia Metella rt. 5 m. Acqua Santa. 1 m. W. are the Bagni di Acquasanta. The line now passes under the Cecchina Rly. 7 m. Capannelle. On the rt. are the ruins of the Villa dei Quintilii ^Rte. 49) and a Hippodrome. The line now turns S.E., passes over (close to Ciampino) the direct Rly. to Naples and that which rises towards Frascati, and ascends in long curves. Tunnel and viaduct. 15 m. Marino (Rte. 52). The town rises very picturesquely above the Stat, on the 1. On the rt. are quarries of hard tufa. The line now ascends, passing through a tunnel of ^ m., and skirts the W. side of the lake at some height above its margin, affording exquisite views to the 1. 17 m. Castel Gandolfo (Rte. 52). A road ascends in 15 min. to the town. Another tunnel and a gentle descent bring the train to 19 m. ALBANO t (Pop. 8000), officially called Albayio Laziale, to distinguish it from three other towns of the same name in Italy, owes its origin to a Villa of Domitian, which covered a space 6 miles in length between Ariccia, Albano, Castel Gandolfo and Palazzuolo. It formed part of the donation of Charlemagne to the Holy See, and underwent the disastrous consequences of party factions in the middle ages. In 1345 the Savelli, whose castle is now the municipal palace in the Corso, obtained the feudal investiture of the town and territory of Albano, and governed it with many vicissitudes until the extinction of the direct line of their house, in the beginning of the 17th cent., when it passed into the hands of the Castel Gandolfo branch. This family ruled it in an oppressive manner for nearly a century, until Paolo Savelli, in 1696, sold his baronial rights to the Apostolic Chamber for 440,000 scudi. In 1798, the inhabitants, having risen in arms against the French, were defeated, and the town sacked by order of Murat. It suffered from a severe earthquake in 1829. Albano is celebrated for the beauty of its scenery and the purity of its air. It is a favourite resort of the Roman middle classes during the villeggiatura season from June to October. Although generally healthy, t See Directory, p. 433. The Campagna.] ROUTE 48. — ALBANO. 481 during the extreme heats of summer intermittent fevers sometimes show themselves, even at this elevation (1230 ft.). The present town occupies the whole of the Castra Alhana, where the 2nd Legion (Parthica) was quartered, and part of the villas of Pompey and Domitian. Traces of the former villa exist in the masses of reticulated masonry in the grounds of the Villa Doria. The Villa of Clodius was probably on the 1. of the Appian Way, on the ascent towards Castel Gandolfo. In the street of Gesii e Maria, well seen on the 1. in ascending from the Stat., are grand ruins of Domitian's Baths, subsequently enlarged by Marcus Aurelius. Turning to the 1. from the Piazza Re Umberto, and then to the rt., we reach in 10 min. the Convent of S. Paolo. On the rt. of the Church front are some remains of the Praetorian camp, consisting of a wall in quadrilateral blocks of peperino, many of which are 12 ft. long. Behind the Church, extending up the hill (entrance to the rt. in the Courtyard) are the scanty remains of an Amphitheatre erected by Domitian, and mentioned by Suetonius and Juvenal as the scene of his most revolting cruelties. It was nearly perfect in the time of Pius II., with its seats partly excavated in the rock. Higher up is the Convent of the Cappuccini, celebrated for its magnificent views from the raised terrace within its grounds. It occupies a part of the villa of Domitian, which extended to the pine- groves of the Villa Barberini, just outside Castel Gandolfo, on the S. [For the beautiful pathway hence to Palazzuolo, see Rte. 52-3 In the Via del Priorato, a few yards E. of the principal street, is a circular building, supposed to have been the Temple of Minerva, now the Church of S. M. della Rotonda. In front of it on the 1. lie neglected some beautiful portions of an ancient marble frieze, probably from the villa of Domitian. S. Pietro, on the opposite side of the street, has a fine piece of ancient frieze built up into its doorway, and a N. front of peperino in large blocks, mixed with concrete. The principal modern villas are those of Prince Doria, near the Roman gate, and of Prince Piombino di Venosa, at the opposite extremity of the town, • both commanding fine views over ancient Latium and the Mediterranean. The wine of Albano, from the vineyards on the slopes below the town, still claims the reputation it enjoyed in the days of Horace : — Ut Attica Virgo Cum sacris Cereris, procedit fuscus Hydaspes, Caecuba vina ferens : Alcon Chium maris expers. Hie herus : Albanum, Maecenas, sive Falernum Te magis appositis delectat ; habemus utrumque. Sat. II. viii. 13. Albano has been the seat of a bishop since a.d. 460, and is one of the six suburban sees always filled by a Cardinal Bishop. Adrian IV. (Nicholas Breakspeare), the only Englishman who ever sat on the papal throne, was bishop of Albano for some years. IBome.] 2 I 482 BOUTE 49. — VIA APPIA. [Sect. II. KOUTE 49. From the Porta S. Sebastiano to Albano, by the Old Appian Way.— Carriage-road. 14 m. The VIA APPIA, one of the most celebrated of the roads which led from the capital of the Roman World, was commenced b c 312 by Appms Claudius Caecus, the Censor. At first it only extended to Capua, but was afterwards prolonged to Brundusium, a distance of about 350 m. It formed the chief line of communication with Southern Italy, Greece, and the most remote Eastern possessions of the Roman Empire. Qua liniite noto APPIA longarum teritur Rbgina Viarum. Stat. Sylv. II. 12. In 1850 Pius IX. employed Canina to excavate and partly restore the \ la Appia from the tomb of Caecilia Metella to the eleventh mile. The first portion of the Via Appia, from its commencement at the Porta Capena to the Tomb of Caecilia Metella, is described in Rtes. 41 42. From this point the road runs almost in a straight line S E as far as Albano. 1 m. beyond the Tomb of Caecilia Metella on the 1., on a modem pier, are placed several fragments of sculpture, and an inscription belonging to the tomb of M. Servilius Quartus, which was restored by Canova. 100 yds. further on the 1. is a very interesting relief of a frieze, supposed to represent the death of Atys, son of Croesus, killed in the chase by Adrastus. The sitting figure is Croesus, before whom Adrastus is kneeling, the body of Atys borne behind, and followed by the i ates, emblematical of his destiny as predicted to the father in a dream It is supposed to belong to the Tomb of Seneca, who was compelled to kill himself in one of his villas on this road, by order of Nero, close to the 4th mile on the Appian Way. Beyond this, on the gme side, is the sepulchral inscription in verse of the sons of Sextus Pompeius Justus, a freedman of one of the Sexti, descendants of Fompey the Great. Close to it are the ruins of a small temple supposed to have been dedicated to Jupiter, where numerous Christians suffered martyrdom. Immediately opposite is a large 2nd cent. Tomb, originally in two stories, the upper forming a chapel, the lower a sepulchral vault The floor between them has fallen in, but the fragments of its pavement in very beautiful porphyry have been preserved, with other marble ornamentation. The tomb was built over the paved road leading at right angles to the Appian Way as far as a *Roman Villa, of great interest, excavated in 1893. It retains the plan of a sphaeristeriuni a cistern, piscina, several terra-cotta jars for wine and oil, some well- preserved pavements in optis spicatum and mosaic, a reservoir an ancient dram, and some well-preserved Baths with traces of their hypocaust. Several skeletons were found in and around the tomb some of which have been re-interred, the spot being marked with mounds as in a churchyard. These and other extensive excavations on »5 f t »#'«-->t>> M.irfV? /-"" Z' X y' Ki ./ J.1^«A ». f ^ \ -«» i .^M-' W. THE APPIAN WAY. ^^ f ' ^bt^M CItarttnoali] yc^ ^ ^"""^^ y^Q&:: .^4^^ luano ^ >. THE APPIAN WAY. ^JbtmneUaA BngUJi Ma*s Lotuion < BdwM^ StaafiMrd. 12. 13 * M,Lan^ Aera.WC. THE APPIAN WAY. .J ^TmK.4ki y J^ ^ o^ Tho Campagna.] boutb 49.-— stbbrt or tombs. 4S3 tho jwljiwont farm of Tor Carbom have bocQ eatriod oat by tbt broibecB LuKari, ownnrx of tho proixirty. ^ M^wt« W© now ontor o!i » real Strwt of Tomb*, which coaOamw Uttinlor. ruptodly for noj^rl v 4 m. Tho anolont pavrcmwjt eslsU oo % waaX Mrt of th« Vm Appia for tho Uut 8 m., nnd in xnkny pl»cw hAi a tiduWy for foot-paHMon^i.rK bordoriul l)y a parapot, iMtxciAtlT b«iw««B Um ttk and loth rnilo. Tho hhmkrt of baHuUic Utu liaM' omBtorod kr thA pavmnont wore obtained from th<, nnmorou* qomif^ whkh ter^«, Uw road on clthor nido. It la W(»rn into doop ruU by the wbiuU of txihlcUML Iraium of ountftln«. aiul Kcmlcir«uilar r^Wiw. m»v b« Mxn Alonidiido Homo of tho tomhH. On tho rt. tho tomb of Ciuua Lidnsiw. with marblo inHmption; ao inumWrn of tho family of the Sfcundmi, wltli ati iMcriplIon r^oonUm; that Uio docoa««d wojj a tax-gathcror, and tho bout o^ hail»i>d»: tito Tci^vofO . HKCVNDO . nm.ll'l'lANO . COACTOIII . ri.AVIA . tKKXK . VXOU U(I>VIX1BU TiBiMo. Further on Ik a fino brick Tocib, and teniwl it tk^ft of Rabirms Hermpdonia, lUhlria Pomarln, »nd Usi* Pdnm. it priwtcw of lulu, with r*.'hof portraitM of each. i^t*^ After pa«Hir.K tho 5th m., on tho rt. Im a circakr mMlttd. on ^ieh Xombs of the Hofffttia aikl Cutasta. Tbo torn W conBtnecicit o( illf!!! ."J°^l!!!???^ ?" ^*^ dilloifttt from tbo topnlohrai d tbo Imjttnml pmod; thov rtwomUt tome oi tho 4^%4dly Btm^n Sgg^:^'^ '^^ ar onUfono on tho roib4 to Onto Ve«hK whilo^ ^^IX^^^'^V^S^. ^"^ "»* ^'•^"^^ '«»"» '^"nCHt tw> Yirtnom. but SSff!!J* Bt joinnig it to Ui* ImperiAl Villa of S«IU. Bi«i (p. «7$) ho c*JU«d, *i the very 5JIU.. of tho M^Jjopgli- • Suhm^UiMwS ^jiii la eximjt to UadTiwr* Vilu at Tibur. 11,e tuIm oovor a mmo ornery is*-"'.' ^15 ^^^'if « "!i.?^ *"«* N^^' ABpiwi Way. ana ar« of tbrf« ^iicl periods. ; Tbn MldiQ^i K>Mr«a tlJoTormer road. comprUlair V 1/^ '•fT?!5: «• tfcf ^fattndsUana of whirh iho Um\JS^^ II I *^u" *****^ •*• **' '*"<'>^ •«** »tk«Utod work of lU tcmo of lUdnan. Tho grMt raaw of ruiiia tovudi tho Ktw AMtoa Way, whw nujg«oa» fnigmonu of >KQ]pturo hAv«. beta toradTirof ttM AMttitt* fin» MMiroii and ov«daid in many pkoc* by itorra ^«lr^a oC mipplMd by an aqucdna «hi?lb U ^iilble hirtb«r on/-A ^^ 484 ROUTE 49. — CASALE ROTONDO. [Sect. II. Beyond the Villa del Quintilii, on the rt. of the road, are the remains of a very curious building, commonly called La Spezieria (pharmacy). It consists of a large circular basin, cut out of a mass of marble, bearing an old inscription, from which basin the liquid (what- ever it was) flowed into a series of smaller ones, placed one below the other. At the end are the remains of a press. The huge pyramidal ruin on the 1. near this, called, without any foundation, the Sepulchre of the Metelli, is remarkable for its solidity. The narrowness of the pedestal on which the great mass is supported, like a mushroom on its stalk, is owing to the large blocks of stone which formed the outer part of the base having been carried away for building. Behind this tomb on the 1. is the picturesque castellated farmhouse of S. M. Nuova. A little beyond is an inscription relating to a member of the family of Caecilii, in whose sepulchre, as we are told by Eutropius, Pomponius Atticus was buried ; and close to it that of the Terentii, the family of the wife of Cicero, intimately allied with that of P. Atticus. A little further on the 1. is the "^Casale Rotondo, a large round tomb with a house and an olive-garden upon its summit. There is reason to believe that it was erected to Marcus Aurelius Messallinus Gotta, Consul a.d. 20, son of Messalla Corvinus (b.c. 11), the historian, orator, and poet, the friend of Augustus and Horace, one of the most wealthy and influential of the great senatorial families of the time — Cotta . . . Pieridum lumen, presidiumque fori. Maternos Cottas cui Messallasque paternoa Maxima Qobilitas ingeminata dedit. Ovid, Epi8t. Iv. 16. The restored inscription conjecturally assigns the tomb to Messalla himself. It was one of the most colossal outside the gates of Rome : as it now stands, it is 114 yds. in diameter, or one-third more than that of Caecilia Metella. It is built of lava concrete, bound together by large blocks of travertine, and was cased in a coating of the same stone, and covered with a pyramidal roof formed of slabs so sculptured as to imitate thatch or tiling, over which rose a lantern, ornamented with reliefs, tripods, and cornice. The base was in huge masses of the same material, and the whole monument surrounded on the side of the Campagna with a wall of peperino, on which stood pedestals and cippi, probably supporting ornamental vases and statues. It was turned into a fortress by the Orsini. In front of the tomb are remains of hemi- cycles for seats, or resting-places, for travellers on the Via Appia. Some fine specimens of sculpture were found near it, some of which have been placed on the face of a high wall close to the sepulchral pile, arranged according to Canina's restoration of the monument. The ♦View from the summit over the Campagna and the Alban hills is very fine (25 c). Beyond Casale Rotondo, on the rt. is the Tomb of P. Quintius^ Tribune of the 16th Legion. On the 1. the Torre di Selce, a tower of the 12th cent., erected upon a huge circular sepulchre. From this point an Aqueduct which supplied the Villa Quintiliorum crosses the country at a higher level than the Aqua Claudia. Nearly opposite is The Campagna.] route 49. — osteria frattocchie. 485 the Tomb of a Greek comic actor ; and further, on the same side, that of Marcus Julius, a steward of the Emp. Claudius. To the 1., the sepulchral stone of Atilius Evhodu^, a seller of beads and other ornaments of female attire, who had his shop on the Sacra Via. The inscription appeals to passers-by to respect it, adding a eulogium of the deceased (Margaritarius). To this succeeds the tomb of Publius Decumius Philomusus, the inscription being flanked by a sort of canting arms — two well-executed reliefs of mice. Close by is the cippus of Ceditius Flaccianus, a military Tribune. i m. beyond the Torre di Selce the road descends, and deviates sligntly from the straight line. It would appear, however, from some more ancient tombs on the 1., that originally the road went straight on. ^he large semicircular ruin on the 1. is supposed to have been an Exedra or resting-place for wayfarers, erected probably when Vespasian or Nerva repaired the road. On the rt. is the Torre Spaccata, a shattered tower. Beyond this point the old Appian Way is impassable for carriages, which must cross by the Traversa di Fiorano to the Via Appia Nova. The large circular mound on the rt. is probably of the Republican period. Corresponding with the site of the 8th m. are considerable masses of ruins, and several columns of Alban peperino, in an early Doric style, round a porticus, which, from the discovery of an altar dedicated to Silvanus, is supposed to have been the area of that divinity raised during the Republic. In the space between these ruins and the neighbouring large circular mound, faced with blocks of Alban stone, stood the temple of Hercules, erected by Domitian, to which Martial alludes in several of his Epigrams. Behind the temple was the villa of Bassus, and further on that of Persius, of which there are some walls standing. A few yards further is an inscription to Q. Cassius, a marble-contractor (rede^nptor) ; and Ixjyond on the 1. a tomb inscribed to Q. Verannius, possibly the same who was consul A.D. 49, and who died in Britain a.d. 55. The ownership of the Torra' fine slabs of marble, coins, and vases. The pavement of the Via Latina has also been exposed. The road itself consists as usual of polygonal blocks of lava, much worn, with a wide footway, whose careless manner of construction betrays the date of the later Empire. Turning into the Via Latina through a field-gate to the 1., and crossing the Strada Militare and the Rly. to Albano, we pass a square Tomb of very neat brickwork, and soon reach on the rt. the ♦ToMBA DEI Valebu. Above the tomb is a portico, with a hand- some column of cipoUino ; thence a double flight of stairs descends into an oblong chamber 15 ft. long. Its vaulted roof is covered with well-preserved stucco reliefs, in square and circular compartments, representing nymphs riding on winged and sea monsters, nereids, and genii. On the vault over the entrance door is represented a female 488 tlOUTE 50.— TOMBS ON THE VIA LATINA. [Bect. It The Campagoa.] route 50* — basilica OE st. sTfipflfiK. 489 figure on the hack of a winged fish, and on the opposite vault the Hours dancing. The stamped bricks date from about a.d. 160. On the 1. side of the road is the *Tomba dei Pancratii, with a well- preserved pavement in white and black mosaic, representing marine monsters. Prom the triclinium a flight of steps descends to the two hypogaea below, the outer sepulchral chamber being surrounded by low arches with a Sarcophagus of the 3rd cent. The portraits of its owners have been left unfinished, the monument having probably been pur- chased from the undertaker's stock, the inscription and portrait being afterwards added. In the pavement is the mouth of a deep but dry well. The inner chamber, which is square, has a vaulted roof covered with beautiful *8tucco-reliefs and paintings from the history of the Trojan war, with the Judgment of Paris, Achilles at Scyros, Ulysses and Dioraede with the Palladium, Philoctetes at Lemnos, Priam at the feet of Achilles, detached figures of Hercules Citharoedus, Jupiter and the Eagle, and lovely groups of centaurs hunting wild animals. There are landscape subjects in compartments, and many arabesque decora- tions in relief, almost equalling the fineness of cameos in their execu- tion. Round the base of the vault are remains of a cornice, and at the angles the Four Seasons in stucco. In the centre of the floor stands a huge marble sarcophagus, 9 ft. long. It has, which is unusual, places for two bodies, the skeletons of which were found nearly entire. It is most probable that this tomb belonged to the above-mentioned Servilius Silanus, who was consul a.d. 188 and was murdered by order of Corn- modus. The adjacent * Basilica of St Stephen (key at the Tombs) was founded in the middle of the 5th cent. Several columns of cipollinOj and smaller ones of pavonazzetto, have been brought to light, with ancient Composite and Ionic capitals. Some of the latter have a cross sculptured on the volutes. The Basilica, as restored by Pope Leo III., consisted of a vestibule and portico towards the E., opening into the aisles and nave, which were separated by marble columns. At the extremity of the nave is a semicircular tribune, with remains of the altar; and on its rt. or N. side a square Baptistery, with a sunk font in the centre, for baptism by immersion. In front of the tribune is the Confessio, 6 ft. below the pavement. It has a small ante- chamber, and a curious metric inscription, composed by Leo III., in praise of Demetria (370), who enlarged the Oratory already existing in the Villa Anicia. Having been placed over the relics of martyrs, this shrine was retained as sacred by Pope Leo. About * m. beyond the Basilica is the Torre del Fiacale, a lofty square bricK tower, on a foundation of peperino blocks, placed at one of the angles which occurred about every half-mile, to strengthen the line of the aqueduct. Here the high arcade of the Aqua Claudia and Anio Novus is carried over that of the Marcia, Tepula, and Julia. The Anio Vetus conduit runs underground at the foot of the tower, and the Felice aqueduct is built against it. In the Vigna del Fiscale are the unimportant Catacombs of the Santi Quattro. From the 2nd milestone the new Appian Way ascends for i m. beside the Rly. On the rt. is seen the tomb of Caecilia Metella, which 490 ROUTE 51. — VIADUCT. [Sect. II. may be reached in 20 min. on foot by the Strada Militare. [This important road, which runs inside the line of outlying forts, strikes N.E. from the Via Appia just beyond the tomb of Caecilia Metella, and reaches the Via Tiburtina at (5 m.) Portmwccio (Rte. 43), crossing all the roads which lead S.E. from Rome, and al!ording the only means of communication between them. . It is, however, sometimes closed to carriages.3 A column of Hymettian marble, on the rt., marks the by-road leading to the mineral springs of Acqua Santa, once much frequented by the Romans. The water is good for drinking, and is efficacious in many diseases. Just beyond the 3rd mile is the Osteria del Tavolato. The magnificent line of arches on the 1. shows the course of the united aqueducts of the Aqua Claudia and Anio Novus. The simple line of arches still in use was built by Sixtus V. for the Acqua Felice. . At the 5th m., on the rt., are the ruins of the Villa Quint ilicyrum (Rte. 49). An elegant brick tomb of the age of the Antonines, on the 1., near the Casale dclle Capaniiellc, has been con- founded with the Temple of Fortuna Muliebris. Before the 7th m. is the Torre di Mezza Via, close to which a ruined aqueduct crosses the road in the direction of the Villa Quintiliorum, which it supplied with water. Beyond the 9th m. the road to Marino branches of! on the 1., crossing the Terracina Rly. at the (^ m.) Stat, of Frattocchie. A mile further we cross the same Rly. near the sulphuretted hydrogen gas springs of Solfatara, marked by white efflorescence on the surface. Our road now ascends to the 11 m. Osteria delle Frattocchie, and joins the ancient Via Appia (Rte. 49), which it follows to Albano (Rte. 48). ROUTE 61. From Albano to Arlecia, Genzano, and Neml, by Tram. [For plan of this Route, see p. 405.] The electric tram from Grotta Ferrata and Rome joins the Via Appia at Albano, where it passes in a straight line through the town. Outside the town the Via Appia is continued as the Via Appia Nuova across the modern Viaduct, while the ancient road descends on the rt. to cross the valley. At the angle where the two roads separate, opposite the Church of S. M. dclla Stella, is a massive Etruscan Tomb, erroneously called that of the Horatii and Curiatii. The base is 16 yds. square, and 24 ft. high ; at the corner were four cones, two of which are standing, and in the centre a round pedestal 9 yds. in diameter, containing a small chamber, in which an urn with ashes was discovered in the last century. The great ♦Viaduct which spans the beautiful ravine between Albano and Ariccia was built for Pius IX. in 1846 to 1854 by Bertolini, at a cost of 20,000Z. It has throe ranges of arches, 6 on the lower tier, ROUTE 51. — AfllCCIA. 491 The Campagna.] 12 on the central, and 18 on the upper one, the height of each being 60 ft. and the width 49 ft. between the piers. The length, including the approaches, is 335 yds., and the greatest height above the valley 196 ft. The whole is constructed of square blocks of peperino quarried near the spot, the quantity employed being 300,000 cubic yds. The \iaduct opens immediately on the Piazza of Ariccia, between the Church and the Pal. Chigi. The views over the wood, hills, and sea are very fine. 1 m. ARICCIA (Pop. 3500), on the summit of a hill, occupies the site of the citadel of Aricia (980 ft.), which lay in an extinct crater to the S. It was the Nenwralis Aricia of Ovid, wbose history and connection with the nymph Egeria are so often alluded to by the Latin poets. It was supposed to have been founded by Hippolytus, who was worshipped under the name of Virbius, in conjunction with Diana, in the neighbour- ing grove. It was one of the most powerful of the confederate towns of Latium at the arrival of Aeneas : — At Trivia Hii)iM)lytuin secretis alma recondit Seilibus, et Nyniphae Egeriae nenioricpie relegat ; Solus ubi in sylvia Italia ignobilis aevuin Exigeret, versoque ubi noiuiue Virbius esset. Aen. vii. 774. It was the first day's resting-place out of Rome in Horace's journey to Brundusium : — Egressum magua me excepit Aricia RoniA Hospitio modico. I. Sat. v. 1. Its importance in the time of Cicero is shown by his eloquent de- scription in the third Philippic, when he replies to the attack of Antony on the mother of Augustus, who was a native of the town. During the retreat of Porsenna's army from Rome it was attacked by a detachment under his son Aruns, who was defeated and slain by Aristodemus of Cumae. The ancient city was traversed by the Via Appia, where numerous ruins still exist. Among these are the city walls, and a higlily curious fragment with a perpendicular aperture, through which a sufficient quantity of water is discharged to give rise to the question whether it is the emissarium of the lake of Nemi or the fountain of Diana. The most important ruin is the C4;lla of an unknown temple built of accurately fitted blocks of stone without mortar, discovered in a field belonging to Prince Chigi below the modern town. The inhabitants of Ariccia, in consequence of repeated spoliations by the Goths and Vandals, withdrew into the citadel, the nucleus of the modern town. Their mediaeval historv from the domination of the Counts of Tusculum to that of the Malabranca, Conti, and Savelli, is a mere chronicle of baronial contests. The city was purchased by the princely family of Chigi. for 358,000 scudi in 1651. The large Pal. Chigi, built by Bernini, is surrounded by an extensive and beautiful •Park. The Church of the Assumption, raised by Alexander VII. in 1664, from the designs of the same architect, has some indifferent pictures. From Ariccia a very beautiful carriage-road leads through the woods above the Lake of Albano to (5 m.) Hocca di Papa (p. 501). About 10 min. walk from the village, descending into the valley to the S., is the magnificent causeway, 230 yds. long, 40 ft. high, and about 40 ft. wide, by which the Via Appia was carried across the northern extremity of the Vallariccia. It is built of quadrilateral blocks 492 nOUTE 51. — GENZANO. [Sect. II. of peporino, and is pierced by three arched apertures for the passage of water. Near its S.E. extremity is the opening of what appears to ])e the emissarium of the Lake of Nemi, from which flows an abundant and pellucid stream. The pedestrian may from this point follow the line of the ancient Via Appia to the foot of the hill on which stands Genzano. The high road, on leaving Ariccia, winds round picturesquely wooded ravines, shaded by elms. It crosses a second viaduct of eight arches before reaching (^ m.) Gallaro, and a third over the ravine before reaching Genzano, thus avoiding the hills of the ancient Appian Way, infested until lately with beggars, as in the time of Juvenal : — Digniis Ariciuos qui mendicaret ad axes, Blandaque devexae jactaret basia rhedae.— Slaf. ir. On passing out of Ariccia the picturesquely-situated Casino Chigi rises to the left. Beyond to the E. is the wooded eminence of Monte Ge7itile, where Vitellius had a sumptuous villa, in which he was residing when informed of the treachery of Lucilius Bassus, and the rebellion of the fleet of Ravenna. Remnants of walls are still visible there. Beyond the 2nd viaduct, to the rt., is the Church of Oalloro, built by the Jesuits in 1624 as a sanctuary for an ancient painting of tlie Virgin, on stone, found in the neighbourhood 3 years before. Nearly 3 m. from Albano is the Piazza della Catena, from which radiates a fine triple avenue of elms, planted by duke Giuliano Cesarini in 1643. The avenue to the 1. leads to the Cappuccini, the central one to the palace of the dukes Sforza-Cesarini, and that on the rt. to the town. A path on the rt. ascends to the Casino Jacobini, on Monte Pardo, from which is gained a magnificent ♦View of the Pontine Marshes, the Volscian Mountains, the Circaen Promontory, and the Ponza Islands cutting the distant sea-line. GENZANOt (Pop. 7500) was formerly celebrated for its festival at Corpus Domini, called the Jnfiorata di Genzano. It is now chiefly known for the excellence of its wine. On the hill above the town is the Pal. Sforza-Cesarini, to which the Via Livia and Via Sforza lead up from the Corso. It is in a beautiful position, on the lip of the crater in the bottom of which is the lake of Nemi. The villa and gardens, sloping down towards the shores of the lake, afford charming shady walks and a series of exquisite views. (Apply to the porter.) The Cesarini's feudal possession of Genzano dates from 1568. Remnants of the old town and castle, dating from the 12th cent., may be seen under the modern palace, sloping down towards the lake. A footpath descends hence to the lake in | hr. Higher up is the convent of the Cappuccini, from the gardens of which the prospect is of still greater beauty. The Lago di Nemi (Lacus Nemoremsis of the ancients) is a beauti- ful little basin in a volcanic crater. It is of an oval form, 8 m. in cir- cumference, and 1066 ft. above the sea (102 ft. higher than the Lake of Albano). The carriage-road to (2 m.) Nemi skirts the S. rim of the lake. A footpath leads round the N. rim, passing the Caprniccini and the Fo7mtain of Egeria, one of the streams which Strabo mentions as t See Directory, p. 433. The Campagna.] BOUTE 51. — NEMI. 493 supplying the lake. This fountain, which so many poets have celebrated in conjunction with the lake and temple, is beautifully described by Ovid, who represents the nympth as so inconsolable at the death of Numa, that Diana changed her into a fountain : — Non tAnien Epceriae liictus aliena Icvare I)uinna valcut ; inontisque jacena radicibus imis Liqiiitur in lacrymas : donee pietate dolentis Mota soror Phoebi {j;elidun) de corpore fontem Fecit, et aeteruas artus tenuavit in uudas. JHetam. xv. Like the Lake of Albano, that of Nemi appears to have stood in former times at a higher level. It was drained in the same way by an Emissarium (1G49 yds. long) opening into the Valle Ariccia. Its inner aperture is under the wall of the Villa Cesarini. The village of Nemit (Pop. 981), beautifully placed on a height above the E. shore of the lake, is now the property of Prince Orsini, after having belonged successively to the houses of Colonna, Borgia, Piccolomini, Cenci, Frangipani, and Braschi, and to the Monks of the Tre Fontane. The old Castle, built by the Colonna, is well worth a visit. In the hall are some fragments of inscriptions to G. Salluvius Naso, legate during the Mithridatic war. On a square marble pedestal, three feet high, is preserved the inventory, in 28 linos, of precious objects consigned to two temples, apparently tljoMO of Ittis and lht% Egyptian Diana. They probably Mtuod in the Banin quadrangular enclosure as that occupied by the Temple of Diana Nemorensis, excavated hvLord Savllo, when Britinh Ambassador in Rome, in March, IBHS, at the Giardino tkl Lago, 1 ra. below Nemi, to the N.W. This is »n itntn. The principal rule of the sanctciurf vnu, mjv jUacUmi, 'Thai t>j one could be elected high priest unlew ho h*d «iUln with hb own hiiadi t See Direcic«7. p- *M. 494 EOUTE 51. — NEMI. [Sect. II. T>f?«Tf '^^y * ''"''^^' ^e^^.I^ad obtained the dignity before him This extraordinary rite was still flourishing at the time of Marcus* Aurehus and Commodus, but the duels were generally cTfined to run away slaves, one of whom would escape, for the time^l^^nf the fate To" which nevertheless he was doomed.'-^^.. Tales ToidR^n^ At the bottom of the N.W. corner of the lake two immense shins uZ'^t.^rr^'^''' ^''T'"'' ^^"«>'« ^' Tiberius TndCaiig^a mtnl ^"^^P*" ^T ^«« T^ade to raise them, but so far only fraa ments, or ornaments, have been brought up. Among them were somo very fine mooring rings of bronze with heads of ll!fnsaTd wolves of f^^^im HSP yt^ ' EXCAVATIONS OF THE TEMPLE OP DIANA NEM0BKN8I8 (OR ARTEMI8IUM) IN 1885. ' BB. CO. D. E. F. A AAA. Area or terrace of the Arte- misiuni. PeriJK)lu8 wall with niches, N.E. Buttress wall supporting terrace from lake side. First trench oi)cned S.E. angle Second trench oi>ene0H>\ y '\_ J K#(^ V. / daa». _v '^_ "~-> (?^. '*Mtf n^** 'astel .Ai L . XLBANXTS LAQO DJ ALB AN -•••*r ^SSiJi^^iiflK. The Campagna.] route 52.— grotta ferrata. 495 The post-road diverges to the rt. about a mile from Genzano, running due r f or nearly a mUe. Just beyond the point where it curves again towards the E. a short ascent leads to Civita Lavmia (Rte. 53), a con- spicuous object on the rt., nearly 3 m. from Genzano.] ROUTE 52. From Rome by Tram to Albano, by Grotta Ferrata, Marino, Castel Gandolfo, and the La^o di Albano.— Ascent of Monte Cavo. For the route by tram to Grotta Ferrata, see Rte. 47. GROTTA FERRATA (Pop. 1830]. Immediately on the rt. is the im- mense c^tellated *Monasteiy o/ S. Basilio the on y one of the Order S Italy. A sufficient number of priests and lay brothers still occupy it to officiate in the Church and to direct a school, the bmlding having Ln dec W a National Monmnent. The services here are performed S the Greek language and according to he ^J-^^^ ritual^'f *^ monastery was restored to its ancient discipline by Leo XIII. It was Sed by St. Nilus about a.d. 1000, and was given m ccmrn^rulam by P^ II to^Card. Bessarion in 1462. Sixtus IV. appointed as cardmal- abb^t his nephew Giuliano della Rovere, afterwards Juhus II who converted it into a fortress, strengthening it with towers and a ditch. The Churdi was rebuilt and disfigured in 1754 by Card. Guadagni 01.W nf the monasterv At that period the 16 fine fluted columns of Greek IrbleT^^^^ the su^ort of the roof. In the summer of 1880 some portions of two of the pilasters in the 1. aisle were removed, when the co umns were agam revealed The openings are closed by small doors, which the sacristan wm unlock The facade, in semi-Gothic style, was constructed by TrL of Caid. Mattei' in' 1844, who also /e^^ored the vestibule. The belfrv of the 12th cent, was much damaged by lightning in 1778 The Vestibule, all that remains of the ancient Church, has an outer entrance, made up of an ancient marble frieze The door o^ t^e Church belonged to the old building erected in the 11th cent The Greek inscription on it, exhorting all who enter to put ofl pride and Wdly thought, that they may find a lenient judge inside, i« I^^h^aps of In earlier period, it is'reproduced in Greek and Latin on a slab to ?he rt of the door. Above is a mosaic, representing Jesus Christ, the Vi rain St John Bapt., and St. Bartholomew. Sn'the vault over the high altar are mosaics of the Apostles. Be- tween them stood once the figure of our Saviour which has been lost. The empty throne and Agnus Dei were added in 1857. At the bottom of the^aisle is an eagle In mosaic, the armorial bearings of the counts p Tusoulum, said to have belonged to the tomb of Benedict IX., who 496 ROUTE 52. — GROTTA FERBATA. [Sect. II. was a member of that family. There is some good Cosmatesque pave- ment in the centre of the nave. The Chapel op SS. Nilus and Bartholomew, both abbots of this monastery, is celebrated for its ♦Frescoes by Domenichino (1610). He was employed by Odoardo Farnese, while abbot, to decorate it, at the particular recommendation of his master Annibale Carracci, when in his 29th year. These fine works represent the acts and miracles of St. Nilus (1-) and St. Bartholomew (rt.). On the 1. of the altar, The demoniac boy cured by the prayers of St. Nilus in the convent of S. Adriano near Rossano, with oil taken by a monk from the lamp of the Virgin. In the lunette is St. Nilus dying, surrounded by monks. On the opposite wall, the Virgin and Child, surrounded by angels, giving a golden apple to the two saints. On the 1. wall of the chapel the meet- ing of St. Nilus and Otho III., at Qaeta, one of the finest compositions and most powerful paintings of the series. The figure in green holding the Emperor's horse is Domenichino himself, the person leaning on the horse is Guido Reni, and the one behind him is Guercino ; the courtier in a green dress behind to the rt. is Giambattista Agucci, one of Domenichino's early patrons; the youth with a blue cap and white plume, retreating before the prancing horse, is the young girl of Frascati, to whom Domenichino was attached, but whom he was unable to obtain from her parents. On the oppo>o1ovik1 by her comomfOcariaA. in lf>17. Tho Cathedral, dadloaiod to 81. Baniabta. has a bnr» J^baiifig of tfcui patron fiaist hthind tho high BlUr, with an aitgd bj Guir>c%mK In Ihn^. ifttiiMmt la a good fbctuw oi St. BartUkupfw by Gutrtino, but inmrod by rM«oratton». In tba Sactiiiy la a tkMA Ukixti from tb<» Turki4 at the UUIm <4 Lamato. In a taoaU Ptazia clow bv u a Fountain, by Pontpto Ca»l«flm>a aaliTO •cnlf«or (1642). Tho torn Moora, with thoir hand* bound at ih^ boa o! a oolunti, *ml Iha <«rbi ktnmi, ooounomoraU %^ ▼lotcwy al I^oanto ^»oo^^7 ^^' cdMiMMoColcMiui. RonAdthacornartotbo 1. w tho Patectp buUt upon th# fonndationa of tha aniclont ca^iln. iBiMa a tailing it a oolumn aad on thd fint Mid Moood floor a oollocUoa of picture. Uxlndii^ poHiaito €d tbo FbpM. Mod of UluMciMii mamben of Iba Coionsia lli tho ravina bakwr ibe Pidic* to the RIy. 9tilt« to which a roid dMCimitn T*>^ '^T«al fidntf tho GdoBm lusidv dovn to a Pvmc oaniM, on tho W. ^< I which to lU Angatdnka Chnnh ci iho M^dooaa d«lte Graiic, wiih a ptlnl^ of Si. Roch, aliribuioi to DommtcMno, t Sm IXrvctccy, pi U4. [Rom,} * « 408 fe6tTE 62.— LAKfi bP aLBanO. [Sefct. 11. The irain-rdad to Albftno croseos a rivulet which occupies the ancient bed of the Aqua Ferefitina^ uI>on Whose banks the Latin tribes held their general assemblies, from the destruction of Alba to the consulship of P. Decius MuB, B.C. 340. Many councils of the confederation which took place In this valley are mentioned by Dionj-sius and Livy. Among these were the assemblies at which Tarquinius Superbus compassed the death of Tumus Herdonius ; that at which the deputies decidod on war with Rome to restore the Tarquins to the throne ; that held during the siege of Fidcnae ; and that which preceded the battle of Lake Rcgillus. The visitor may trace the stream to the * caput aquae,' in which, accord- ing to Livy, Tumus Herdonius, chieftain of Aricia, was drowned by having a hurdle covered with heavy stones placed over him. The spring rises in a clear volume at the base lof a mass of tufa, ^ m. E. of the road. From the bottom of the valley, here extremely picturesque and deeply excavated between precipices of peperino, an ascent of * m. through the pleasant woods of the Parco di Colonna brings us to a little roadside oratory on the rt., where a view suddenly opens upon the beautiful *Lake of Albano. This celebrated sheet of water (2^ m. by 1 J m., and about 6 m. round) is of purely volcanic origin, bearing the unmistakable form of an extinct crater, whose sides of tufa have become overgrown with brushwood. Here is the lowest point (246 ft.) of the hp-crater in which the lake lies, and over which the waters flowed into the \ allia Ferentina, before the cutting of the Emissarium. [From hence a path on the 1. strikes off to (lA hr.) Monte Cavo, along the ridge of (16 mm.) Costa Castello, the probable site of Alba Lonqa. For many years anti- quaries had fixed the site of this celebrated city at Palazzuolo, on the E side of the lake, although the space appeared too limited to agree with the descriptions of Livy and Dionysius. It is now thought that it was situated on the ridge stretching along the N. »ido, and bounded by precipices towards the water. This position would oxplwn why tho city was designated by the term longa. There would ho room only fori* single street, whose length could not have been lesn than I ni . PulttZ/uolo ^ was one of the citadels which defended the town at it« S.K. cxtrHinity. There are few spots in the neighbourhood of Rome whi<'h tho poetry of Virgil has made so familiar to the scholar as Alba Longa :— Sigua tlbi dicam : tu condita mento tunnto. Cum tibi solliclto secrctl ad flumii»i« ituduu), Litorew ingena iuveuta sub ilicibus mn Triginta capitum foetus enixa jacebit, Alba, solo re<;ubaii», albi circuiu ubeni imll, Is locua urbia crit, requiea ea ccrta laboiuio. Am. 111. 3m. There can hardly be a doubt that Alba was a powerful city anUjriot to the foundation of Rome. It was destroyed by Tulluw Hoi4tihu5 (b c 650) after the famous contest of the Horatii and Cunatti, when lU inhabitants removed to Rome, and settled on the Caolian Hill. In later times the Julian and other illustrious families traced their d«M«it from these Alban Colonists.] Following the ridge of Monte Cucco, after 1 J m. a roftd on tho 1. descends to the Rly. Stat., from which a pathway, partly ancient and The Campagna.] liduTfi 52.— castEl gandolfo. 499 paved with blocks of lava, leads down in 10 min. to tho Emissarium. 6 min further the high road divides. Straight on the Galleria di Sotto, shaded with fine trees, loads down to (1^ m.) Albania. We ascend 1. to CASTEL GANDOLFOt (Pop. 2100), formerly the summer retreat of the Popes, and still assigned to tho Holy See for that purpose by a law of 1871. In the 12th cent, it was the property of the Gandolfi family of Genoa, whose Tnrris or Castrum de Gandulphis is mentioned in many documents of the period. Under Honorius III., in 1218 it . passed into the hands of the Savelli, who held it as their stronghold for nearly 400 years, defying alternately the Popes, the barons, and the neighbouring towns. In 14:36 it was sacked and burnt by the troops of Eugenius IV., because Cola Savelli had afforded an asylum in it to Antonio da Pontedera, who had rebelled against the Pope. On this occasion the castle was confiscated ; but the Savelli again obtained possession of it in 1447, and continued to hold it until 1696, about which time Sixtus V. converted it into a duchy for Bernardino Savelli. The fortunes of his house were, however, too much reduced to supixirt the dignity, and he sold the property to the Government for 150,000 scudi, an immense sum for the time. In 1604 Clement VIII. incorporated it with the temporal possessions of the Holy See. Urban VIH., about 1630, determined to convert it into a summer residence for the sovereign pontiffs, and began the Papal Palace, from tho dcfiignfl of Carh Madtrm mM o^htn. 1m 1660 tho plans wore enlarged und iinpfo\'«d I7 AkOMlto VIL. and ibtt building was altered to itn nrofwnt fona hjQkmm^ XIII- in thu 1«0| century. It is a plain, unlnteroHtin^j •diioo. coc&mandii^. htyAvvnding to the town, following the outer circle of the Ancient Walls. They consist of peperino blocks, frequently 8 ft. by 4 ft., which continue vmtil near the so-called Tower of Aeneas, where we enter the city. Behind the fountain in the Piazza, on the 1. of the high road to Genzano, a lane leads up to the Casino, formerly of the Bonelli, now of the Dionigi family, which is entirely founded on ancient substructions. In the court are fragments of sculpture and inscriptions. Over the entrance a marble slab records that in 1723 Carlo Bonelli received a visit there from James III. and Maria Clementina, his wife. In the adjacent olive-plantation, excavations made in 1826 revealed a quantity of spears, swords, weapons, and utensils. On the opposite side of the road are substructions, in three successive tiers, supporting the platform, on which was built the Temple of Juno Lanuvina, which, hke most other ancient temples, had its front towards the S.W. The masonry is partly of opus incertum and partly of reticulated work. Further up tbelt^ne we reach a viue-cla4 eminence called S,I^oren^o^ 606 ROUTE 53. — VELLETRI. [Sect. IT. from a monastery which stood on the spot, m the 13th cent It occupied the site of far more ancient buildings ; for excavations imder- taken there early in 1884 by Lord Savile, when British Ambassador in Borne revealed the existence of a series of .chambers with mosaic pavements, supported by pilasters and half columns with surrounding porticos chiefly of reticulated masonry. This building is supposed to have been connected with the Nymphaeum of a Roman villa of the Imperial age, as waterpipes, reservoirs, and drains were Jou°d in abundance at the same time, and some pieces of sculpture, including five horses' heads. Close by were discovered some remains of another building of great antiquity. They consist of a parallelogram, 15 yds. by 7 formed of colossal opus quadratum, of which twelve courses are stiU erect, overlooking an ancient polygonally-paved road, which probably once led up to the temple of Juno Sospita or to the arx of Lanuvium. The whole territory of Civita Lavinia is intersected with ancient roads, frequently retaining their Roman pavement, and the ruins of ancient villas recur on every eminence. One of these, called the CoZfe delle Crocette, lies on the rt. of the Rly., about 1^ m E of the station The house is built upon the quadrilateral masses of the ancient villa walls and the distribution of the Roman or pre-Roman residence may still be clearly traced. Fragments of pottery and scarabaei found on the land indicate a period of Etrusco-Latin civilization preceding the subsequent period of Roman luxury displayed m these viUas ; but the remnants of huge amphorae, also found on the spot, as weU as the massive base of an ancient wine-press, show that formerly, as now, this was a wine-producing district. [Carriage-road N. to (2^ m.) Genzano (Rte. 51).] The Rly. crosses a deep ravine by a handsome iron viaduct to reach 27 m VELLETRI t (Pop. 18,000), the see of a bishopric conjointly with Ostia, always held by the Cardinal Dean of the Sacred College. The city is picturesquely situated on an eminence upon the lower slopes of Monte Artemisio, and occupies the site of the Volscian city of Velitrae, whose hostilities with Rome date from the reign of Ancus Martins. It was surrounded with a fosse and vallum by Coriolanus and was so frequently in collision with the Romans that they at lencrbh, after the close of the great Latin war in B.C. 338 destroyed its wafis and transported its local senators to Rome, where they are said to have become the ancestors of the distinct caste called the Trasteverini. The family of Augustus came originally from Velitrae. In the btb cent Velletri was occupied by Belisarius, and it subsequentlv suffered from the Lombard invasion which ruined so many towns on the Appian Wav In 1744 the hills on the N. of the town were the scene of a battle in which Charles III. of Naples gained a victory over the Austrian army under Prince Lobkowitz ; and m 1849 Garibaldi defeated the Neapolitan troops near the cemetery, where a column of Victory was erected in 1883. A short ascent from the Stat, leads Jo the city gate, whence a broad road turns rt. and ascends to the upper part of the town, commanding beautiful views. [Straight on, in the lower town, is tJiQ f S^e Directory, p. 435, The Campagna.] ROUTE 53.— SEGNI. 507 Cathedral of St. Clement, rebuilt in 1660. At the end of the I. aisle is a fresco of the Virgin and Child, with SS. Sebastian, Mary Magd., Anthony the hermit, and Roch. To the rt. of the high altar is a Cosmatesque table. The columns of the subterranean chapel belong to ancient buildings. In the sacristy is a lavamano, or basin for ablution, presented by Card, della Rovere, afterwards Julius 11. , when bishop of Ostia and Velletri. Another eminent bishop of this diocese was Latino Orsino, better known as Card. Latinus, one of the most learned prelates of the 13th cent., who is believed by some writers to have been the author of the beautiful hymn Dies irae, Dies illaji Ascending by the carriage-road, we pass on the rt. the Palazzo Lancellotti, now Ginetti, built by Martino Longhi. It has a fine stair- case and loggie, from which the *View over the subjacent plain and the Volscian Mountains, embracing Cori, Rocca Massima, Cisterna, Ser- moneta, Terracina, and Montefortino, is very beautiful. The lofty bell-tower of S. M. in Trivio (a.d. 1353), higher up on the 1,, is supposed to have been an offering for the deliverance of the city from the plague which desolated it in 1348, during its siege by Nicola Caetani, Lord of Fondi. This tower is in the same style as many of the Roman campanili, but is built of basaltic lava in small courses instead of brick. On the highest point of the city, where once stood the citadel, is the Palazzo Pubblico, which contains a few antiquities. Here is preserved the Lapide di Lolcirio, an inscription referring to an ancient amphi- theatre in the time of Valens and Valentinian. The celebrated Volscian reliefs now in the Naples Museum were found at Velletri in 1784. Velletri stands on a volcanic hill, several eruptions of lava being seen in the numerous quarries which supply building and paving stone for the town. The neighbourhood is celebrated for its wines. [Rly. N.E. to Segni, passing on the rt. Monte Foi-Htw (2080 ft.), the highest village in the neighbourhood. It occupies the site of the ancient Artena, which gives its name to the hamlet 1^ m. S. at the foot of the hill. Equidistant to the N. is Valnuyntone, a Stat, on the Naples Rly. After falling in with the main line we pass on the 1. the ruined Castle of Piombinara, with a lofty square tower. 15 m. SEGNIf Stat., 5 m. N. of the town (Pop. 6000). Segni (2300 ft.), the ancient Signia, is a place of very remote antiquity, having been colonized by Tarquinius Priscus, as a check on the Volsci and Hemici. The modern town, although the seat of a bishop, is a poor place ; it stands out as a great spur from the Volscian Mountains, and presents a very striking appearance on the declivity of a hill. The whole summit was enclosed within walls, extensive remains of which, in the most massive polygonal style, may be traced through the greater part of their circuit. During the ascent of 1^ hr. from the Stat., the Porta Saracinesca and S, Pietro are well seen on the 1. high above the valley. On the rt., just below the town, a road (becoming afterwards a mule path) turns rt, to Cori. The only entrance to Segni is through a S. gate, flanked by extensive remains of ?incieiit f See Pirectory, p. 434. 508 ROUTE 53. — CORI. [Sect. II. Ascending the street, we reach in 20 min. the Church of St Peter, occupying the site of an ancient temple, the cella of which is included in the modern edifice. The walls are built in regular courses of rectangular blocks of tufa, but rest on polygonal blocks of limestone. Behind it is a well-preserved circular reservoir for water, of the Roman period. A path leads hence to the Cross on the summit of the hill (splendid ♦view). At the N. angle of the walls is the Porta in Lucina, of massive construction, but choked up with earth and rubbish. Following a rough path within the wall to the 1., we reach the * Porta Saracinesca, a very remarkable specimen of the polygonal style, generally known as Cyclopean. The two sides consist of huge blocks converging upwardly, over which the flat roof or architrave is formed of three very large stones stretching across. Issuing from this igate, and turning to the right, the ancient walls may be traced all round the brow of the hill, for the most part preserved to a considerable height. A second or advanced line of wall runs lower down, in front of the principal circuit, which measures about IJ m. Specimens of Opus Signinunit so called from being first used at this place, may be seen among the old remains. There is a bridle-path of 6 hrs. across the mountains S.W. to Cori. It commands magnificent views, winding round the N. shoulder of the Volscian Mountains at a high level, and passing near the picturesque little town of Rocca Massima (2435 ft.). The descent from the brow of the ridge to Cori is long and steep, but the view over the Pontine Marshes, from Velletri to the Circean Promontory, the Alban Hills, and ancient Latium, is very fine.] On quitting Velletri, the Terracina Rly. runs parallel to the Segni branch for 1^ m., and then turns E. to 33 m. Giulianello. The village (815 ft.) stands on the 1. 1^ m. W. of it is the little Lago di Giulianello, an extinct crater. Further on to the 1. rises the peak of Rocca Massima, on the summit of which is perched one of the most inaccessible villages in Italy. 33 m. CORIt (Pop. 7000) is situated on a hill, nearly 3 m. to the 1. of the Stat. Two torrents, flowing through the deep ravines which bound the hill on the E. and W., unite below its W. angle under the name of the Fosso de' Picchioni, and fall into the Tebbia, which empties itself into the Pontine Marshes. The town is separated by an olive-grove into two parts, on the higher of which stood the ancient Acropolis. Virgil and Diodorus mention Cora as a colony from Alba Longa ; while Pliny states that it was founded ]?y Dardanus, which would make it one of the oldest Greek settlements in Italy. It was one of the 30 cities which formed the Latin League in B.C. 493. A great portion of the walls of the modern town was erected in the early part of the 15th cent, by Ladislaus King of Naples. The *walls exhibit constructions of four different periods. 1st, the irregular rough masses of stone put together in the ordinary polygonal style, with smaller stones, apparently from the neighbouring torrents, filling up the interstices of the larger blocks. 2nd, polygonal masses of Pelftsgic worj^mwiship. 3rdj similar polygonal walls, thQ stopes of Tho Campagna.] ROute 53. — ninpa. 509 which are more carefully cut, and adapted with greater precision, mark- ing the best period of this stylo of construction. 4th, smaller stones covering the older work, and resembling the style of the time of Sylla. The hill appears to have three circuits of walls ; the 1st, exhibiting the most ancient style of masonry, is seen at the lower part ; the 2nd, near the church of S. Oliva, and by the side of the road to the citadel ; the 3rd, surrounding the citadel, and exhibiting the workmanship of the second period. Turning to the rt., above the bridge, we reach in ^ hr. a small Piazza, with an Inn. Hence the Via Pelasga ascends on the I., passing on the 1. the CoUeg^ata, or principal Church, which has a few ancient columns. Imposing remains of ancient walls are visible here and there as we proceed. 10 min. higher up is the Church of S. Oliva, which stands upon ancient foundations, sup- posed to be those of a temple to Aesculapius and Hygeia. Its barrel- vault and apse are covered with 16th cent, frescoes of Scripture history. To tho rt, of the nave is a species of broad aisle, with eight whitewashed columns, one of which is square and fluted ; other ancient columns have been used up in the rebuilding of the cloister. We follow the road which ascends to the rt. of the Church, passing on the 1. some remarkably well-preserved walls, and afterwards turn 1. through a narrow dirty street to the (^ hr.) Church of S. Pietro. On the rt. is an ancient square marble altar, turned into a font, with rams' heads and mutilated gorgons. To the 1. of the building is the tetrastyle portico of the so-called ♦Temple of Hercules, with eight travertine columns retaining traces of stucco. The doorway is narrower at the top than at the bottom, and over it an inscription records its construction by the Duumviri of the town. The columns, which are very graceful and carefully worked, are of the Tuscan order, with bases. This Temple was copied by Raphael, when entrusted by Leo X. with the design of restoring Home on classic lines. Descending, and turning to the 1. we pass 5 min. below S. Oliva into the Via delle Colonne, where are some fragments of Tuscan columns, and reach a small Piazza in which are two *Corinthian columns belong- ing to the portico of the Temple of Castor and Pollux, very beautiful in style and execution. The Piazza overlooks the Pizzotonico, marking the position of an ancient Piscina ; the walls, best seen from below, are formed of huge blocks of limestone. The street which passes the door of the Inn leads in 10 min. to the Porta Ninfesina, on the road to Norba, where another mass of the polygonal walls is well preserved. Just beyond it is the ♦Ponte della Catena, a single arch, spanning the ravine, 75 ft. below the parapet. It is built of tufa, and is one of the most remarkable monuments of its kind. A very rough path leads on a high level from Cori to Norma in 3 hrs. The Rly. now runs S.E. by Cisterna to 44 m. Ninfa, a poor village built upon the ruins of a mediaeval town, with a dismantled castle and monastery, recently restored by the Caetani family. Here are some picturesque brick towers, and a 610 ttdUTfi 64. — ANZIO. [&ect. II. tuined church with frescoes. The small lake is mentioned by Pliny for its floating islands (good fishing). The little river Nymphaeus^ which had its origin in the lake, gave the name to the modem town. On the hill above stands Norma (Pop. 2282), near the site of the ancient Norba, also one of the 80 cities of the Latin League. In B.C. 492 it became a Roman colony, founded to check the inroads of the Volscians. During the civil wars it was betrayed to Lepidus, the general of Sylla ; but the garrison put the inhabitants to the sword, and set fire to the town, which was never rebuilt. The ruins are upon the highest point of a rocky ridge, ^ m. N. of the modern village. The walls are 1^ m. in circuit, and the blocks from 3 to 10 ft. in length. Four gates may still be traced, of one of which there are considerable remains. Within the walls is a large quadrilateral enclosure of polygonal masonry, containing channels for the conveyance of water. Wells and reservoirs are found near it, with remains of a temple. The Acropolis, in the centre of the town, appears to have been surrounded by a triple wall. Norma also may be reached from the Stat, of 46 m. Sermoneta, which gives a ducal title to Prince Caetani. On the 1. rises its picturesque Castle. The train goes on to (31 m.) Terra- dna (see Directory, p. 434 ; and Handbook, Soutlwrn Italy). ROUTE 54. From the Central Station to Porto d' Anzio and Kettuno, by Cecchina. — RalL Miles. 9 i8 Statious. Rome Ciampino Cecchina Miles. Stations. a6 Carroceto 36 Anzio 38 Nettuno The Kly. follows Route 48 as far as 18 m. Cecchina Junct., where it turns S. from the main line, descending gently in curves to 26 m. Carroceto, a farmhouse of the Borghese, where Innocent XII. was received on April 22, 1G98, by Prince Marcantonio of that family. The Selva di Nettuno, a forest of oaks and underwood extending nearly to the sea, has been much thinned since 1890. Charming view to the rt. on the descent to Porto d* Anzio. Before reaching the town we pass the Semaphore and the Lighthouse on the rt., both built on the ruins of Nero's Palace, Skud the Villa Mencacci (now Aldobrandini di Sarsina) on the 1. ANZIO t (Pop. 3500), though now a mere fishing village and second- rate bathing place, is the representative of Antium, the capital of the Yolsci, and one of the most important naval stations of Imperial Rome. f Se« Directory, p. 43S. The Campagna.] route 6L — ANZid. 511 It enjoys a pleasant ollmate in winter and spring, and is comparatively healthy even in summer, when every other place on the coast is rendered uninhabitable by malaria. It is famed for the beauty of its situation and the scenery commanded from its pier. The blue waters of the sea are bordered by cliffs of red and yellow marl, crowned by evergreens and pine-forests. Numerous villas line the coast between Anzio and Nettuno, and the picturesque ruins of ancient Roman palaces extend as far as Astura. The chief attractions of the place are the quail-shooting in May, and the sea-bathing from July to Sept. Antium was founded by Tyrrhenians and Pelasgiaus, and, although a member of the Latin League, sided with the Volscians against Rome. It was noted for its piracy and for its wealth. Taken by the Romans, B.C. 467, it was made a Latin colony ; but it revolted and was taken a second time by Camillus and C. Maenius Nepos in 338, when the rostra of its ships served to ornament the tribune of the orators in the Roman Forum. After this period Antium remained comparatively de- populated for four centuries, although the climate and scenery still attracted the Romans to its neighbourhood. Cicero had a villa at Antium, and another at Astura, which he describes in his letters to Atticus. The city was the birthplace of Nero, who restored it on a scale far surpassing its ancient grandeur : he adorned it with magnificent temples, and induced many of the rich patricians to build villas on its shores. The piers of the Port constructed by Nero still remain, a fine example of hydraulic architecture. They arc about 30 feet in thickness, built of large blocks of tufa united by pozzolana cement ; like all the ancient Roman moles, they consisted of a series of colossal piers, separated by open spaces, and spanned by arches. One of the arms is 900 yds. in length, the other 530; they enclosed an extensive basin, nearly as broad as lon^. About 1695 Innocent XII. formed a new port by adding a short pier to the E. mole of the ancient harbour, and filling up the open arches of the Roman construction. The result was a rapid deposit of sand, rendering the port almost useless for many years, but recent improvements have made it accessible to ships of 200 tons burden. 20 min. W. of the Piazza are a Lighthouse and a Semaphore. From the latter a great Agger extends nearly 2 m. as far as the Villa Adele, and is the only relic of the Volscian city now visible. In size and height it resembles that of Servius at Rome, but it has no supporting waUs. The space enclosed by these fortifications is called Le Vig^acce, and is covered with a double layer of ruins — the lower one of the Volscian city, the upper of the Roman colony. From a column on the low headland a path descends to the so-called Arco Muto, where are some very interesting remains of the Villa op Nero, which extended along the sea-line towards the port. The ruins consist chiefly of walls and underground passages in the tufaceous rock ; many a pebble on the beach is a sea- worn fragment of ancient marble. Nero's villa was of great extent. Ajnong its ruins were found the Apollo Belvedere in the time of Julius II. ; and the Borghese Gladiator, now in the Louvre, about a century later. Ascending N.W. from the Piazza, and crossing the Rly., we reach in 10 min. on the 1. the entrance to the large VUla Aldobrandini di Sarsina, supposed to occupy the site of the Temple of Fortuna Antias, 512 rOutB 54.— villa albanl [Sect. IT. which was partly destroyed to make room for Nero's villa. In the hall on the ground floor there are four statues, discovered withm the precincts of the villa. One of them, representing a Priestess of Fortune, a magnificent work of Greek sculpture, was found lymg on the shore by the Arco Muto after a fierce gale in Dec. 1878. Opposite stands the Villa Albani, now a Hospital for children, on the site of the Hippodrome mentioned by Tacitus m speaking of the games ordered by the Senate to celebrate Poppaea's delivery of a son, and in honour of the Claudian and Domitian families. The whole space, now dry land, before the Villa Sarsina, was included m Nero s port, and has resulted from the gradual silting up of the latter. 10 SUA/hnii £ecj' Eitah\ Loixbi PORTO d'ANZIO to NETTUNO. min higher up the hill, on the rt. of the high road to Rome, is a field, containing some remains of walls and other ruins, and commanding a good view over the sea. There are no remains of the temples of Apollo and Aesculapius, celebrated in the history of the voyage of the Serpent of Epidaurus to Rome; nor of the more famous shrine of Equestrian Fortune, which Horace commemorated when he invoked the favour of the goddess for the projected expedition of Augustus to Britain :— O Diva gratum quae rejjis Antium Praeseiis vel iiuo toUerc de gi'aJu Mortale corpus, vel superboa Vertere funeribus triiimphoa. — Od. I. xxxv. 1. The Campa^na.] rOutE 54. — nEttunO. 513 The old tower or castle of Porto d' Anzio is supposed to have been built by the Franglpani, who were lords of Astura in the 13th cent. It bears the arms of Innocent X., who repaired its outworks about 1650. The fortress was partially restored in the time of Pius VII. as a prison. The tower and fortifications were dismantled by the English cruisers during their operations on the coast in 1813. There are four ways of reaching Nettutw : — (1) the Rly. ; (2) a boat, extremely pleasant in suitable weather ; (3) the ancient Via. Severiana, a shady lane which describes the entire circuit of the Villa Borghese, and requires an hour ; (4) the main carriage-road. The sands may be followed for a short distance, ascending to the 1. by a red house (Villa Golonna) before reaching the end of the first bay. The high road is bordered by a succession of villas, each occupy- ing the site and covering the remains of a Roman building, whose ruins sometimes extend far into the sea. ^ m. from Anzio we pass on the 1. the gate of the *Villa Borghese (Admission, when not occupied by the family, 50 c). The beautiful grounds contain an ancient tank or piscuia, excavated out of the rock and communicating with the sea, which was once used for the breeding of Murenae. 2 m. Nettuno (Pop. 5000). On the rt., before entering the town, is the dilapidated fortress commenced by Alexander VI., and restored by Urban VIII. and Alexander VII. Nettuno is surrounded by mediaeval walls, having several round towers, fine specimens of masonry, the principal edifices being the Castle, bearing the arms of the Golonna, and the Pal. Doria. The greater part of the country around belongs to the Borghese family. Nettuno contains a few fragments of columns and capitals, the remains probably of the temple of Neptune, from which it derived its name. The picturesque costume of the female population, which differs altogether from that of the villages of Latium, is Oriental in its character. The tradition is that the inhabitants are descended from a Saracenic colony, probably from one of the piratical bands which infested the coasts of Italy in the 8th and 9th cent. Although bordering on the sea, and neighbours to the active seafaring popula- tion of Anzio, the inhabitants of Nettuno are purely agricultural in their occupations ; there is not a boat in the place — indeed, the beach offers no protection for them. Andrea Sacchi, the painter, was born at Nettuno in 1610, and Padre Segneri, the classical orator, in 1639. At the opposite extremity of a small bay, 7 m. S.E.E., reached by a sandy road along the sea-coast, lies Astura. After leaving Nettuno we cross a stream supposed to be the Loracina of Livy (xliii. 4), and the Polig(mo d' Artiglieria, used for the testing of heavy ordnance guns, and for target practice. Numerous ruins of Roman edifices are passed on the road, the most remarkable being at Fogliano. Astura is situated on an island, the classical Insula Asturae. Here Cicero had a villa, which he describes in his letters to Atticus as situated in the sea : Est hie quidem locus amoenu^, et in mari ipso^ qui et Antio et Circaeiis aspici possit. The illustrious orator embarked here when he fled the proscription of the triumvirate : he had quitted precipitately his Tusculan Villa, and, sailing hence, landed at Formiae, where he was murdered. The Castle of Astura, in the 12th cent., was a strong- hold of the Frangipani family, from whom it passed successively to the [Borne.] 2 h 514 tlOUTfi 65. — TORRfi CI B'OCE VERDfi. [§ect. tt. Caetani, Conti, Orsini, and Colonna. In 1268, after the Ibattle of Tagliacozzo, the young Conradin, the last of the house of Hohenataufen, took refuge here. Giovanni Frangipani, who was then lord of Astura, handed over the royal fugitive to Charles d'Anjou, by whom, with the approval of the Pope, he was executed in the Piazza del Mercato at Naples. The woods of Astura are very agreeable. On the main land are extensive ruins, which also stretch out into the sea. Beyond Astlira is the river of the same name, mentioned by Pliny, now the B^iutne Conca, descending from Velletri, and one of the largest streams between the Tiber and the Garigliano. Below the tower are the remains of the ancient mole, constructed, like that of Antium, upon open arches. About 3 m. inland to the N. is the Toruaccio, a good Roman tomb in opus reticulatum ; it probably stood on the side of the highway which led from Astura to Tres Tabeniae, near the modern Cisterna. 4 m. beyond Astura is the Torre di Foce Verde, where the Moscarello stream empties itself into the sea; from which extends parallel to the coast, and only separated from it by a narrow strip of sand-downs, the Lag^o di Fogliano, communicatmg with the sea at the tower of the same name, and celebrated for its extensive fisheries of sea-basse, grey mullet, and eels, to the amount of 12,000 lbs. annually. It belongs to the Caetani family, and is often the scene of fishing- parties on a grand scale. This lake, nearly 12 m. long, is succeeded by another, the Lago di Caprolace, and 4 m. farther by a third, the Lago di S. Paolo, which extends to the base of the Circaean promontory, where it communicates with the sea at Torre Paolo, the site of the ancient Portub Cirgaeus. From Torre Paolo the path follows the N. base of the Circaean promontory for 5 m. to Torre Otevola. from which it runs along the shore, crossing the Fiume Sisto and the Portatore, before reaching Terracina. Travellers who intend to proceed southward from this point, without traversing 24 m. of marsh land, may embark at Astura for Terracina, visiting the Circaean promontory on their way. (See Handbook for Southern Italy.) ROUTE 55. PrOtti thd Central Station to Fiumicino, by PortO/ [For plau of thia Boute, gee p. 437, and Index-Map, p. 431.) Miles. Stations. Rome Central 2 Roma Tuscolana 6 Roma S. Paolo 10 Maj^liana Miles. Stations. 15 Ponte Galera 19 Porto 23 Fiumicino Soon after quitting the Central Stat, the Ely. to Florence and that to Tivoli turn off on the 1., while our line follows for some distance the' The Campagna.] ftOtJTfi 55.— MAGliana. 515 Naples Rly. It then turns to the rt. by the Stat of tlonid TusColana^ describes a wide curve round the S.E. and S. sides of the town, and passes over the roads to S. Sebastiano and S. Pooh. On the rt. are seen the Pyramid of Cestius and Monte Testaccio. After crossing the Tiber the Rly. turns S. to the Stat, of 6 m. S. Paolo, where the line from the Trastevere Stat, falls in on the rt. Further on, by the rt. bank of the Tiber, nearly opposite S. Paolo fnori le Mura, which stands about a mile to the E., is the little Church of S. Passera. 10 m. Mag^liana. On the 1., near the Stat., at the point where the Rly. curves to the W., is the Vigna Ceccarelli, the site of the Sacred Grove of the Fratres Arvales, a congregation of priests, said to have been formed by the twelve sons of Acca Larentia, the nurse of Romulus. The corporation continued to meet at least until the time of the Gordians. The most illustrious personages of the Republic and the Empire were enrolled in this brotherhood, the object of which was to obtain from the divinity an abundant harvest and vintage. The ruins discovered in the Vigna Ceccarelli consist of numerous inscriptions, with the remains of a small temple, over which is built the modern Casino of the vineyard. On the hill above was the sacred wood. Beneath it was subsequently excavated a small Christian cemetery, which contained the bodies of SS. Simplicius, Fundanus, and Veatrix. The small circular temple was dedicated to the Dea Dia, the divinity worshipped by the Arvales. The Sacred Grove was excavated in the 15th cent, by Fabrizio Galletti, and in 1868 by Henzen, of the German Institute, at the expense of the King and Queen of Prussia. The in.scriptions are in the Museo Nazionalc delle Ternie at Rome. Just beyond Magliana, on the rt., rises the Monte delle Piche, where the geologist will be able to study the relations of the pliocene deposits to the more modern diluvial ones containing bones of the fossil elephant, rhinoceros, &c., in the extensive cuttings made for the railway. In carrying a new embankment along the river were discovered some curious Roman constructions to prevent the encroachment of the Tiber. About a mile beyond the Stat., on the 1., are the extensive farm* buildings of La Magliana, occupying the site of a Praedium Manlia- num. They enclose the remains of a Pontifical residence founded towards the end of the 16th cent, by Sixtus IV., and afterwards enlarged and adorned by Innocent VIII. and Julius II. It became a favourite hunting-ground of several Popes, and especially of Leo X., who held a consistory in the building, and there caught his last illness in 1521. Pius IV. restored the court, with its beautiful fountain. Sixtus V. was the last Pope recorded as having lived in this suburban retreat, which, after the ICth cent., was abandoned to farmers, who soon destroyed the greater part of the fine works of art it once contained, including the pavinieyiti majolicati for which it was famous. Some of the frescoes, of the Umbrian school, but greatly iujiured, were purchased for the French Government by Thiers, in 1872. In the autumn of 1874 the frescoes by Spagna, which adorned the Consistorial Hall, representing Apollo and the Muses, were removed to the Picture Gallery at the Pal. dei Conser- vatori at Rome. 2 L 2 516 kOUTE 56. — POftTO. [Sect. 11» 6 m. Ponte Galera Junct. Here we quit the Civita Vecchia line (Kte. 58), and turn 1. to 9 m. PORTO. The modern buildings consist of the Casa Torlonia^ and the Bishop's Palace, or Castle, fortified by Cardinal Roderigo Borgia, whose coat-of-arms is still to be seen above the gate. Before reaching the farm-buildings of the Casa Torlonia, on the 1. is a large circular brick ruin supposed to have been a temple dedicated to Portumnus, the divinity of porta and harbours. From the style of its masonry it appears to date from the time of the Antonines ; beneath it are vaulted chambers of good masonry. From this point diverge on either hand two lines of wall, which formed the defences of the town towards Rome : they extend to the ancient Port, which they enclosed as well as the buildings that surround it. Opposite the Casa Torlonia, on thel., close to the road, has been placed a very interesting inscription discovered on the spot, which has thrown much light on the history of the construction of the ancient Port. It states that, in consequence of the inundations with which Rome had been threatened by the difficulty of the waters of the Tiber reaching the sea, the Emperor Claudius had cut new channels to it in a.d 46. ti . clavdivs . drvsi . p . caesar — AVG . GERMANICVS . PONTIP . MAX . — TRIB . POTEST. VI . COS . Ill . DESIGN. nn . IMP. XII . PP — P08SIS . DVCTIS . a. TIBERI OPERIS . PORTVS — CAV8SA . EMISSISQVE IN . MARE . VRBEM . INVNDATIONIB PERICVLO . LIBERA VIT. A short way beyond this we pass under the Arco di Nostra Donna, so called from an image of the Virgin beneath, opening on the Port of Trajan, or what in modern language might be called Trajan's Dock. A part of its extensive area is now reduced to a marshy state, although preserving its hexagonal form, and surrounded on every side by ruins of buildings which formed the warehouses, the emporium of the mari- time commerce of Rome in the 2nd and 3rd centuries, represented on the medals of Trajan. It communicated with the port of Claudius (see below) on the N.W. side. Its circuit, still nearly entire, measures 2400 yds. ; the greatest depth of the water in it now scarcely reaches 10 ft. Further on between the Portus Trajani and Trajan's canal (now the Canale di Fiumicijio) is the mediaeval Castle, now the Bishop's Palace, in the court of which are numerous ancient inscriptions and fragments of sculpture discovered in the neighbourhood. The small chapel of S. Lucia, formerly dedicated to St. Lawrence, offers nothing of interest. The see of Porto is one of the six suburban cardinal bishoprics, and is always held by the Sub-Dean of the Sacred College. The situation of Porto, and the great hydraulic works of which it was the centre, are worthy of examination by those interested in the engineering works of Imperial Rome.f Ostia, the port of Rome from the earliest period, stood, not upon its present site, but where the ruins are seen J m. lower down the river. Thence the Tiber emptied itself into the sea by a single branch, which, from the increasing alluvial deposits, had diminished so much in depth as to be difficult of navigation, while its current became so impeded by the extension of its delta as to threaten Rome with inundation. A new Port and a more rapid fall of the river to the sea became necessary. Projected by Augustus, these t We must refer such persons to the descriptious of Fea, Canina, and Lanciani, the last of whom superintended the excavations made by Prince Torlonia in 1866-1870. The Campagna.] route 55. — fiumicino. 617 works were not executed until the reign of Claudius, in the middle of the 1st cent. The Portus Claudii consisted of a vast harbour open- ing directly on the sea to the N.W., encircled by two piers, with a breakwater, to protect the entrance, surmounted by a lighthouse. This Port, owing to the enormous increase of trade, soon became too small, in consequence of which an inner one was commenced by Trajan, and completed about a.d. 103. The circuit of the Claudian Port may still be traced in the meadows to the N. of the hexagonal dock of Trajan. The second object, an increased fall to the Tiber, was effected by cutting canals, through which its waters reached the sea in a direct line; and it is to the latter great work that the above-mentioned 'inscription particularly refers. Under Trajan a new canal from the Tiber was substituted for the old double Fossae Claudianae ; this forms the N. arm of the river, or the Fiumicino, which extends from beyond Porto to the sea, and is now the only navigable one. The space between the Fossa Trajani, as this canal was called, and the Fiumara Grande, or old channel of the Tiber, constitutes the alluvial tract called the Isola Sacra, a name probably derived from its having been granted by Constantino to the Church of SS. Peter and Paul at Ostia. Opposite to Porto, across the canal (no ferry-boat), is S. Ippolito, the once celebrated cathedral church of Porto, with a good mediaeval bell-tower ; scarcely anything remains of the Church, which was dedicated to one of the first bishops of the see. 22 m. Fiumicinot (Pop. 300) owes its foundation to Paul V., who in 1612 employed Fontana in dredging and repairing the Canal of Trajan, and making a small port. It now forms the harbour of Rome, being placed at the mouth of the only navigable arm of the Tiber. On the canal are moored numerous coasting-vessels on their way to and from Rome. Fiumicino is a good deal frequented by the Romans in May during the quail-shooting season, when these birds arrive here in immense numbers on their nofrthern migration. At the W. extremity of the village is a massive Tower, built in 1773 by Clement XIV., and commanding a fine *View (apply to the custom-house officer). It was then on the borders of the sea, which had receded 319 yds. in March, 1858 (now about 650). On its summit is a lighthouse. The entrance to the river is narrow, between two piers erected on piles. On the bar there is seldom above 6 ft. of water. At this part of the coast the land gains on the sea at the rate of 13 ft. a year. A bridge of boats crosses the Canal near the Rly. Stat, to the opposite or S. bank, on which is a large dilapidated palace of the Popes, now the property of Count BenniceUi, a Church, and a dismantled mediaeval Tower, which in former days stood also on the sea-shore. A tolerable road leads from the bridge to (3 m.) Ostia, traversing the Isola bacra and crossing the Tiber by ferry-boat, at Torre Boacciana, t See Directory, p. 433. 518 jiouTE 06.— MONTI pj B, FAOLO, [Sect. II. ROUTE 56. From Rome to Ostla, by River or Road. (For plan of this Koute, see. p. 4;}?, and Index-Map, p. 431.1 The podestrian may take the early train to Fiuinicino (Rte. 66), and walk thence to Ostia in an hour, crossing the ferry. The trip by S^-eamer down the Tiber to Ostia is very interesting. The htmks of the river abound with ancient Roman quay constructions, paved roads, and tombs, probably those of maritime men, of which, there are good specimens on the rt. bank, near the Capo due-Bami. Opposite the Casaledi Dragoncello are fine remains of Roman jetties, in stone and reticulated work ; and ^ m. before the Fiumicino canal the ancient buttress piers on the rt. bank indicate the mouth of Trajan's channel. The descent takes 2^ hrs., and the return 3^. Members of the Roman rowing clubs (CanoUieri del Tevere) some- times row down to Ostia with 4 or 6 oars in three or four hours, and afterwards to Fiumicino, returning thence to Rome by evening train. OsTTA is 15 m. from Rome. A two-horse carriage to go and return in the same day may be hired for 30 fr. The drive each way will occupy 2^ hrs., and 4 hrs. at least should be npont among the niinK. Take luncheon, and do not attempt to include Owtcl Fiwano In tho same day. The road leaves Rome by the Porta S. Paolo, ixuwlng under tho railway viaduct about 500 yds. beyond the gato, and follown ihthai#« 1%., brought to Rome by Constantius, and now in tboPlauoft at tbe LaUrwii. The hill is now crowned with a fort. About 6 m. from the centre of Rome is the Plorfo^bUa Brntctann. {torn which is shipped the pozzolana found in groat noaaiiiim in t^l* nei^* bourhood. Nearly a mile further is the Torre di Yalk, wboro Uin Hivui Albanus, which derives its source from the Eniiitarliun (A Ik* lak« of Albano, empties itself into the Tiber. Near tbk tho car t iy y oad to Castel Poraano, Decimo, and Pratica branch« odi on Iko L A viirjr extensive plain of pasture-land extends on the li. to iHo Tlfccr. 9 m. from Rome, before reaching the Ostena 4% yt i Jii/f d i , w< tho Decimo, a considerable stream ; and 1^ ra. furthor, tho FoQil Rifolta, an ancient viaduct of peperino, resemWin^j tho Poalo dl N< (Rte. 46). It dates probably from the 7th ct> mwt p«rl,,r«»inf •l^hpuHaiu^Unclinl^ Bonte; aiul dnriiD* tbo»unimor u mwh ^oto^ with "^*l*'»*-£^ loand^ Iw AooiTmrtto i» ttio poft c4 Bomw, and for m^ny o«*terlc» w2r^p2i«T«nba»tatioa of \mnc^ni exi>^.iit1on» to tbo dlMant ~!S2J!Tiba Woman wo^.. ^(Vhajt the n,o,i r»n^^^ thow of Sclplo Af rioaanf to ^pai", mh! of CU«*gu* to "nU*"- Tbero iMM«^aiK> wuwixo nM-fkU here, hdA a Un^e Roman Ikot arp^^n* to SSidflOjOO?W«^ ^bo ' wnw Roman Mum, POiM»^ from tho SSTof 8u2bo tW cbaniil w«a alflMct mtifdtv chok«d tip. Bnl In 3E of ihn WJS -of ih^ f^"^mo tiSTN^rthf^^ imr.3rUnr>. od Ibe n^ .. . .Kto graduallv lod to tho oUlmato dooay o 0»tja ami m t^ iVmn «f l>roroc?w I* lid loM lu wal^ and wv nil htti d«wtO(i. II uilMiiral docuTwoiik ol f w-4 under tbo MM of utesoriopow. toiri 620 ROUTE 56. — 08TIA. [Sect. II. instead of occupying, as supposed by Nibby and other topographers, the site of the mediaeval Ostia which still remains. In the pontificate of Leo IV. (a.d. 847-856), it became memorable for the defeat of the Saracens, which Raphael has represented in the Stanze of the Vatican. For many centuries Ostia was a position of some importance in the mediaeval wars, and the population appears to have been considerable as late as 1408, when it was besieged and taken by Ladislaus king of Naples, who retained it until 1413. The fortifications were subsequently repaired by Martin V., whose arms may yet be seen on the walls. About the same time Card. d'Estouteville, bishop of the diocese, restored the town, and probably laid the foundation of the present Castle, which was built and fortified by his successor. Card. Giuliano della Rovere, afterwards Julius II., from the designs of Sangallo, who lived at Ostia for two years in the service of the Cardinal. This picturesque fortress consists of a massive circular tower, surrounded by bastions, which are connected by a curtain and defended by a ditch. The arms of the Delia Rovere family are still seen over the gate. Baldassare Peruzzi was employed to decorate the interior with frescoes ; but all traces of his works have been destroyed by damp and neglect. Pius V. built as an additional defence the Torre San MicJiele lower down the river. Modern Ostia, after the death of Julius II., gradually declined, and was finally ruined in 1612, when Paul V. reopened the rt. branch of the Tiber, precisely as the ancient city had been by the con- struction of the port of Claudius. The small but tasteful Cathedral of S. Aurea w^as rebuilt by Card. deUa Rovere from the designs of Baccio Pontelli in 1497. The bishopric of Ostia was founded in the pontificate of S. Urban I. (a.d. 229), S. Cyriacus having been its first bishop. From the earliest times the Pope, when not in priest's orders at his election, was ordained by the bishop of Ostia, who is always one of the six Cardinal Priests, and dean of the Sacred College. The see was united to that of Velletri by Eugenius III. in 1150. In the hall and on the stairs of the Bishop's Palace are some specimens of ancient sculpture, and numerous inscrip- tions, both pagan and early Christian, discovered amongst the ruins of the Roman port. S. Monica, the mother of St. Augustin, died here in 387. The magnificent buildings of Ostia supplied marbles for numerous lime-kilns during four or five centuries of spoliation by Popes and Princes. When Poggio Bracciolini, the historian, visited Ostia, with Cosimo de' Medici, they found the villagers burning an entire temple into lime. Regular excavations were only begun at the end of the 18th cent. Among the earliest explorers were our countrvmen, Gavin Hamilton, and R. Fagan, the British consul at Rome, by whose researches the well-known bust of the young Augustus, the Ganymede of Phaedimus, and other beautiful sculptures in the Vatican Museum were brought to light. Pius VI. and VII. enriched the Vatican Museum with the splendid results of their researches during several successive years. Card. Pacca, then bishop of the see, and Signor Cartoni, in 1824, undertook a series of excavations on the W. side of modern Ostia, beyond the walls of the ancient city. Numerous inscriptions, and several sarcophagi, were discovered. A systematic excavation of the ruins was inaugurated in 18^4 hy Pi^s JX., under tbq direction of Vjscoptj, The Jt^liftfl The Campagna.] route 56. — temple op vulcan. 521 Government bought the land from Prince Aldobrandiai in 1881, and has entrusted the work of exploration successively to Comm. Rosa and Comm. Lanciani. N.B.— It is better to explore first the W. division of the ruins, returning to the Temple of Vulcan for luncheon, and reserving the E. portion of the city for the afternoon. The carriage can be ordered to nieet the traveller at the Tombs (beyond the Porta Laurentina, where the ex- cursion ends (see Plan). Following the high road from the Castle and turning to the rt., we reach in 5 min. on the 1., a gateway leading into the Via Ostiensis (see below). Continuing along the road, we pass on the rt, the Farm of S. Sebastiano, and further on, to the 1., the Theatre, the Temple of Ceres, and the Mithraic Temple (see below). The white building on the rt. is the Casone del Sale, where lives the Custode of the ruins (2-5 fr., according to the number of the party). Nearly opposite this building runs to the 1. a wide street, 120 yards long, with an arcade of brickwork on either side ; upon it open several shops, uniform in scale and size, with cornices of terra-cotta. We now reach the great ♦Temple of Vulcan, a fine brick structure, of the time of Hadrian, raised on a platform approached from the S. side by 29 steps. Beneath the cella are extensive vaulted chambers, deriving light from eight loopholes, the lintels of which are made with blocks bearing earlier inscriptions. The pavement is of fine opus spicatum. The threshold of the cella is formed by a single mass of marmo Affricano, 16 ft. long, unfortunately injured by fire. The cella itself, once cased in slabs of coloured marbles, has on each side three niches for statues. The altar is almost entire. In front stood an hexa- style pronaos of fluted columns of white marble, about 3 ft. in diameter ; and the pavement was composed of slabs, 6 ft. long and 3 wide. The huge fragments of entablature scattered around seem to belong to a restoration of the temple by Septimius Sovcrus. S. of the Temple lay the Forum, excavated in the beginning of the 19th cent., and subsequently filled up again. It was surrounded on three sides by cipollino columns, 3 ft. in diameter ; the length of the parallelogram being 73 yds., the width about 40. On the W. side of the street by which we reached the Temple are several warehouses, Ostia being famous for its immense granaries, in which the yearly supply of corn for the population of Rome was stored. Nothing can surpass the picturesque effect of these beautiful ruins, and the preservation of their details. On a wall between two doors, there is a tablet in terra-cotta mosaic, a sort of advertisement of the trade of the place. A flight of steps leads to a second story, from which we gain a good view of the adjacent ruins. [From this point a path leads S.W. in 5 min. to the Thermae, in which have been excavated several piscinae and cold baths. Marble steps line the base of the walls, and the floors of the basins are of black and white mosaic representing sea-monsters and nereids.J The ancient road following the embankment of the river from the warehouses has been carried away by successive floods and the encroach- ment Qf the stream, The modern path runs for 200 yds, across the fields, 622 ROUTE 56. — IMPERIAL PALACE. [Sect. 11. unta it falls again into the old line, which may be called the Street of Wharves. On the river-side are warehouses, the floors of which, as well as the thresholds of the doors, are raised 3 ft. above the pavement of the street, to facilitate the loading of carts. On the opposite side the ruins seem to belong to magazines for the reception of merchandise. One of these is a well-preserved *Room 12 yds. long and 10 wide, with six rows of large earthen oil-jars, 4 ft. in diameter, each bearing the mark of its capacity ; they are all sunk deep into the sand. Another store, belonging to the same house, is vaulted over, and has two circular openings for elevators. About 300 yds. further down, the street bends to the 1., increasing in width so as to leave a spacious side-walk. Here is a well-preserved puteal of marble, the lip of which is deeply marked by the friction of bucket-ropes. The water of the well is excellent, notwithstanding the vicinity of the sandy river. A few steps further is the postern entrance to the ♦Imperial Palace, ornamented with columns of grey granite and cipoUino. The state entrance opens on the main street, which led from the Porta Romana to the Temple of Vulcan, and thence to the sea. But the present state of the excavations obliges us to commence our survey at the opposite end. The plan of the building resembles exactly that of the larger dwellings at Pompeii. The vestibule (Ostium) opens on a little atrium, having on each side bathing-rooms of great magnificence. The one on the 1. is evidently a piscina, or cold swimming-bath, with steps leading down to it. The walls have nine niches, in one of which was discovered the finely draped female statue in the Braccio Ntwvo, restored as Ceres. The apodyterium, between the piscina and the atrium, supported by columns of giallo antico, had a polychrome mosaic pavement of great beauty, some specimens of which are now preserved in the Lateran Museum. On the rt. are hot or vapour baths, having numerous earthen pipes built into the walls communicating with the hypocaustum, or heating apparatus, beneath. On the floor of these hot-air chambers are good mosaics of genii riding upon dolphins, sea-monsters and gladiators. The bathing apartments open on a large peristylium, surrounded with columns of brickwork, coated with stucco. The mosaic in the centre represents the plan of a labyrinth, enclosed by battlemented walls, with a tower at each corner, and four gates. In the middle of the labyrinth is the lighthouse of Porto. On the S. side is a small fountain, and near it the entrance to the fauces, leading from the peri- stylium to the atrium, which was decorated with Corinthian pillars of granite and a semicircular fountain. Near thedoqrway of the principal vestibule is a terra-cotta relief, built into the wall, representing Silvanus Dendrophonis, the protecting divinity of Roman houses. Between the atrium and the peristylium, on the 1. of the fauces, is the Mithraeum, discovered in the spring of 1860, and supposed to be the same for which Commodus granted room in his palace. It consists of a small oblong room with a niche at the extremity, in the centre of which is the sacrificial altar, bearing the name of Caius Ceclius Hermaeros Antistbs HDJU8 Loci, who erected it de sua Pecdnia. The niche is approached by a flight of steps. On each side of the altar were found gtatqes of prie^t^ of Mithras, with Mithraic reliefs j in frppt is tb9 Tho Campagna.] route 56. — imperial palace. 523 circular depression which received the blood of tho sacrificed victims. On the mosaic floor is a double inscription to the divinity by L. Agrius Calendio, who lived a.d. 162, the first year of the reign of Marcus Aurelius. Several painted chambers have been opened in the vicmlty of the BUILDINGS discovered IN 1886 BETWEEN THE THEATRE AND TEMPLE OF VULCAN (OSTIA). a. Hoiiae probably of L. Apuleius Mar- cellus. B. Mithraic Temple. C. Four tetrastyle temples on the same terrace. D. Workshops. E. Street and Piazza. F. Ancient pUscina used as corn-store under the Empire. a. Stairs. b. Prothyrum. c. Atrium. d. Impluvium. e. Tablinum. g. Latrina. h. Bedrooms. i. Mosaic pavement. k. Mosaic of Naiads on Sea Horses. J. Kitchen with passage leading to Mithraeum. Mithraeum, and on a staircase leading to an upper story a niche with a coloured mosaic of Silenus, now in the Lateran Museum, W of the Palace, and separated from it by a narrow lane, are some JjUge vaults, with an arc^e in th^ front, of ^opd (fus quadratum, 524 ROUTE 56. — MITHRAIC TEMPLE. [Sect. n. supposed to be the Navalia, or arsenal, constructed or restored by C. Marcius Censorinus, praetor of Ostia, a.u.c. 417, and represented on one of his coins. The foundations are built at a depth of 6 ft. below the level of the sea. Between the Navalia and the Torre Boacciana are extensive but shapeless ruins, of the time of Septimius Severus, who also opened the Via Severiana, leading from Ostia to Laurentum, Ardea, Antium, and Terracina. This district was excavated by Mr. Fagan in 1797, when the fine statues of Fortune and Antinous (Braccio Nuovo), the three figures of Mercury, the colossal busts of Claudius and Antoninus Pius, the busts of Lucius Verus, Tiberius, and Com- modus, the Hygeia, and the semi-colossal statue of Minerva were dis- covered. The view from the summit of the Torre Boacciana commands the course of the branch of the Tiber by which Aeneas is said to have entered I^tium. The weU-known description of Virgil still applies to the locality in all respects. Jamque rubescebat radiis mare, et aethere ab alto Aurora in roseis fulgebat lutea bigis : Cum venti posuere, omnisque repente resedit Flatus, et in lento luctantur marmore tonsae. Atque hie Aeneas ingentem ex aequore lucum Prospicit. Hunc inter tluvio Tilnjrinus amoeno, Vorticibus rapidis, et mult& tlavus arena In mare prorumpit : variae circumque supraque Assuetae ripis volucres et fluminis alveo Aethera mulcebant cantu, lucoque volabant. Flectere iter sociis, terraeque advertere proras Imperat, et laetus fluvio succedit opaco. — Aen. vii. 25. [Ferry hence to the Isola Sacra for Fiumicino and Porio.'} About a mile below the Torre Boacciana rises the octagonal Torre di San Michele, built in 1569 by Pius V., now a lighthouse. Beturning to the house of the custode, and bearing to the rt., we pass the ruins of a large Private House, with a peristylium of tufa columns, once covered with stucco. The square room opening on the S. of the corridor is considered to be a summer triclinium. We now reach the excavations of 1885-86, which were intended to uncover a space 220 yds. long, separating the Theatre from the Temple of Vulcan. About half the work was accomplished, revealing just an acre of the ancient city. The buildings discovered are indicated in the accompanying plans, in the index of which are also specified the principal details of each construction. The *Mithraic Temple (locked) is an especially interesting discovery, and although it is to oe deplored that all this quarter of the ancient city should have been previously excavated, in the time of Pius VI., when the chief objects of art and antiquity were abstracted, still we must feel grateful to the directors of these researches for covering up this mysterious place of worship again, without allowing the emble- matic mosaic pavement, benches, and walls to be injured. It is 12 yds. long and 5 wide. The whole of the ground plan is in black and white mosaic. On the right of the entrance is a figure of the Summer Solstice, June 22, with a crow at his feet. On the left is the Winter Solstice, December 22. At the entrance on this side is a well (c) for baptizing the candidates, and opposite the dagger, the symbol of death to those who divulged the secrets, The black an^ The Campagna.] ROutE 66. — mitHraic tEmplE; S25 seven portioiis, the steps taken of the mysteries. These steps -Corax, Cryphius, Perses, Leo, Patrum. On the base of the revolve round the sun, thus Sun, Moon, Mercury, Jupiter, themselves are represented on six months, that is, the twelve white mosaic flooring is divided off into by the initiated to gain the full secrets were known by the following names:— Heliodromos, Pater, and, finally, Pater seats are the six great planets, which representing the days of the week — the Saturn, Mars, and Venus. On the seats either side the symbols and stars of each signs of the zodiac. Passing on the 1. the foundations of four small Temples in a row (COG C), the last of which has an altar inscribed Veneri sacrum, we come to the *Theatre mentioned in the ' Acta Martyrum ' as the spot near which SS. Quiriacus, Archqlaus, and Maximus, together with many early Christians, suffered martyrdom. The walls supporting the cavea, discovered in 1880, are of brick and reticulated work, of the time of Hadrian. The foundation may be attributed to the time of Agrippa, its first restoration to Hadrian, its almost entire reconstruction to Septimius Severus and Caracalla, and its final hurried patching up to Entrance F. Jupiter. 0. Mercury. H. The Moon. a-b. Seats. u. Well for baptizing candidates MITHRAIC TEMPLE. A; Summer Solstice. B. Winter Solstice. C. Venus. D. Mars. £. Saturn. Honorius. There are traces of the primitive construction in the scena, in the corridor which divides it from the orchestra and seats, and in the portions round the hemicycle. These portions resemble the best style of brick and tufa work of the Augustan age in the Capitol. The stage was of wood supported on cross walls of brick, in excavating which many fragments of sculpture and inscriptions were found. Portions of an inscription bear the name of Agrippa Cos. Of Hadrian's restoration few traces remain; but many fragments of a marble inscription, in honour of Septimius Severus, 10 ft. long, were found under and around the arch over which it was originally placed, probably a.d. 196-197. The restorations of Honorius, especially in the cavea, are in the worst style, but it is to this period that we owe the preservation of no fewer than 16 marble pedestals of statues bearing interesting inscrip- tions, chiefly from commercial or industrial guilds of the city to their patrons or superiors. ,.-,,,, In the hurried repairs of the 5th cent, these sohd blocks were employed to prop up the central arch giving entrance to the theatre, and the vaulted corridor leading from the arch to the orchestra. E, of 626 fedUTE 56.^F6rUM of UEliESi [Sect. It the Theatre are the New Baths, excavated ini 1891, with some fine! remains of mosaic pavement. In front of the Theatre stretches the Forum of Ceres, a piazza about 86 yds. square, originally sur- rounded with an arcade, the intercolumniations of whicli were madd use of as meeting-places or offices of various commercial guilds, espe- 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12 13 14. THEATRE OP OSTIA. Forum and Temple op Cburs. Temple of Ceres. ProDaos with bases and capitals. Water-channel. Later chamber. Marble flags covering water-channel. Site appropriated to the Peregrini. Fountain. I'ravertine channel round the area. Site of pedestal of P. Auttdius. Site of statue of P. Aufldius. Cemented path from Theatre to Temple. side of marble colonnade. and W. sides of brick colonnade divided by transverse walls into chambers. Leaden pipe with inscriptions. 16, 17. Chambers containing altars. 16, 18, 19, 20, 21. Chambers used as offices by various guilds. S. E. 00 yds. FORUM AND TEMPLE OF CERES. TlIRATRK. 22. Post Bcena with cemented pave- ment. 23. Massive tufa wall of the scena. 24. Suggestum of the scena ornamented with niches. 25. Corridors dividing the scena from the cavea. 26. Marble parapets. 27. Central Ambulacrum. 28. Pedestals of statues used to atrengtheu the corridor walla. 29. Cemented room used as a sepulchral vault in 16th cent. 30. Stairs leading to the upper part of the uavea. 81. Room in which a statue of a goddess was found. i 82. Semicircular Ambulacnim. daily connected with the corn trade. Those most frequently mentioned in the recently discovered inscriptions are the Mensares frwnentariif also in CQunection with the name of Sanctissinme Cereris. Xn these scholae, or guild meeting rooms, on the E. side of tho The Campagna.J route 56. — temple of* ceres. 527 Forum, are some mosaic scrolls on the pavement ^hich give the denominations of their occupantSi Such are No. 18 (see plan) of the Telonariif or excise corps of Ostia and Porto. 19 — Naviciilariorum Lignariorum^ or wood-hargemen. Under the inscription is represented the Pharos of Ostia between two sailing ships. 20 — Othef Naviculariit of unknown occupation. 21 — Mensores Fru7)ientariif or corn measurers, whose occupation is indicated by a vignette of a figure meas^uriiig a bushel of com. On the opposite or W. side of the Forum, the chamber 15, occupied by a guild whose name is ngt mentioned, was distmguished by a mosaic X)avement representing a gladiator. On either side of his helmet Was the inscription : — SPLENDO R-L'T At each end of the S. colonnade is a chamber (16 and 17), with an altar of masonry opposite the entrance and marble benches on the sides. In that on the W. (16), belonging to the guild of Saco7narii, or official weighers, was found a ♦marble altar, beautifully sculptured, now in the Museo Nazkynale delle Ternui, Ancient depredators had rifled this chamber long ago, but fortunately a fallen mass of masonry had hidden this exquisite altar from their sight. On the S. side, adjoining the scetia of the theatre, are four pilasters, and four marble columns 10^ ft. high. On the other sides the columns were of brick, stuccoed and grooved. Temple of Ceres. — In the centre of the Forum, opposite the axis of the Theatre, are the remains of a Temple in antis, 27 yds. by 12. The walls of the cella are truncated near the level of the pavement, which was covered with marble flags. The altar at the end wall was rich in marble ornaments. The cella was surrounded lengthways by two steps or seats. A door 17 ft. wide opens on to a pronaos with two pilasters and two columns, of which the bases and one capital remain. The marble steps, probably 16 in number, ar6 missing ; the height of the stylobate is 7 ft. above the level of the Forum. Inscriptions found in Ostia mention the erection or restoration of seven temples — those of Vulcan, Venus, Castor and Pollux, Fortune, Ceres, Hope, and Father Tiber. In the time of Marcus Aurelius, P. Lucilius Gamala erected a temple here to Ceres at his own expense — Aed. Cereri sua pecunia constituit. In the closed building on the E. were quartered the Vigiles, or policemen, to whom was entrusted the protection of the warehouses from robbery or fire. It is in excellent preservation, and contains an Augusteum, with a beautiful set of inscribed pedestals. Here also is a good Mosaic pavement in admirable condition, and on the walls are numerous graffiii. Continuing along the road, we pass on the 1. the Farm of S. Sebas- tiano, and turn back to the rt. through a wicket. . Here we come upon the pavement of the Via Ostiensis, leading to Rome and lined with tombs on each side. On the 1. are two huge marble sarcophagi of the 3rd cent., which belonged to Sextus Carminius Parthenopaeus, a Decurion of Ostia, and T. Flavins Verus. In front of the Porta Romana, of which only the threshold and the base of the jambs remain, 528 ROUTE 66.— CastEl t^UBAKO; [Sect. IL 19 a souare, oi-namented with a semicircular fountain. Another fountain is seen 84 yds. within the gate. At the corner of the street leading from this souare, In the direction of Laurentum (Castel Fusano), are the ruins of a small building, with rows of cellae and coarse mosaic pave- ment, once occupied by a military guard, as shown by some tabulae lusofiae dug up on the spot. Proceeding W., the pavement of the main street leadiiig to the Forum of Vulcan is well preserved ; under it runs a large leadln pipe, for water, impressed with the mark Colonoriim colonial Ostiensis. On the rt. are shops and private dwellings not yet excavated. On the 1. runs the mediaeval wall of Gregoriopolis, built with fragments of every description, filling up the openings of doors and shops of the old Roman houses. ^ ril. from S. Sebastiano a path branches off S.E. to the area and Temple of Cybele. This area, or Campus Sacer, has the form of a triangle, with a porticus of bnck columns on the S. side. Near the well of reticulated work, at the E. extremity of the porticus, there is a small recess, with a raised step m the centre, on which the beautiful statue of Atys now m the Lateran, and the bronze statuette of Venus Clotho, were discovered in 1869. The substructions of the temple are seen at the opposite end behind which is the Schola, a triangular open space, with seats round the walls, and an altar in the centre painted red. The Metroon, or meeting-place of the Canevhori Ostienses, was discovered in the same year, on the side of tne cammis sacer, facing the porticus. Its mosaic pavement was ornamented with emblems and mystic representations of the worship of the Phrygian goddess; the inscriptions commemorating many offerings of silver statuettes have been removed to the Museum in the Castle. Coming back to the road, which is lined with tabemae, we see the foundations of the Porta Laurentina. Beyond the gate are several tombs and columbaria, which, although discovered in a perfect st^te of preservation are now much dilapidated. From this point a road leads 1. to (i m.) Ostia, rt. to (1 m.) T(yrre Boacciana, with its ferry for Fiumicino (an hour's walk from the ferry). A carriage-road leads S. from Ostia to (2 m.) Castel Fusaiio, a castel- lated casino of the Chigi family, prettily situated in the midst of a pine forest (for permit to view apply at the Miyiistero dellaCasa Beak, Via del Quirinale, Rome). The Casino was built in the 17*^ cent, by the Marchese Sacchetti, and is a good specimen of the fortified country seats of that period. In order to protect it from the incursions of the pirates it has low towers at the angles pierced with loopholes, and the staircase in the interior is so narrow that only one person can ascend at a time On the summit are remains of stone figures of sentinels, Placed there originally to deceive the pirates by an appearance of pro- tection. The apartments are tenanted only during a few weeks in the spring. In the 18th century the property was sold by the Sacchetti to Prince Chigi. It is now leased to the Kmg. A fine avenue leads through the forest to the shore, paved with large polygonal blocks of lava taken from the Via Severiana. It is exactly a mile long, with eight termini; the space between them representing a Roman stadium Some remains of foundations are still visible and two inscrip- tions relating to the limits of Laurentum and Ostia, which stood on the bridge separating these territories, are built into the wall of the farmhouse. The name of the Emperor in whose reign they were set up is carefully The Campagna.] route 57. — torre paterno. 529 effaced ; but from his dignities, left intact, they can be referred to the reign of Carus or Carinus (a.d. 284). Unfortuately a high sandbank at its extremity intercepts the view of the sea. The rosemary, for which it was celebrated in the time of Pliny, still grows abundantly in the forest. Castel Fusano may be safely visited in the spring ; in summer and autumn it swarms with mosquitoes, and is not free from malaria. Towards the S. extends a vast plain, protected from the Mediterranean by a sandy barrier planted with fine woods. ROUTE 57. From Ostia to Porto d'Anzio. [For plan of this Route, see Index-Map, p. 431.] S.E. of Ostia extends the Laurentine Forest {Selva Laurentina), skirting the shores of the Mediterranean in an almost uninterrupted line for nearly 60 m., and extending inland 3 miles from the coast. This district is utterly deserted, except by sportsmen or charcoal-burners, whose fires are seen among the dense thickets of the forest : Bis senos pepigere dies, et, pace sequestra Per sylvas Teucri mixtique impune Latini Erravere jupis. Ferro sonat icta l)ipenni Fraxinus ; evertunt actas ad sidera piuus ; Robora, nee cuneis et olentem scindere cedrum, Nee plaustris cessant vectare gementibus omos. Aen. xi. 133. A tolerable road, following the track of the ancient Via Severiana, leads from Castel Fusano to (7 m.) Torre Paterno, a solitary tower, distant about J m. from the shore, inhabited by a few soldiers of the coastguard. It stands on the ruins of an ancient villa, which there is some reason for regarding as that to which Commodus was sent by his physicians at the time of the great plague in Rome (a.d. 187). The scent from the large woods of laurel and bay trees was supposed to counteract the influence of the malaria. Near this also is the site of Pliny's Laurentinum,t which he describes with so much enthusiasm in his letter to Gallus (ii. 17). The old brick tower, which still forms a conspicuous object from all parts of the Alban hills, was a place of some strength even in recent times, and was dismantled by English cruisers in 1809. The marshy ground round Capocotta is still remarkable for its frogs, whose ancestors were celebrated by Martial as the sole inhabitants of the coast : — An Ijiurentino turpes in littore ranas, * Et satiCis tenues ducere, credis, acos? Ep. X. 87. t See Burn's ' Rome and the Campagna,' p. 411, where the letter is translated, and a plan of the Villa engraved. [Borne.] 2 M 530 ROUTE 57. — ARDEA. [Sect. II. A road through the forest, practicable for carriages, leads N. from Torre Patemo to (20 m.) Rome by the ancient Via Laurentina, passing throngh (6 m.) Porcigliano, where there is a royal villa with good preserves for the shooting season. The road continues thence to the (3 m.) Osteria di Malpasso. The ancient pavement is perfect for several miles, but the roots of trees have displaced many of the large polygonal blocks. There is another but longer route through Decima, avoiding Porcigliana, and joining the first road at the Osteria di Malpasso ] and a third from Porcigliano to the (4 m.) Osteria di Malafede, on the high road from Rome to Ostia. From Torre Patemo a guide should bo taken through the forest to (1^ hr.) Pratica, as the tracks of charcoal-burners are not always clear between the two places. Pratica (310 ft.) is distant about 18 m. from Rome, 3 from the sea- coast, and 7 from Ardea. It is the modern representative of the city of Lavinium founded by Aeneas in honour of his wife Lavinia, and the metropolis of the Latin confederation after the decay of Laurentum. It is situated on a strip of table-land, about 650 yds. long by 130 broad, connected with the plain by a natural bridge of rock. The modern name is a corruption of Civitas Patrica, or Patras, as it is mentioned in ecclesiastical documents in the 4th cent. Only a few vestiges of the ancient city walls may be traced. Pratica has a scanty and fluctuating population, as the place is heavily afflicted with malaria. The baronial mansion of the Borghese family, built in the 17th cent., contains a few inscriptions discovered on the spot, which place beyond a doubt the site of the Trojan city. Its lofty tower commands a most imposing panorama. Half-way between Pratica and Ardea we cross the Rio Torto, identified by modern authorities with the classical Numicus (or Numicius) in which Aeneas was drowned. Towards its mouth this torrent forms a large marshy tract. Virgil commemorates the * fontis stagna Numici ' ; and Ovid, describing the fat© of Annjs Perenna, mentions the same marshes : — Comiger banc cupidis rapuisse Numicius undis Creditor et stagnis occululsse suis. Fasti, iii. 647. On the rt. bank of this stream is the Campo Jemini, a plain in which antiquaries place the site of the groat sanctuaries of ancient Latium, the luciis Patris Indigetis, the temple of Anna Perenna, the Aphro- disium, and the great temple of Venus which was common to all the Latin tribes. About 3 m. W., on the sea-shore, is the Torre Vajanica, where several sculptures were found in 1794, including a statue of Venus in Greek marble, which was carried to England. The Roman Emperors kept an establishment for breeding elephants in the territory between Ardea and Laurentum. Ardea t (Pop. 100) still retains the ' mighty name -' of the Argivo .capital of Turnus, king of the Rutuli : — Locus Ardea quondam Dictus avis ; et nunc magnum manet Ardea nomen. Aen. vii. 411. t A local name for Heron, The Campagna.] route 57. — torre di s. lorenzo. 531 Its citadel occupied the crest of a lofty rock, 4 m. from the sea, insulated by deep natural ravines except at one point on the E., where it is united to the table-land by an isthmus, in which are deep ditches and some lofty mounds resembling the agger of Servius Tullius at Rome. The entrance-gate is under the N. extremity of the Palazzo Cesarini, to which family the country around belongs. On the edge of the rock forming the boundary of the modern village still exist good remains of the citadel walls and a later tower. The walls are of tufa blocks, put together without cement, and are among the earliest examples of this construction. They enclose some scanty ruins of drains, and several rock-tombs. Lower down are some columns, and the platform of a Temple. The circuit of the walls may be made in i hr. In the ravine surrounding the city are numerous sepulchral chambers excavated in the tufa rock ; here were found most of the curious Ardean terra-cotta sculptures in the Campana collection at Paris. Ardea, as the capital of Turnus, was conspicuous in the wars of the Aeneid. It is also celebrated for its siege by Tarquinius Superbus, and for the asylum it afforded to Camillus during his exile; he defeated Brennus and the Gauls beneath its walls, and was residing there when he was elected dictator and summoned to return to Rome to undertake the siege of Veii. Rome to Aedea.— Carriage-road. The Via Ardeatina, which anciently led direct from Rome to (23 ra ) Ardea, is now only used during a part of its course. It left Rome by the Porta Ardeatina (p. 416), now closed. The modern road to Ardea iU hrs., two-horse carriage, 40 fr.) quits Rome by the Porto S Paolo, and follows Rte. 40 as far as the entrance to the Ahbadia dcllc TrcFontanc (p. 405), about 2^ m. beyond the gate. Contmuing along the Via Laureniina, we reach the (2^ m.) Ostcrm d' Acquacetosa, and cross the (1 m.) Pcmte della Chiesa^ia, to the left of which are some extensive ruins. 3 m. further is the Ponte della Mandriola After crossing the Rio di Decima we reach (5 m.) Solfaratella, so named from its Sulphur Springs. Fine view of the Alban hills to the 1. Here we join the ancient Via Ardeatina. At (3 m.) S. Procula we cross the Rio Torto, and turn due S. to (6 m.) Ardea. . A rough road leads from Ardea to (11 m.) Albano, crossmg two rivers. Ardea to Porto d'Anzio. Leaving Ardea we descend along the Fosso Incastro &nd, after crossing the Fosso della Moletta, reach the sea at the (4 m.) Torre di S. Lorenzo. Thence, skirting the coast S.E., we enter the country of the Volsci through dense forests of oak and ilex, arbutus, and heath, here and there interspersed with cork-trees and myrtles. 3 m beyond Torre di S Lorenzo is the Torre di S. Anastasia, about ^ m. from the sea, and 3 m. further the Torre Caldara, near which there are extensive sulphureous emanations. Crossing an open country border- ing on the Mediterranean, we next reach 4 m. Porto d' Anzio (Rte. 54). 2«M 2 532 ROUTE 58. — CERVETBI. ROUTE 58. [Sect. II. From the Central Station to Cervetrl, by Palo. — Rail and Carriage-road. Miles. 2 6 10 stations. Rome Central Roma Tuscolana Roma S. Paolo Magliana stations. Ponte Galera Maccarese Palidoro Palo Miles. 15 22 26 30 From Rome to Palo takes one hour and a half by the early train ; thence it is 5 m. by road to Cervetri (diligence at the station). There are trains back to Rome in the afternoon and evening ; there is an inn at Cervetri. The excursion is of interest to visit the Etruscan tombs at Cervetri (Caere). For a description of the line to Ponte Galera, see Rte. 55. After leaving Ponte Galera the train enters a pretty heathland country, and turns N.W. Beyond Maccarese it crosses the rapid Arrone, which issues from the Lake of Bracciano. Palo,t now a summer station for sea-bathers and quail-shooters, represents the ancient Alsium, where Pompey, J. Caesar, and Marcus Aurelius had villas. (See Handbook for Central Italy.) The 16th cent. Castle belongs to the Odescalchi, The Bathing Establishment is at Ladispoli, 1^ m. N.W. of the Stat., to which a branch line runs during the season. From the Stat, the carriage-road crosses the Rly., and follows the track of the Via Aurelia. After 1^ m. it crosses a stream, and bends to the 1. (short cut for pedestrians). At the same distance further on is another bridge, where our road turns to the rt., and ascends gently to (2 m.) Cervetri f (Pop- 1866). Guides and carriages to the Tombs at the Inn. Cervetri (or Cerveteri) is the representative of a city whose antiquity carries us even beyond the Etruscans, to a period more than 13 centuries before our era. It was the Agylla of the Pelasgi and the Caere of the Etruscans, and was celebrated as the capital of Mezentius when Aeneas arrived in Italy. Herodotus and the Greek writers before the Augustan age call it Agylla, and even the Latin poets sometimes introduce the more ancient name for the sake of the metre. Dionysius mentions it as one of the chief cities of Etruria in the time of Tarquinius Priscus, and says that it changed its name when subdued by the Etruscans. Strabo, however, tells us (lib. v., c. ii.) that the new name was derived from the salutation x^^P^^ with which the Lydians on their invasion were hailed from the walls by the Pelasgi. From its wealth and importance it became one of the 12 cities of the Etruscan League. When Rome was invaded by the Gauls, Caere afforded an asylum to the Vestal Virgins, who were sent there for safety with the sacred fire ; and it is supposed that the Romans were t See Pirectory, pp. 433, 434. The Catnpagna.] route 58. — cervetri. 533 first initiated in the mysteries of the Etruscan worship by the priests of Caere — a circumstance from which antiquaries have derived the etymology of the word ceremony {caeremonia). In the time of Augustus the town had lost nearly all its importance, and Strabo says that in his day it preserved scarcely any vestige of its ancient splendour. It appears, however, from a remarkable inscription preserved in the Museum at Naples, that Caere obtained celebrity in the time of Trajan for its mineral waters, the Aquae Caeretanae, still frequented under the name of the Bag^ni di Sasso, about 4 m. W. of the modern Cervetri. The town was the seat of a bishopric as late as the 11th cent., when it had considerably declined. In the beginning of the 13th the new settlement of Ceri Nitovo was founded, and the name of Cerveteri {Caere Vetus) was applied to the ancient locality. Cervetri stands on a long strip of table-land, surrounded, except towards the W., by precipices of volcanic tufa (Neffro), in some places 50 feet in height. Two streams run through these ravines and unite below the town. On the W. side an artificial cutting completed the natural strength of its position. The modern village is supposed to occupy the site of the ancient Acropolis: it has a mediaeval gate, a ruined castle, and a large palace belonging to the Ruspoli family. Don Giulio Borghese now bears the title of Duke of Caere. The city of Caere was 4 or 5 m. in circuit, and covered the whole table-land to the E. of the point on which Cervetri is built, between Monte Abetone and the hill of the Necropolis. The Venturini and Orsini surrounded it with fortifications of tufa taken from the ancient walls. Many of the Tombs which were formerly visited have been abandoned, and the Custode now shows only six, which may be easily explored in 2 hrs. The seventh requires another hour. Some remains of the ancient walls are still visible on the side of the ravine of La Buffalareccia opposite the Necropolis. Eight of the gates may be traced, with two roads leading to them ; one paved in the direction of Veil, the other towards Pyrgos, the port of Caere. The hill of the Necropolis, now called Banditaccia, is separated from the town by a deep ravine in which runs the rivulet of the Madonna de' Canneti. Its surface is excavated into pits and caverns, and in its cliffs are ranges of tombs. There are no architectural fronts to the tombs, but several of those on the Banditaccia are surmounted by tumuli or pyramids, the bases of which are generally cut in the solid tufa of the hill. Beneath are the sepulchral chambers, varied in style and form, to which long passages descend from the surface. The tombs now shown are taken in the following order : — 1 Grotta delle Sedie e Scudi, containing two arm-chairs and footstools carved out of the rock, and shields in relief on the wall above them, as well as over the sepulchral couches on the sides. The form is that of an ancient house, consisting of a vestibule containing the seats, out of which open two chambers. 2 Grotta del Triclinio, discovered by Marchese Campana in 1846, a single chamber, with a loroad bench of rock for the dead. It contains reliefs of a wild boar and a panther at the entrance, and its walls are painted with representations of a banqueting scene, which have so greatly suffered from damp as to be now nearly effaced. The few 534 nouTE 68.— CfiBViflTRi. [Sect. II. heads which are stUl visible are very beautiful, and Greek in their character. 3 Grotta delle Umc, a tomb with painted couches, containing three large sarcophagi of white marble; one of them in the form of a house or temple, with tUed roof, the others havmg on their hds recumbent figures, with lions and sphinxes at the comers. The drapery of the figures and the style of execution show great antiquity. On the lids are recumbent figures of men in white marble, one Ijing on his side, and both crowned with wreaths of flowers. On each side of the entrance are rude representations of Hippocampi. 4 Tomb of the Tarquins, discovered in 1846, with two chambere and two stories ; the outer and upper one leading by a flight of steps to the second and larger one, called from the number of the mscnptions, the ♦ Grotta delle Iscrizioni.' This chamber is 12 yds. square, with two square pillars in the centre, upon one of which is a shield, and it is surrounded by double benches. The upper portions of its walls are hollowed into oblong niches for the dead, and in the centre of the roof is a square aperture communicating with the surface. On the walls and sepulchral couches the name of Tarquin, or Tarchnas, occurs nearly 40 times, thus confirming the Etruscan origin of that celebrated family. 6 Grotta dei Pilastri, called by the guides della Bella Architettura, and approached by steps. It consists of two chambers— the outer one having the roof supported by two pilasters, the inner one raised with a couch for two bodies. 6 »Tomb of the Reliefs, the most interesting about Cervetri, dis- covered in 1850 at the IS.E. extremity of the Baudituccia; it is entered by a flight of steps descending between walls of tufa in large blocks. The sepulchral chamber is oblong, having three niches on each side, except on that by which we enter, where there are only two, one on each side of the door. The roof is vaulted in four compartments and supported by two square pilasters, the whole cut out in the tufa. Five of the eight sides of these pillars are covered with reliefs representing sacrificial instruments, hatchets, knives, daggers, skewers bound together, long Etruscan trumpets, pittaci or litui, the singular twisted rods seen m the processions on the Etruscan paintings of Corneto ; a warrior's travellmg- bag very like a modern one, with a disk attached to it; a double-hinged door-post, a bronze vessel resembling a Chinese gong, a club attached to a cord similar to the weapon used by the Roman butchers of the present day in killing cattle ; a tally of circular dies on their string ; a cat plaving with a mouse, and a dog with a lizard ; a goose, one of the emblems of Proserpine ; Etruscan vases sculptured in relief as hung on nails- the whole evidently intended to represent objects l>elongibg to the dead. Over the door are two short-horned bulls' heads, with wreaths, on the architrave over one of the neighbouring couches a tray, and on the jambs of the door circular Etruscan trumpets. On the lateral niches lay the bodies of the dead, the heads reposing on a stone pillow, the red painting of which still remains ; on each were found the bronze armour and helmet of the deceased. In the centre of the back wall is a couch, bearing a singular relief of Mantus or the Etruscan Cerberus, with a figure holding in one hand a serpent, and m the other a rudder. On the frieze above are two busts of male bearded figures, The Campagna.] ROUTii 68.— CEBi NuOvO. 5S5 one unfortunately mutilated. On the frieze which joins the wall to the roof and over the couches are representations of military imple- ments, circular shields, helmets, swords, daggers, cereae, painted in red and in yellow. These curious reliefs are partly cut out of the tufa in which the chamber is excavated, and partly in stucco; they were aU painted, several still retaining their colours. Upon one of the pillars supporting the roof is an oblong space or t^iblet with several paraUel lines rescmbing a picture-frame, on which probably was an inscription. The floor is raised on the sides, and is divided off into oblong compart- ments, on each of which lay a skeleton. The door, like most of those at Cervetri, is of the Egyptian form, wide below and narrowing upwards. When the tomb was opened skeletons of warriors were found in all the niches, covered with their armour; the name of Matvnas, engraved m the Etruscan character, which was found here, was proUbly that of the family to which this most interesting hypogeum belonged. 7 The ♦Regolini-Galassi Tomb, discovered in 183G by the Prelate and the General whose names it bears, is on* the hill S. of the town, at a short distance on the 1. of the road to Palo, and is supposed to have been originally surmounted by an iimnense pyramidal mound, the base of which was surrounded by a wall with sepulchral chambers for persons of inferior rank. It is 20 yds. long, with sides and roof vaulted in the form of a pointed arch with an horizontal Imtel or top, as at Arpino and other Pelasgic cities, iLm »lKi«iid in lluj OffOiUo on« (^nMll cinerary urns and figures in terracotta. 'Vhtm^i<»ixUr ebMnbwol the Regolini-Galassi tomb contained F^Uhly %h^ body of * v**rtloc. tlip inner one that of a lady of high rank ; Ui# fcrtw*}.*^^ «^ •« ^^ of a later period. Some antiquarw* -oppot© UmI Iho InuAf <:o«a|MC was the original sepulchre, and tho c Bcbrard Staooford, 12. 13 REFERENCE ALTTTUOCS EHgtisKlUU XJUfmUm — ! i— London . Edward StanCord, 12. 13 *< 14. Lon^ Acre. W.C. k The Campagna.] jrOute 59. — painted tOMB. 539 Fossi), and joins the Cremera below the Piazza d'Armi. These two streams very clearly define the triangular space occupied by the Etruscan city. . . The ruins are undergoing such constant changes that no description can hold good even from year to year. From Isola we descend the valley to the picturesque Molvno (Mill), where the torrent forms a cascade over a vertical precipice of volcanic tufa. Proceeding along the rt. bank of the river, we soon reach the Ponte deir Isola, an ancient bridge of a single arch, 22 ft. in span. The gate which opened from it is supposed to have been the entrance of the road from the Septem Pagi, and has been called from that circum- stance the Porta de' Sette Pagi, through which passed the road from Veil to Sutri. Returning, and following the stream downwards, opposite Isola is the Porta dell' Arce, a gate which appears to have been formed in the walls which united the town with the citadal on the rock of Isola. E. of Isola on the plain below the rock, near the junction of the Fosso del Pino with that of Isola, are some mineral springs, and the Porta Campana. Beyond, on the S.E., in the ravine separating the plateau of Veii from its Arx or Piazza d' Armi, are ruins of the Porta Fidenate, leading to Fidenae. Descending along the base of the Piazza d' Armi, and turning 1. into the valley of the Cremera, we reach the Porta di Pietra Pertusa, so called from a remarkable cutting 3 m. N.E., through which the road from Veii joined the Flaminian Way. On the road, which is supposed to have opened beyond this gate, is the Vacc}iereccia, a tumulus with a crest of trees, forming a con- spicuous object in the Campagna. Higher up the stream is the Porta Spezieria (drug-shop) : some of the internal fortifications of this gate, forming a kind of Piazza, have been preserved, together with the remains of a massiv6 bridge composed of quadrangular blocks of tufa. Two roads led out of it, one to the Pietra Pertusa, the other to (8 m.) Monte Musino, a remarkable conical volcanic hill N. of Formello, surrounded by broad artificial terraces, whose summit, clothed with fine groves of oaks, and commanding a noble view, is still crowned with the ruins of a circular building supposed to be the Ara Mdtiae, or Temple of the Etruscan Venus. Below it, to the N.E., stands Scrofano (Sacrum Fanum). Inside the Porta Spezieria are some remains of an Etruscan Columbarium, in the form of pigeon-holes irregularly pierced in the vertical walls of the tufa rock; and higher up a ♦well-preserved frag- ment of a Roman road. On the other side of the valley to the N. is a very interesting ♦Painted Tomb, discovered by. Marchese Campana in the winter of 1842. It is the only tomb now open at Veii, and has been left with its furniture in the exact condition in which it was when opened. The passage cut in the tufa rock leading to the tomb was guarded by two crouching lions, and there are two at the entrance itself. The sepulchral vault consists of two low, gloomy chambers excavated in the volcanic rock, with a door formed of converging blocks of the earliest polygonal construction, and best seen from the inside. The walls of the outer one are covered with grotesque paintings of men, boys, horses, leopards, cats, winged sphinxes, and dogs, remarkable for their rude execution, strange colouring, and disproportionate forms. These paintings are of 'Mr.L«B4AeTe.W.C. 540 HOUTfi 59.— PONTE SODO. [Sect. n. The Campagna.] route 59. — anguillara. 541 the highest antiquity, and are much ruder and less Egyptian in their character than those discovered in the painted tombs of Tarquinii and other Etruscan sites. On either side of the tomb is a bench of rock, on each of which, when it was opened, lay a skeleton, but exposure to the air soon caused both to crumble into dust. One of these had been a warrior, and on the rt. bench are still preserved portions of the breastplate, the spear-head, and the helmet, perforated by the weapon which probably deprived the warrior of life. The other skeleton is supposed to have been that of a female. Micali remarks that the style and decorations of this tomb show no imitation of the Egyptian, and that ' all is genuinely national, and characteristic of the primitive Etruscan school.' The large earthen jars, which were found to contain human ashes, are in the earliest style of Etruscan pottery. The inner or smaller chamber has two beams carved in relief on the ceiling, with a low ledge cut in the rock round three sides, on which stand square cinerary urns or chests, that contained human ashes, with several jars and vases. In the centre is a low bronze brazier about 2 ft. in diameter, which probably served for burning perfumes. On the wall opposite the doorway are six small many- coloured discs. Above them are some stumps of nails in the walls, which have rusted away. This sepulchre has noiepitaph or inscription, on sarcophagus, urn, cippus, or tile, to record the name of the persons who were interred in it. The next gate was the Porta Capenate, beneath which is the ♦Pontc Sodo, a bridge excavated in the tufa, 80 yds. long, 5 broad, and 20 ft. high, to afford a passage for the river. It is so covered with trees and brush- wood that it may easily be passed without notice, although it forms one of the most picturesque objects during the excursion. This gate was probably the principal entrance to Veil from the N., and that*by which the roads from Capena, Falerii, and Nepetum entered the city. The hills on the N. side of the stream here formed the principal Necropolis. The tumuli hereabouts were explored by Lucien Bonaparte, who discovered in them some beautiful gold ornaments. Beyond this is the Porta del Colombario, which derives its name from the ruined Columbarium near it. Some of the polygonal pavement of the road which led from this gate to Formello may still be traced, with its kerb- stones and ruts worn by ancient chariot-wheels : remains of the pier of the bridge are also visible in the bridge of the Formello. Further on are some fragments of the city walls, resting on bricks. In the plateau on the N. side of the city are several traces of a Roman road and some vestiges of tombs and of a columbarium, marking the site of the Roman municipium, founded by the Emperors on the site of the Etruscan city. It was about 2 m. in circumference. The colum- barium is now the only representative of the Roman settlement : it was found entire, but its stucco and paintings are now destroyed, and its chambers are in a state of ruin. Near it were discovered the colossal heads of Tiberius and Augustus, with the sitting colossal statue of Tiberius preserved in the Vatican Museum, a mutilated statue of Germanicus, and other fragments. The last gate is the Porta Sutrina, near a bridge of Roman brick- work built upon Etruscan piers. The ancient road which entered Veil by the gate of Fidenae passed out of it here, after traversing the whole length of the city, and fell into the Via Cassia near the 12th milestone on the modern road from Rome. The gate faces Sutri, and is supposed to have led to it. This brings us back to the Ponte dell' Isola, after describing the entire circuit of the walls (about 6 m.). The antiquarian will find a detailed description of Veil, accompanied by numerous plans, maps and views, in Canina's ' L' Antica Citt4 di Veio,' printed at Rome in 1847, at the expense of the Queen Dowager of Sardinia ; in hiS great work on the ' Etruria Marittima * ; and in the first volume of Mr. Dennis's work on the * Cities and Cemeteries of Etruria.' From Storta-Formello the train crosses the Via Clodia and the subterranean Acqua Paola which supplies water from the Lake of Bracciano and its neighbouring springs to the Fountain on the Janiculum (Rte. 33), and runs to 15 m. Cesano. The village lies 2 m. on the rt. Further on is 18 m. Aneuillara, probably a corruption of Angularia, from its situation on a lofty insulated rock above the S.E. angle of the lake, 2 m. to the rt. of the Stat. In the 14th cent, it gave its name to the lake, and conferred a title on that branch of the Orsini family which figures so conspicuously in the history of the period as Counts of Anguillara. Their baronial Castle, crowned and defended by towers, still retains their armorial bearings (two eels), and is remarkable for its successful resistance in 1466 to the army of the Duke of Calabria. The Church, dedicated to iS. Maria Assunta, commands a fine view over the lake. In various parts of the neighbourhood are vestiges of ancient foundations and numerous fragments of marbles and inscriptions, supposed to mark the sites of Roman villas. The deserted Church of S. Stefano, about 2 m. S., is of great extent, and is considered to belong to a villa of the 1st cent. 2 m. to the 1. of the Stat, is the Osteria Nuova, from which a rough road leads S. in ^ hr. to the deserted village of "^Galera, near the site of the ancient Careiae. The ravine through which the Arrone runs is beautiful, enclosed between precipices of tufa and basaltic lava, on one of which is perched the mediaeval town. No ancient remains have hitherto been discovered. Galera has existed from the 11th cent., and its counts in the 12th and 13th were influential lords of the district situated between the lake of Bracciano, the hills of Baccano, and the Via Clodia. In 1226 Galera was acquired by the Orsini family, who held it, with frequent vicissitudes, until 1670. The town has for half a century been abandoned, owing to malaria, and presents a strange aspect of desolation with its unroofed and abandoned churches and houses, overgrown with rank vegetation and tenanted only by reptiles. The rock on which it stands is a fine mass of black lava, rising through the volcanic tufa, surrounded on three of its nearly vertical sides by the deep ravine at the bottom of which runs the ArroTie. The town is entered by a double gate towards the N., over which are the Orsini arms ; many of the houses and two Church-towers are still erect. The older walls of the 11th cent, may be seen at the N. W. angle of the town ; on these rises the Castle of the Orsini, a fine brick edifice. The position is exceedingly romantic, and its complete solitude is one of the most impressive examples of the influence of malaria which it is possible to conceive. The valley of the Arrone is extremely picturesque in its upper portion, while lower down it consists of rich meadows, over which rise woods of ilex, cork trees, and oak. I f 542 ROUTE 59. — BRACCIANO. [Sect. II. A pleasing glimpse of the Lake is obtained on the way to 26 m. BRACCIANO t (Pop. 3050), which enjoys a certain degree of prosperity from its iron-works, fuel being abundant, and good water- power from the surrounding hills serving to turn the mills. At its N. extremity, overlooking the lake, is the baronial ♦Castle (945 ft.), built in the 15th cent, by the Orsini, from whom it passed to its present owner, Prince Odescalchi. (Permission to visit the Castle may be obtained at the office of the Administration, in the Piazza.) It would be difficult to find in any part of Europe a more perfect realization of a baronial residence; it was the first place in the neighbourhood which Sir Walter Scott expressed an anxiety to visit on his arrival in Rome. It is perhaps the best, although not the most ancient, specimen of the feudal castles of Italy, and presents a noble and imposing aspect. Its ground-plan is a pentagon of unequal sides, the longest, towards the town, having two lofty towers connected by a machi- colated'wall ; three other towers stand on the opposite side towards the lake. The windows are square and small, and the walls built of black lava, from the pavement of the Via Clodia. On the N. side is the entrance by a double gate and covered way, partly excavated in the volcanic breccia of which the hill is formed, and flanked by round towers. The central court is an irregular square, surrounded by a portico now built up, the pilasters bearing the shields of the Orsini ; a decorated outdoor staircase, with some remains of frescoes, leads hence to the upper story. In the great hall are traces of frescoes, attr. to F. Zucchcro, forming a kind of frieze of family portraits. The apartments occupied by the owner are small. From the Tower is gained a magnificent *View ; beneath is the town of Bracciano ; beyond it the Capuchin convent in the midst of a grove of ilex ; on the rt. the valley of Manzi- ana, with the hill of Monte Virginio crowned by a convent bohmd it. Along the shores of the lake extends a rich plain, covered with olive trees and vines, above which rises a thick forest reaching to the summit of the hills that encircle this picturesque basin. In front is seen the mass of buildings surrounding the baths of Vicarello, and further to the rt. the town of Trevignano upon a promontory jutting into the lake. Behind Trevignano rises a remarkable group of hills, in the centre of which is the pointed peak of Monte di Rocca Roniana (1975 ft.). To the rt. of Trevignano a white house marks the site of PoUine, at the entrance to the Val d' Inferno ; and farther still a white line near the lake shows the course of the Acqua Paola. The plain through which the Arrone flows from the lake intervenes between this point and the high promontory on which stands the town of Anguillara ; the fine woods between the latter and Bracciano are those of Mondragone. Beyond Monte di Rocca Romana may be discovered the peaks of the Ciminian range, Soriano, and Monte di Vico ; farther E. the ridge of Soracte, and more in the foreground, extending towards the Tiber and the Sabine Apennines, the low volcanic group surrounding Baccano, with the pointed hill of Monte ^lusino at its E. extremity. The Lake (540 ft.), a beautiful sheet of water, 20 m. in circum- ference 6 m. across, presents all the characteristics of a great volcanic depression. It is the Lacus Sabatinub of the ancients, and derived its t See Directory, p. 433. The Campagna.] route 59. — oriolo. 543 name from an Etruscan city of Sabate, which was believed by the Roman historians to have been submerged under its waters. It is famed for its eels and fish. A good road leads from Bracciano to (4 m.) Vicarello, round the N. shore of the lake, passing the Church of (2 m.) S. Liberato. Vicarello derives its name probably from Vicus Aurelii. It is re- markable for the ruins of a villa, probably of the time of Trajan, and for its mineral waters, known in ancient times as the Aquae Apollinares of the Antonine Itinerary. The Baths (113° Fahr.), | m. N. of the village, are much frequented,* being sulphurous and efficacious in cutaneous and rheumatic affections. They are slightly acidulous, and contain a proportion of salts of soda and lime. Being situated in an insalubrious region, they can only bo visited in May and June. In 1737 these baths were given by Clement XII. to the College of German Jesuits, who did much to render them available. Several very interesting antiquities were discovered here in clearing out the ancient reservoir; they are now in the Kircherian Museum. In the middle ages Vicarello was a fortified village belonging to S. Gregorio on the Caelian. It is supposed to have been ruined in the contests of the Roman barons with Cola di Rienzo. On the lake, about 3 m. E., is Trevignano (Pop. 750), a picturesque village on a projecting rock of lava, crownei{AMBONi Palack, 277. AciLii Glabkiones, Tomb op THK, 378. Aoqca (see also Aqtia). Argentina, 255. bollicamte, 468. Felice, 176, 460,472, 489. Inviolatblla, 391. Marcia, 437, 449, 545. Paola, 359, 541. Santa, 480, 490. dblla scala, 357. Trajan A, 537. Traversa, 391, 536. Vergine, 19, 437, 451 (see Aqtui Virgo'). ACQUACETOf'O, 390. ACQUB Albule, 438, 451. Ad Aquas Salvias, 406. Caput Africak, 116. Catacumbas, 423. duas domos, 227. • DuAs Laukos, 459. [.Borne.] Ad Gallinas Albas, 392. Nymph AS Sancti Petri, 372. Saxa Rubra, 392. Septem Kratres, 438. Spem Veterem, 176. Ursum Pileatum, 175, 271. Admission, [34]. Aedrs Jovis Vejovis, 38. Lauum, 80. Matkis Deum, 116. Sacrae Urbis, 86, 98. Telluris, 125. VE.STAE, 72, Aefulae, 443. Aeneas and Evandeb, 114. Affile, 468. Agon Capitounus, 43. Agosta, 455. Agrarian Institute, 272. Museum, 226. Agriculture and Commerce, Ministry op, 19. AoBippiKA, Cinerary Urn, 39. Aoro Romano, 392, 485. Aoylla, 532. Alatri, 458. AxBA Longa, 498, 500. Alban Hills, 450. Albani, 8, 544. Albani Palace, 212. , Villa, 374. , Villa (Anzio), 512. ALBANO, 480 (see Directory, 433). Aldobrandini, Villa, 205. , Villa (Anzio), 511. Alexander and Bucephalus, 439. Alex. Sevkrus, Tomb op, 472. Allia River, 546, 547. All Saints, Origin op, 182. I Almo Stream, 416, 417. Alsium, 532. Alta Semtta, 211. Altemps Palace, 199. Altieri Palace, 33. AMARANTHfANA, ViLLA, 425. Amazon Relief, 376. Ambones, 35, 133, 251, 365. Amphitheatre (Alb a no), 481. op Statilius Taurus, 202. Amphitheatrum Castrensb, 178. Flavittm, 104. Amphorae, 57, 367, 398. Ampiglionb Valley, 467. Ancient Buildings, Chro- nology OF, [40]. Angelico, Fra, 311, 314, 354 ; Tomb of, 188. Anguillara, 541. Animals, Blessing op the, 170. Anio River, 379, 437, 439, 443, 445, 451, 452, 458, 467, 468, 471, 546, 547. Anio Novus, [47], l76, 443, 471, 472, 490. Anio Vetus, [46], 463, 468, 471. Annia Regilla, 49. Antbmnae, 378, 390, 438. Anticoli, 455. Anticoli-Roviano, 454. Antinous, Statue of, 228, 329. Antiquabium, 125. Antium, 510. Antonblli Palace, 205. ANZIO, 510 (see Directory. 433). Apennines, 503. Apollo Sauroctonos, 376. 2 O 550 INDEX. INDEX. 551 Apollodorus, 81, 99. Apostouco Palace, 208. Atoxtomknos Statue. 337. Appian Wat, 482. Aqua (see also Acqua). Alexandeina, [48], 460. Alsietina, [47], 266. Appia, [46]. Claudia, [47], 117, 177, 455, 472. 480, 490. Fkkektina, 498. Julia, [47], 139. 174, 362. MarCIA, [46], 456, 472. Tbpula, [47]. 362. Trajana, [48], 359. Virgo, [47], 19, 20. Aquae Albulae, 438. ApOLLTNARES, 26, 543. Cakrktanae, 633. Aqueducts, [46], 131 (see Acqua, Anio, Aqua). Ara Mutiae, 539. Pacis, 7, 13. Primogeniti Det, 34, 36. Arcadt, Accadekia dbgli, 6. Arch (see also Arco, Arcus). op Augustus, 70. Claudius, 20, 40. Coxstantine, 123. — ' dolabella, 128. Dkusus, 415. Gallienus, 173. Ghatian, 238. Marcus Aurelius, 8. the monkt-changers, 80, 253 Piety, 186. Septimius Severus, 65. TrsERTUs, 63. TlTU;*, 79. Archaeological Ix^ititute (German), 56. •— Society (British and American), [II]. Architects, List op, [110]. Architecture. [82]. Archivio di Stato, 180. Arcinazzo, 458. Arco dbgli Argkntieri, 253. DELLA CiAMBELLA, 189. DI Giano, 263. MUTO, 511. DI Nostra 1)onka, 616. DEI Pantani, 97. S. Lazzaro, 397. SCURO, 390. Ardea, <30. Area Telluris, 97. Arenaria, 371. Argiletum, 66, 97. AlRCCiA, 491. Armenian Churches, 214, 231. Arronb River, 632. 641. ArsOLI, 455. Arteka, 507. Art Sale Rooms, 180. Akx of Ancient Rome, 37. Albana, 501. JUNONIS, 453. Assize Courts, 239. Astusa, 613. Asylum op Romulus, 37. Atrium Minervae, 66. Attigliano, 544. Attilius Evhodcs, Tomb of, 485. Auditorium of Mabcknas, 172. Augur aculum, 37. Augusta Treba, 468. augusteum, 527. Augustus:— Birthplace, 112. Mausoleum, 179. Palace, 117. Statue, 336. AuLUs Plautius in Britain, 439. Alrelian Wall, [45], 215. Aurelius, M., Arch of, 8. , Column of, 9. , Statue of, 38. AuitiGAE, Mosaic and Busts OF, 220. Auspices, Relief, 212. Aventink, 256. Baccano, 538. BaGNI, 438, 451. DI ACQUASANTA, 417, 480, 490. DELLA ReOINA, 438. DI SassO, 533. Baldastare Peru*zi, 282, 360. Balestra Palace, 31. Balneae, 158. Bambino, 36. Banca d' Italia, 1 228. Banco S. Spirito, 237. Banditaccia (Cervetbi), 633. BAitBKiciM Palace, 211. , Villa (Castel Oan- dolfo), 481, 499. Baecaccia Fountain, 15. Barracks of Roman Vioilbs. 259, 269. BarMomeo, Pra, 354, 385. Basilicas, [49], [50], [83]. Ad Srptem Fratkes, 438. Abmilia, 90. constantinb, 86. eudoxiana, 160. Julia, 91. LiBEKIANA, 164. MAXENTIU.S, 85. OSTIENSIS, 401. Peti.oxilla, 426. PORCIA, 66. St. Alexander, 646. St. Stephen, 489. St. Svlve-ster, 378. St. Valentine, 390. Sempronia, 91. Sbssoriana, 177. Ulpia, 99. Battallettus, 30. 144, 404. Bassano di Sutri, 544. Bastions of Sangallo, 416. Bath Room of S. Cecilia, 264. OF Clement VII., 275. Baths (see also Thmnae). Acqua Santa, 417, 480. Agrippa, 186, 438. Cakacalla, 4t!8. constantine, 206. Diocletian, 217. POMITIAN (AlbANO), 481. Elagabalus, 80. Hadrian, 442. Naeratius Cbrialis, 164. Nero, 195. Novatus, 164. Stigliano, 643. Trrus, 157. Trajan. 168. ViCARELLO, 543. Zenobia, 235. Batteria Nomentana, 646. Beatrice Cbnci : Grave, 358. PORTHAIT, 213. Prison, 276. Bblisarius, 19, 215. Belle Arti Palace, 227. Bblleora, 468. . Bellini (Oiov.), 314. Bell of the Capitol, 68. Beltraffio, 360. Bembo Palaci, 181. Benedictine Order, Cradle OF, 457. Benvenuto Oellinit 360 ; Prison of, 275. Bbrsaglieri, Barracks of, 265. Bertone, Villa, 377. Biblioteca Alessandrina, 193. Angelica, 20n. Barberini, 213, 344. Casanatense, 189. CORSINI, 356. Lancisiana, 276. Sarti, 95. Vallicelliana, 239. Vittorio Emanuele, 22. BiBULUs. Tomb of, 32. BiCILIANUM, 454. BiSELLIUM, 44. Blood-drinkino Establish- ment, 398. BOOCA DELLA VRBITA, 261. BOLA, 472. Boloonbtti Palace, 34. Bona Dea, 258, 486. BoNAPAKTE Palace, 31. , Villa, 367. BOXCOMPAGXI PaLACB, 216. Bonifiche di Maccaresr, 619. DI OSTIA, 519. BoitoHESB Palace, 180. , Villa, 380. , Villa (Anzio), 513. borghbtto, 473. BORGO, 276. S. Angelo, 276. BoKROMKO Palace, 21. Bosco Parrasio, 359. Botticelli, 304. 305. BOVILLAE, 4 8ti. Boxer, Statue of, 218. Boy and T^orn, 44. BRACGIANO, 642 (see Direc- tory, 433). Bramante, 198, 239, 277, 298, 358. Brick-marks, 6!, 117. Bridge op Agrippa, 231. Caligula, 92. 8. MaURO, 465, 468. British Embassy, 367. Bhonze Doous, 140, 284, 404. Bronzes, 38, 40, 44. Bkuno, Giordano, 240, 279. Bublla. 486. bufalotta, 379. BUFFALARBCCIA (CeRVETRI), 533. BUON RiCOVERO, 637. Busts of Emperors, 53, 367. Illustrious Men, 52. 0. Cab Fares, [l], [9]. Cacu-, Cave of, 258. Caecilia Metella, 424. Caelimontana, Villa, 129. Caere, 532, 533. Caesar, 62, 191. Caesarum, Villa, 392. Caetani, Fortress of the, 424. Palace, 242. Caffarella Stream, 417. Caffarelli Palace, 38, 55. Cairoli, Monument to the, 390. Calcografia Cameralb, 19. Caligula, Palacb of, 119. Calix Marmoreus, 31. Camera Apostolica, 387. DEI Deputati, 10. Campaona, Thb, 433-547. Campanili, [60]. Campo di Annibale, 502, 503. DEI FlORI, 240. Jemini, 630. Militare, 368. dell' Ossa, 458. DELLA PiBTRA, 458. Santo, 280. Vaccino, 60. Verano. 366. Campus Mabtius, 178. Canale di Fiumicino, 516. Cancelleuia Palace, 237, 239. Candalora, 93. Candlemas Day, 93. Canephori Ostiensis, 528. Canova, 6, 31, 32, 93, 94, 287, 289. Cantalupo Bardella, 453. Canterano, 465. CapaNNELLE, 459, 480. Capitol, 37. Capocotta, 529. Capo di Bove, 361. DUE Rami, 518. CaPPELLA DELLA CaSA, 454. OOBSINI, 146. DEL CROCIFISSO, 401. Grbca, 378. Paolixa, 169. S. Salvatork, 400. SiSTINA, 300. Cappuccini, 214. (Albano), 481, 492. (Nemi), 492. Capranica, 472, 544. College, 181. Torrent, 466. Caput Romanae Fraterni- TATIS, 245. Caravita, Oratorio del, 21. Carcer Mamertinus, 92. Carceri Nuove, 231. Careiae, 541. Carinas, 97, Caritas Romana, 249. Carmen Saecdlare, 218. Carroceto, 510. Carsoli, 456. Casa Crivelli, 237. DEI Penitenziarii, 146. DI Pilato, 249. PONZIANI, 263. DI RiENZO, 249. SpithOver, 214. Tarpea, 56. TURCI, 239. Zuccheri, 15. Casa LB dell a Bella Donna, 379, 545. Bernini, 439. DELLE CaPANNELLE, 490. Di Capo Bianco, 646. DI Dragoncello, 518. DI Monte Gentile, 646. DEI Pazzi, 545. DI POLLINE, 543. ROTONDO, 484. DI RUSTICA, 451. DI S. Colomba, 547. Casali, Villa, 129. Casape, 472. Casctano, 443. Case Nuove, 546. CAbERTA, Villa, 1 73. Casino Borgukse, 380. Chigi, 492. Jacobini, 492. Massimi, 138. Pallavicini, 206. di Papa Giulio, 387. 2 2 i I 552 Casino Rospigliosi, 206. Villa. Pamphili, 361. Casso di Rispakmio, 21. Castbl Fdsano, 628. CASTEL OANDOLFO, 499 (see Directory, 433). GlUBILBO, 379, 392, 64t. Madam A, 452. CasTSLLACCIO, 451, 469. Castell' Arcioxe, 438, 451. Castello della Molara, 477. S. Angklo, 272. S. Geknaro, 494. Castellum Crescentii, 273. Castiquone, 438, 470. Castou and Pollux, Sta- tues, 38. Castra Albana, 481. EQUITUM, 145. Peregrinorum, 129. SiLlCARIORUM, 398. Castbimoenium, 497. Casteum de Gandulphis, 499. Catabulum, 27. Cavamonte, 471. Catacombs, [61]. Calepodius, 362. Callixtcs, 418. ClMETERO OSTRIAKO, 373. COimODILLA^ 428. Ctriaca, 366. domitilla, 426. Jewish, 421. Praetextatus, 417, 421. f3. Agnese, 371. St. Alexander, 646. S. Generosa, 272. St. Helena, 460. SS. NeREUSAND ACHILLKUS, 422, 425. S. PONTIANUS, 271. S. Priscilla, 378. Santi Quattro, 489. S. Valentine, 390. Thraso and Saturnintjs, 377. Via Nomentana, 372. Villa Patrizi, 36'*. Cathedra, Early, 372. Cattle Market, 398. Cava del Barco, 439. CavallinU 268, 456. Cavarello Torrent, 471. Cave, 461, 466. Caverns beneath the Capi TOL, 69, 248. Cecchina, 480, 604, 510, 646. Cklla Solearis, 410. Cemeteries: — Ancient Roman, 172. Campo Verano, 366. INDEX. Cemeteries — continued. Cappuccini, 214. Equites Sinoclaees, 460. Fbiaks, 214. German, 280. Protestant, 398. S. Giovanni Lateran, 137. Cenci Boloonetti Palace, 244. Centocelle, 460. Centre of Ancient Rome, 63. Ceremony, Origin of word, 633. CeeI NuoVO, 633, 536. Cbrtosa di Thisdlti, 458. CkRVARA, 461, 466. (Via Sublacensis), 466. CERVETRI, 632 (see Direc- tory, 433). Cesano, 641. Cesauini Sfokza Palace, 237. Cestids, Pyramid of, 400, Chapels (see also Cap- pella) : — Annunziatella, 428. Column, 170. DOMINB quo VaDIS, 416. Nicholas V., 311. Pauline, 208. S. Anna, 396. S. CiRIACA, 366. S. Fiuppo Neri, 191. S. Francesco, 468. S. Helen, 177. ' S. Ivo, 193. St. Sylvester, 131. S. Spirtto, 276. St. Zbno, 170. Sancta Sanctorum, 171. SiXTINE, 300. (S.M. Maggiore), 168. Charioteers, Mosaic and Busts of, 220. Chioi Palace, 8. (Albano), 491. , Villa, 378. Chobisters' School, 201. Christian Museum (Late- ran), 153. (Vatican), 347. Chronological Tables, [40], [98]. CHTJRCHE8, [50]. Agoniz/.anti, 193. Annunziata, 97. Bbata Rita, 34. Capfucini, 214. Chiesa Nuova, 238. concezione, 180. Gesu, 33. Chitxches — continued. Gesu Bambino, 163. Obsu e Maria, 6. Madonna del Buon Coh- SIGLIO, 162. DEL Buon Viaooio, 266. DEL DiVINO AMOBE, 180. DELLE GBAZrc (Ma- RINO), 497. DELLA Luce, 270. DEL RiPOSO, 272. Nome di Maria, 103. QUAKANTA MaRTIRI, 266. Sacbo Cuore, 197. Saints : — Abdon and Sennen, 271. Adriano, 66. AOATA DEI GOTI, 228. IN SUBUBRA, 228. DEI TeSSITORI, 98. IN TRASTEVERK, 269. Agnese Fuori le Muea, 369. ( Piazza Navona ), 196. Agostino, 199. Ale^sio, 267. Alfon.'O, 173. Ambrogio, 242. Anasta.xia, 406. Andrea de AyuABEN- ABIIS, 197. E Bartolommbo, 137. DELLE FrATTE, 17. • A PONTE MiLVIO, 391. AL QCIRINALE, 211. DEGU SCOZZESI, 213. DELLA VaLLE, 190. IN Via Klamwia, 390. in Vincis, 243. ANGKLO in GrANICOLO, 369. INTER NUBES, 273. IN Pescheria, 247. Angeli Custodi, 18. Angiolo, 277. Anna ((Quattro Fon- tane), 211. DEI Calzettari, 266. oei funari, 241. (Vatican), 280. Antonio Abate, 170. DEI Ma RON IT I, 160. DI Padova, 138. dei portoghesi, 200. Apollinare, 198. Apostoli, 30. Aquila e Priscilla, 269. Atanasio, 16. Churches — continued. Saints — continued. AUREA, 231. Balbina, 260. Babbara, 241. Bartolommbo deiBeboa- MASCHI, 10, 12. all' Isola, 281. Basilic, 97. Benedetto, 263. Bernardino, 228. Bernardo, 227. BlAGIO, 34, 230, 266. Bibiana, 174. Bonaventuba, 123. Brigida, 236. Calisto, 266. E GlULIO, 266. Cablo ai Catinari, 241. AL CORSO, 6. ALLK Quattro Fon- TANK, 211. CaTARINA DEI Funari, 242. IN Magnanapoli, 206. DELLA RUOTA, 236. DA SlENA, 231. Cecilia, 263. Celso e Giuliano, 237. Cksareo, 412. Chiara, 189. CiRiACO, 367. CiRO E Giovanni, 272. Claudio, 8. Clemente, 132. cosimato, 270. (ViCOVARO), 454. CO'^MA E DaMIANO, 85. (IN Trastevere), 270. COSiTANZA, 371. CriSOGONO, 268. Croce in Gerusalemmk, 177. DEI LUCCHESI, 20. A Monte Mario, 394. DELLA PENITENZA, 351. DiONIQI, 211. DOMENICO E SiSTO, 205. DOROTEA, 357. EOIDIO (Trastevebe), 268. (Vatican), 280. EuGIO DEI FeRRAI, 253. DEQLi ORxria, 231. EUSEBIO, 174. EUSTACHIO, 194. FiLIPPO Nebi, 231. Fbancesca Romana, 82. INDEX. Churches — con tinued. Saints — continued. Fbancesco (Monte Mario), 396. DI Paola, 159, 162. A RlPA, 266, 270. DI Sales, 351. Galla, 249. GiAOOMO IN Augusta, 6. (Cave), 466. degl' Incurabili, 6. Lung ABA, 351. SCOSSACAVALLI, 277. DE6LI SpAGNUOU, 196. GiOACHiNo ED Anna, 162. Giorgio in Velabro, 255. Giovanni Battista in Mercatello, 34. Berchmann, 214. Calibita, 261. Decollato, 253. DEI FlORENTINI, 230. IN FONTE, 146, DEI Genovesi, 265. IN Latebano, 139. DELLA MaLVA, 357. IN OLEO, 413. — — b Paolo, 127. E Petronio, 232. DELLA PiGNA, 189. A Porta Latina, 412. GIROLAMO DELLA CaBITA, 236. de<;li Schiavoni, 180. Giuliano dei Fiam- MINOHI, 190. Giuseppe Capo le Case, 17. (CORSO), 6. DEI FALEONAMI, 92. alla lungara, 351. Geegorio, 126. (DiVINA PlETi), 261. Ignazio, 21. innocenti, 202. Ippolito, 517. ISIDORO, 214. Lazzaro, 394. Liberato (Bracciano), 643. Lorenzo in Borgo, 351. E Damaso, 239. in Fonte, 163. Fuori le Mura, 363. in lucina, 7. IN Miranda, 87. IN Panis-Perna, 162. LUOA, 93. 553 Churches — continued. Saints — continued. Lucia alle Botteohe OSCURE, 243. DELLA ChIAVIOA, 237. DEI GiNNASI, 243. DEL GONFALONE, 237. IN Orfea, 162. IN SELCI, 162. LUIGI DEI Francesi, 194. Macuto, 21. Marcello, 26. Marco, 32. Margherita da Cob- TONA, 268. Mai:ia degli Angeli,. 224. DELL' ANIMA, 197. Antica, 77. IN Aquiro, 10, 181. IN Ara Coeli, 34. AVENTINENSE, 258. IN Campitelli, 243. IN Capitolio, 34. IN Cappella, 263. DE CATENARIIS, 236. DI Cavamonte, 471. DELLA CONCBZIONE» 214. DELLA CONSOLAZIONE, 248. 18. IN COSMKDIN, 251. DI COSTANTINOPOLI, DEI Crociferi, 19. IN DOMNICA, 129. Egiziaca, 250. DELLE FoRNACI, 279. DELLA Fossa, 253. DELLE G R AZIE, 280. DI Grotta Pinta» 241. dell' Itria, 18. LiBERATRICE, 77. DI LORETO, 103. IN Macello Mar- TTRUM, 98. Maddelena, 181. Maggiore, 164. sopRA Minerva, 186. DEI Miracoli, 6. DI Monserrato, 237. IN Monterone, 190. DI Monte Santo, 5. DEI Monti, 162. IN MONTICELLI, 244. DELLA NaVICELLA, I 129. AD NiVES, 166. NuOVA, 82. I 554 INDEX. Churches — continued. SAiJiTB—conlintted. Maria dell' Obazione, 231. dell' Obto, 265. DELLA Pace, 197. DBLLA PlETA, 10,280. DEL PlANTO, 244. del popolo, 3. Porta Paradisi, 179. in publicolis, 241. della qurbcia, 234. del rosario, 394. della rotonda, 181. IN Sabsia, 361. DELLA SCALA, 367. SCALA COELI, 406. SCHOLA GRABCA, 261. DEI Sette Dolort, 358. DEL Sole, 251. DELLA Stella, 490. DEL SUFFRAGIO, 231. DELLA Torre, 265. Traspontina, 277. IN Trastevere, 26G. IN Trevio, 19. is turribus. [42]. dell' Umilta, 20. IN Vallicella, 238. delle Vergini, 20. IN Via, 8. in Via Lata, 27. IN ViNCIS, 248. DELLA ViTTORIA, 226. Mart A, 21. Mabtina, 93. Mabtino ai Monti, 171. Matteo in Mbbulana, 145. Michblb in Bobgo, 279. ai cobbidobi. 277. E Maono, 351. (POBTA FaBBBICA), 279. A RiPA, 266. NeKEO ED ACHILLEO, 411. NiCCOLA DEI LOBENESI, 197. NiocoLd DE Calcalabeo, 190. db Funabiis, 243. in pokcilibus, 20. DEI PbEFETTI, 180. DA TOLENTINO, 214. IN TUFIS, 6. Nicola in Cabcbre, 248. deiCesakini. 190. Omobcono, 248. Onofhio, 359. IN Canpagna, 396. Chcbchbs — continued. Saints— continued. Orsola, 243. Pancrazio, 361. Pantaleo, 192. Paolo kuori lb Muka, 401. alla Regola,>244. ALLE TRE FoNTANE, 406. Pasquale, 266. Passbra, 272, 515. Pastors (Via Praenes- tina), 471. Pellegrino (S. Peter's), 280. Pftbk's. 281 (see S.Pietbo IN Vaticano). PiKTBO IN CaBCEBE, 92. E Mabcellino (Via Labicana), 390. IN MonTOBIO, 358. Fietro in Vatioano, 281. Abchitects, 282. Abchivks, 292. Baldacchino, 286. Baptisteby, 291. Bbonze Chair, 287. Cappella Clbmentixa, 290. del Ci:0Cin^80,288, Gbeookiana, 289. DELLA PiBTA, 287. Cbkemonies, 296. Chapel of thb Confes- sion, 294. Holy Sackaxknt, 288. St. Seba8tlan,288. Confession, 286. Crypt, 292. Dimensions, 285. Dome, 285, 295. Fa(^ade, 283. History, 281. Intkkiok, 284. Madonna dblla Co- lonna, 290. Mosaics of Cupola,296. Nave, 285. Porta Santa, 284. Reucs, 286, 288. Sacristy, 291. Sagrestia DEI Bbnk- ficiati, 292. St. Petku, Statu i:. 287. Statistics anj> Cost, 283. Treasury, 292. TuiBtNK, 289. Vestibule, 284. Church Ks—co;) tmu«d. Saints — continued. PlETBO IN ViNCOLI, 160. Prassede, 170. (Via Portuensis), 272. Prisca, 259. pudbnziana, 163. QUARANTA MaRTIRI, 266. QUATTRO CORONATI, 131. QUIBICO E GlULITTA, 97. Rocco, 180. KUFINA E SECUXDA, 268. Saba, 259. Sabina, 256. Salvatobe in Arco, 241. in Cacaberis, 244. IN CaMPO, 233. DELLE COPPELLE, 181. IN COBTE, 270. IN LaUBO, 201. IN OnDA, 232. IN OssIBUS, 280. A PONTEROTTO, 232. IN Portico, 248. IN PRIMICEBIO, 201. IN Thebmis, 195. SCOLASTICA (SuBIACO), 466. Sebastiano fuobi lb HURA, 422. ALLA PaLLARA, 122. Seboius and Bacchus, 66, 162. SlLVESTRO IN CAPltE, 8. AL QUIRINALE, 206. SiMONE B GlUDA, 202. Pbofeta, 201. SiNFOBOSA (Via Tibub- TINA), 438. SiSTO, 412. SPIRITO DEI NAit»LKTAXI, 231. IN Sassia, 351. .STANISLAO DEI PdLacchi, 243. Stbfano (Anouillara), 641. DEL CaCCO, 21, 189. DELLE CaREOZZE, 261. DEI Mori, 280. Rotondo, 130. DEL TrULLO, 12. Susanna, 227. Tbodoro, 256. TOMMASO a' CeNCI, 245. in formis, 128. dbgl' Inolesi, 236. IN Parione, 239. Toto, 266. INDEX. 555 Chu koh r.»— continued. SAiSTf* — continued. Trifone, 201. Trofimo, 231. Ubbano, 417. Venanzio ED Ansovino, 34. VINCESZO ED ANASTA8IO (Trevi), 19. (Tre Font axe), 405. VlTALE, 227. ViTO E Modesto, 173. Stimmate, 189. Sudario, 190. TRINITA DEI Condottt, 7. DELLA MiS-SIOKE, 10. DEI Monti, 14. DEI Pellegrini, 232. Church Festivals, [52]. Services, [10]. CiAMPlNO, 459, 478, 479. CicciAPORCi Palace, 237. , Villa, 367. Cktro (A>^tura), 611; (Tu»«- culum, etc.), 474. , Villas of, 474, 511. CiCILlANO, 452, 454, 467. CiMITERoOsTMANO, 372. CiNi Palace, 12. Cippus OF A Schoolboy, 43. OF Statilius Aper, 48. CiKCAEN Promontory. 492. Circus of Flamisius, 242. Maxeniius, 423. Maximus, 407. Nero, 278. Variancs, 178. ClSTAE from PaLESTRINA, 25, 465. CiSTERNA, 509. CIVITA CASTELLANA, 393 (see Directory, 433). Lavinia, 495, 604. CiVITAS LEONINA, 276. NOMENTANA, 546. Pratica, 630. ClVlTELLA, 454, 468. Claudia Rloge, 546. Claudius, Arch of, 20. Clement XIIL. Tomb of. 289. Climate, [31]. Cuvus Martis, 416. Palatinus, 80. pubuciis, 396. sububanis, 162. TiBURTINrj*, 442, 448. ViCTORIAK. 119. Cloaca Maxima, 91, 254. Clodr's, Villa of, 4h1, 486. Cloisters : — Carthusian, 220. S. Cecilia, 265. S. Cosimato, 271. S. Giov. DEI Genovesi, 265. Lateran, 145. S. Lorenzo Fuori. 366. S. Paui o Fuori, 404. 8. Sabina, 266. S. SCOLASTICA (TlVOl.1), 466. Coats of Arms, [118]. COAZZO, 546. Cola di Rienzo, 38, 245, 247. COLLATIA, 451, 469. COLLE DELLE CuOCETTE, 506. Colleges, [105] :— American (U.S.A.), 20. Belgian, 211. English, 236. French, 189. German, 214. Irish, 228. Polish, 18. Propaganda, 16. Scots, 213. Collegiate CnuRCHEti, [51]. COLLEGIO CAPRANICA, 181. Germanico, 214. Ghislieri, 231. Nazareno, 18. Pamphili, 196. DEI Penitenzieri, 277. Romano, 22. — Urbano, 16. op, 1*7. (An- c0u.epardo, 468. Colli Farinelli, 450. COLLIS HORTORUM, 12. COLONNA, 459, 461. colonnacce, 97. Colonnade of Benedict 111., 400. COLOS-SEUM, 103. Colossus of Nero, 81, ill. Columbaria, 415. Augustus and Livia, 417. HYLAS and VlTALIXK, 414. Tor de' Schiavi, 469. Veii, 539, 540. ViGNA Belardi, 175. CODINI, 414. Villa Pamphili..361. . WOLKONSKI, 139. VOLUSII, 418. Column of : Antoninus Pius, 10, 338. DioCLKTIAN, 68. Immaculate Conceition, 15. Marcus Aureliu-s 9. 1 S. Lorenzo, 363. Column of — continued, S. M. Maggiore, 168. S. Prassede, 170. Trajan, 100. COLUMNAE ROSTRATAE, 12. COMARCA, 455. CoMiTiA Cesturiata, 27. COMITIUM, 66. CoMMODUs, Villa ok, 473. Composite Capitals, Earliest use of, 80. Conduits, Ancient Roman, 102. CoNNfeTABLEDE Bourbon, 351. Conservators, Palace of, 39. Constantine, Baptism 147 ; Frescoes, 131, 171 ; Statoe, 38. Consulate, British, 8. CON.SULTA I 'alack, 207. Conveyance Office cient), 27. Conxolus, 457. I CORBIO, 478. CORI, 508 (see Directory, 433). CORIOLI, 504. Cornelius, Tomb of, 420. cobniculum, 452. cornufelle, 460, 478. CoRSiNi Palace, 353. CoRso Umberto Primo, 5. COBSO VlTTORIO EMANUELE, 190. CoRTILE DELLE PALLE, 274. CosA Valley, 458. Cosmatesque Mosaic :— Ckocifisso (Oratory), 401. Palestrina, 464, 465. S. AlESSIO, 258- S. Balbina, 260. S. Cecilia, 264. S. Cesareo, 412. S. Clemente, 134. SS. COSMA E Damiano, 85. S. COSTANZA, 372. S. Giorgio, 255. S. Giov. Lateran, 142. (Oratory), 148. (Porta Latina). 413. S. M. IN Ara Coeli, 35. in Cosmedin, 251. Maggiore, 168. Minerva, 187. SS. NEREO ED ACHILLBO, ^i 411. S. Paolo, 404. 8. PlETRO IN ViSCOLI, 161. S. Prassede, 171. S. Saba, 260. 556 INDEX. C08MATXSQOB Mosaic — con- tinued. S. TOMMASO IN FORMI8, 129. S. Vknanzio, 34. SUBIACO, 466. Vklletri, 507. C08MATKSQUR Pavement : — . SS. Andrea e Bart., 137. S. Bartolommeo, 262. S. Cecilia, 264. SS. CosMA E Damiano, 85. (Trasteveke), 271. S. Crisogono, 269. SS. Giov. E Paoix), 127. S. Lorenzo, 364, 365. S. M. in Aba Coeli, 35. IN Cosmediv, 251. S. Pietro in Montorio, 358. Sancta Sanctorum, 148. Costa Castello, 498. Sole, 455. Costagdti Palack, 241. Cotta, M. Axwelius, Tomb or, 484. Councils at the Later an, 146. S. Martino, 172. Ckateiis, [65]. Crbmera Torrent, 392, b3^. Crbpereia Tryphakna, 45. Cresckntil'8, House of, 249. , Tomb of, 258. AND Theodoka, 273. Crocifisso (Oratory), 20. Crucifixion, Caricature of, 24. CRUfert, 213. Dyinc. Gladiatok, 49, 223. Egekia, 417. Elaoabalus, Baths, 80; Palace, 178. Embankment of the Tiber, 270. Embassim, [14], [16]. Emissabium (Albano), 498, 499. (Gabii), 471. (Nemi), 493. Empekors, List of, [lOOJ. Empire, Thk, [81]. Empiglione, 452. Emporium, ;{97. Empulum, 462. 467. Enqush Church. 15. College, 236. Engravings, 355. , Institute. 19. Equites Sinoulabxs, 138. Ebetum, 647. E^sposizioNE DI Belle Akti, 227. ESQUIUNE (Cispian), 164. (Oppian), 160. Ethnographical (Kib- CHSRiAN) Museum, 22. Etbuscan Tomb, 490. EuRYSACEs, Tomb of, 176. EVANDER AND AeNEAS, 114. Excavations, [63]. Excubitukium, 269. Ex VoT<> Uffei:inos, 423. F. Fabia, 601. Fabius Maximus. 192. Falconieki Palace, 231. Falrrii, Antiquities from, 387. Famous Men, List of, [101]. Fanum Vacunae, 454. Farnese Palace, 234. Fabnesina Gaudrns, Hbliem FBOM, 219. Palace, 352. Fasti Tkiumphales, 42. Fate Bene, Fratblli, 261. Favissae, 59. Fenestrella, 132, 133. 172. 496. Feurajuoli Palace, 9. Festivals, [15]. , Church, [52]. FiANO, 393. FiANo Ottoboni Palace, 7. FiCANA, 818. FiCULBA, 646. FiDENAI, 379. Field Palack. 172. FlLBTTlNO, 437, 458. Finanze Palace, .367. INDEX. 557 Fihenze Palace, 180. Fish Markets, 247. Fiumara Grande, 517, 519. FlUMB CONCA, 514. SiSTO, 514. FIUMICINO, 617 (see Direc- tory, 433). River, .517. Flaminian Circus, 242. Flavinia, 393. Flint Implements. 453. foqliano. 613. FoMs Bandusiab, 454. CaERULBUS, 455. Jutuknae, 75. Olei, 266. FONTE DBOLI ObAZINI, 454. DI Papa, 647. FORMBLLO. 539. FOUNARINA, 213. FOKTE DI MoXTB ANTBNNE, 378. PitATALATA, 437. Pubnestina. 469. TlBURTINA, 437. Trionfale. 395. Forum of Antoninus. 9. Augustus, 95. Boarium, 254. JUUUM, 95. Nerva, 78. Olitortum, 248. Peace, 98. Prison. 88. UOMANUM, 59. SUAUIUM, 20. Trajan, 99. Transitorium, 98. Fossa Cluilia, 4»<3. Trajana, 517. Fossae Claudianae, 517. FOSSO DELLA CeCCHINA, 64.'j. DEI Dub Fossi, 538. •—- DI FORMBLU), 538. InC ASTRO, 531. DELLA MOLA, 472. della moletta. 531. de' Picchioni, 508. DI Quarto. 546. Foundling Hospital, 276. Fountains : AcQUA Fbltce, 22G. Marcia, 217. Barcaccia, 15. BOCCA DELLA VbRITA, 251. EOERIA, 130, 408. Nemi, 492. MONTB Cavallo, 207. Paolina, 359. Piazza Navona. 195. St. Peter's, 279. Fou NT A I xs — continued. Tautakuohe, 241. Trastbvbre, 266. Trbvi, 19. Tritone, 213. Francia, 47, 314. Frangipani, 159. FRASCATI, 459, 473 (sec Di- rectory, 433). Ancient Villas, 477. Camaldoli. 477. Cappuccini, 474. Cathedral, 473. DuoMO Vrcchio, 473. Fountains, 473. Palazzo Ve.scovile, 473. S. Rocco, 473. Sepulchre of Lucullus, 474. Villa Ai.dobraxdini, 47-1. Falconieri, 474. Grazioli, 477. Lancellotti, 474. Mondragone, 477. rufinella, 474. SoRA. 477. Taverna, 477. TORLONIA, 477. Fratres Arvalrs, 222, 515. Frattocchib, Osteria, 479 (see Directory, 433). Station, 490. French Academy, [12], 13, 14. College, 189. Fberbs DBS Ecoles CuBl^- TIBNNBS, 201. Fbescoks: — (See Fra Anf/elico, Giotto, Domenichino, etc.) Ancient Christian, 135. Roman, 120. Aurora, 206. BoNizo, 41 ;. Catacombs (copies), 156. Farnese Palack, 2J6. Farnesina Palace, 352. German, Modern, 133. Giotto, 142. Martyrdoms, 130. NiOBB, 201. S. Agnbse. 156, 369. S. Crock, 177. S. LORENTO, 361. S. M. Minerva, 187. SS. QUATTKO CORONAn, 108. S. SiSTO, 412. SUBIACO, 457. G. Gabii, 438, 460, 470. Gabrtelli Palacb, 202. Galera, 541. Galileo. 13, 189, 279. Gallbuia Colontia, 203. DI SOPlfA. 500. DI SOTTO. 498. Galleries and Museums^ [63]. Gallicano, 449, 461. 471. GALLIENU8. Tomb of, 485. Galloro, 492. Galluzjcb. 175. Gangalanti, Villa, 377. Gardens : — AciLii, 13. Caesar, 272. COLONNA, 206. Janiculum, 359, 360. Lucullus, 14. Maecenas, 172; PiNCIO, 13. Quibimal, 211. SaLLUST, 216. Garibaldi, 42. Gaseous F.manations, [66]. Gas Works. 407. OENAZZANO, 454, 466 (see Directory, 433). OENZANO, 492, 606 (see Di' rectory, 433). Geological Museum, 226. Geology, [64]. Germ ALUS, 112. German Archaeological Ik- STITUTE, [11], 06. COLLBOB, 214. Gbkmanicus, House op, 120. GBsd Bambino, 163. GlTA, 66. 263. 416. , Tomb of, 416. Ghrtto, 261. (ihirl'indajo, 304. GlanicoiA 359. 360. Giardino del Gianioolo. 359. DEI LaGO, 380. Gibbon, 36. Oiotto, 142. 284. GiRAUD Palack, 277. Giulianbllo, 608. QiuBTiNiANi Palace, 194. GiusTiziA Palace, 3S4. » 558 •6L088A.KT OF TlCHWICAL Terms, [113]. Gnomon, 10. , 277. (Vebospi), 8. Valdambrini, IhQ. Valbntini, 31, 99. Vallb, 191. Palacb:^ — continued. Venbzia, 32. Vebospi, 7. Vidoni, 190. PALATIirE HILL, 111. Acadbmia, 116. Abdes Matbis Deux, 115. Altab, 114. Augustus, Palace or, 117. Aula Regia, 118. Aba Maxima, 114. BlANCHINI, EXCAVATIONB BT, 114. BiBLtOTHBCA, 115. Bridge OF Caligula, 119. Buried House, 118. Cauuula, Palaok of, 119. Casino (Modern), 122. nussiner, 114. ClCBliO AND ClODIUS,. Houses of, 119. Cistern, ii4. Clivus Victoriae, 119. Cbtptopobticub, 120. Ctbelb, Status amo Temple, 116. DOMUS AUOUSTANA, 132. Flavia, 112. Gelotiana, 116. TiBEBIANA, 112. Fabnbbb Gabdbns, 113. Faustulus, Hut of, 116. Gbbmanicus, House op, 115. Heating Afpabatus, 114. Htpocaust, 115. Jupitkr St a tor, Temple OF. 119. VicroR, Temple of, 116. Lababium, 118. Latomiae, 115. LUPEBCAL. 114. Meta, 117. Nova Via, 119. Ntmphaeum, 118. Obti Barbrrini. 11.3. Roncioni, 113. Pakdagogium, 116. Peristtlium, 118. Piscina, 120. Porta Mugionis, 119. romanula, 119. Vetus Palatii, 119. ScalaeCaci, 114. Septizonium, 117. Sevebus, Palace of, 117. Specus of Conduit, 116. Stadium, 116. Tablinum, 118, 120. TiBEBICS, PaI.ACBOF, 122. Tribune, Imperial, 117. V INDEX. 56a Palatine HaL— <»nttnM«I. Triclinium, 118. Victory, Temple of, 119. ViONA NUSSINEB, 113. WALia Of KiNGLT Rome, 113. Well Shafts, 115. Wolf, Den of the, 114. Palatium, 112. Palazzetto Fabnese, 192. PaLAZZUOLO, 498, 500. Pales, Goddess of Flocks, 112. PALESTRIHA, 449, 459, 461 (see Directory, 434). Casa Barberim, 464. Castel S. Pietbo, 464. Cathedral, 464. CisTAE from, 26, 466. CfTADEL, 464. COLOM BELLE, 466. FOBTUNA PBIMAGENIA, 464. Madonna dell' AQuaA, 466. Mosaic Pavement, 464. Necbopolis, 466. Obto Barberini, 466. Palaz/o Barberini, 464. PaBCO DEI Barbebini, 461. Pavement of the Via Pkaenestina, 466. Piazza Savoia, 463. PiETRO Luioi, Birthplace of, 464, 466. Polygonal Walls, 464. poeta delle monache, 465. S. MabtINO, 466. DEL Sole, 463, 466. Resebvoiks (E.), 465. (W.), 464. Ruin, Octagonal. 466. S. M. DELLA Villa, 466. S. Francesco, 464. SeMINABIO, 464. Sobtes Praenestinae, 464. Sun Dial, 464. Temple of Fortune, 463. Treasure of, 23. Treasury of the Temple, 464. Via deoli Abcioni, 463, 465. Villa of Hadrian, 466. PALIANO, 467. Palladio, 276. Palm A Vbcchio, 203, 385. PALO, 532 (see Directory, 434). Palombaba, 438, 450, 462, 464, 546. Pamphiu Palace, 196. Dobia, Villa, 361. PaNCRATH, TOMBA DEI, 489. Panorama of Rome, 68, 216, 358, 360, 361, 394. Pantano, 460, 478. Pantheon, 181. Paolina, Villa, 367. Papacy, The, [76]. Papal Election, [81]. Granaries, 224 Parco DEI Barberini, 461. Di Colonna, 498. Mabghebita, 391. Parochial Chubches, [61]. Pasoolabe di Castel Gan- dolfo, 339. Iasquino, 192. Passeggiata di S. Gbkgobio, 125. del Gianioolo, 360. Passerano, 449. PassionistConvknt, 128. Passion Plays, 104, 249. Patarina, 68. Patriarchal Basilicas, [60]. Patkizi Palack, 194. , Villa, 369. Paul III., Apartments, 275. Pausilypon, 544. Pavement (Ancibnt), 212, 222. Pedum, 471. Pelasgic Wall, 461, 508. penitentiarie.s, 146, 277 Pensions, [6]. Persius, Villa of, 485. Perugino, 305, 314, 316, 376. Petbb's Pence. 221. Phaon, Villa of, 379, 545. Pi A Casa deoli Esposti, 276. Piano Reoolatore, 69. PlANTA CaPITOLINA, 43. Piazza d'Armi (Veii), 538. Barberini, 213. Benedetto Cairoli, 241, 244. DEL CAMPIDOULH*, 38. Cappanica, 181. DELLA Catena, 492. Cavour, 394. ClNQUECENTO, 216. DEL COLLEGIO ROMANO, 21. Colonna, 9. Farnese, 234. Fiammetta, 201. GUGLIELMO PEPR, 174. Manfbedo Fanti, 172, 174. Mignanelli, 16. Piazza Montanaba, 248. Monte Citobio, 10. Montevecchio, 198. N A VON A, 196. Nicosia, 180. Paganica, 242. di Pasquino, 192. DEI Pellegrini, 233. Dl PlETRA, 10. del Popolo, 2, 393. Randanini, 194. DEL RlSOROIMENTO, 280, 394. DELLA ROTONDA, 181. DI S. Giovanni. 137. S. Pantaleo, 192. S. PlETRO, 277. Sallustiana, 215. DI Spagna, 15. DELLE TaRTARUGHB. 241 ^ VlTT. EMANUELE, 174. Picture Gallebies : — Albani, 375. Barbebini, 212. Belle Arti, 227. Borghese, 382. Colonna, 19. consebvatori, 46. CORSINI, 353. DORIA, 28. Lateban, 166. Modern, 227. rospigliosi, 206. S. Luc A, 94. SpADA, 234. Vatican (Pinacotbca), 314. Pier, Roman, 201. PlETRA AUREA, 546. Pertusa, 639. scellerata, 174. Pig Market, Ancient, 20. PiGNATTE, 423, 459. Pilate, House of, 148, 249. Pinacotbca, 314. PiNCiAN Hill, 12. Pino Steeam, 533. Pinturicchio, 3, 4, 35, 264, 303, 316, 386. Pio Palace, 240. PiOMBiNARA, Castle of, 507. PiRKO Palace, 191. PiSCIANO, 4«7. i»ISCINA, 613. Pius^II. AND III., Monuments OF, 191. VII., Tomb of, 290. IX., Tomb op, 366. Platonia, 423. Plautilla, 400. Plautius Lucanus, Tomb of, 439. 564 Pliny, Villa of, 529. PooGio Cbsi, 438. POLI, 472. Policlinic*), 368. POLIGONO V' ABT[GLI£BIA, 513. Polish College, 18. Pollajuolo, 161, 288, 291. POMOEKIUH, 254, 259. PoMPET, Status of, 233. , Tomb of, 487. , Villa of, 481, 487. POMPONIUS Lbtus, 42], 460. Pons Aelius, 202. Aemilius, 250. Agbippak, 231 . aubelius, 232. CsSTIUS, 262.1 Fabricius, 261. Geatianus, 262. LapIDEUS, 250. MiLVIUS, 391. NOMENTANUS, 545. SXNATOBIUS, 250. SUBLICIUS, 265, 396. Teiumphalis, 202. Vaticanus, 202. PONDERAKIUM, 267. PONTB DKLLA CATENA, 460, 509. Cavoue, 393. DSLLA ChIESACCIA, 631. Galera, 516. 532. Garibaldi, 190, 270. DEL GlANICOLO, 231. dell' Isola, 539. LUCANO, 439, 449. LUPO, 471. Mahmolo, 437. DELLA MaNDRIOLA, 531. Marghebita, 2, 393. MOLLE, 391. nomentano, 375, 645. 1)1 Nona, 469 Orsino, 467. Palatino, 250. Quattro Capi, 261. DELLA RiFOLTA, 518. ROTTO, 250. S. Angelo, 202. S. Bartolommeo, 262. S. Maria, 260. Salabio, 378, 547. SiSTO, 232. SODO, 640. dello Spedaletto, 466. DEGLI SQUARCIARBLLI, 497, 501. PoNTiAN Islands, 505. PoNTicELLO Brook, 485. Pontine Marshes, 492, 504, 508. INDEX. Poutormo, 386. PoNZA Islands, 492. Popes, Earlt Tombs of, 294. , Hunting Lodge of, 516. , List of, [101]. , Oil Cellar, 226. , Palace of (Castel Gandolfo), 499. Pobta Appia, 416. Ardeatina, 416, 631. asinabia, 139. Caelimontana, [44], 137. Capbna. [44], 127, 407. Ca&mentalis, [43J. Cavalleggibri, 279. Chiusa, 368. COLLINA, [43], 367. Decumana, 368. esquilina, [44]. Fabbrica, 279. Flaminia, 1. Flumextana, [43]. FONTINALIS, 205. FURBA, 459, 472. Latina, 413, 487. Lavernalis, [44]. Madida, 407. Maggiore, 176. mugionis, 119. Naevia, [44]. NOMBNTANA, 368. OSTIENSIS, 400. QUERi^UETULANA, [44]. PlA. 367. PiNCIANA, 216. DEL POPOLO, 1. PORTESE, 266. portubnsis, 271. Principalis Dbxtra, 368. Ratumbna, [43]. Rauduscula, [44], S. Giovanni, 139. S. Lorenzo, 363. S. Pancrazio, 361. S. Paolo, 400. S. Sebastiaxo, 415. Sal ARIA, 374. Salutaris, [43J. Sanviualis, [43], 208. Santa, 284. Santa Crocb, 443. SARACINE.SCA (SAOUI), 508. Settimiana, 357. Spezieria, 539. Tiburtina, 362. Triggmina, [44]. Triumph AU.S, [43]. Vbtus Palatii, 119. VlMIXALIS, [44], POBCIOLIANO, 530. PORTATOBE, 514. POBTICUS OF THE ARGONAUTS, 11. OF EUBOPA, 180. OF Gbatian, 238. Maximab, 242. OF MiNUCIUS, 248. OF OCTAVIA, 245. OF Philip, 247. of pompbt, 241. Sbptorum, 28. POBT OF Claudius, 517. OF Trajan, 616. PORTO, 516. PORTO L' ANZIO, 510 (see Directory, 434). Dl POZZOLANA, 406, 518. Di RiPA Grande, 265. DI RiPBTTA, 180. pobtonaccio, 490. Portraits of the Popes, 403. POBTUS CiRCAEUS, 514. Claudii, 517. Trajani, 616. Post Office, [23], 8. Poustin, 171, 203, 323; HOUSE OF, 15 ; Monument to, Y. Powder Magazine, Explo- sion OK, 257. POZZO DI AnTULLO, 458. POZZOLANA, 406. Prakdium EQurrn, 171. Manlianum, 515. FRAENESTE, 461. Pbaxtorian Camp (Albamo), 481. Pbata Pobcia, 478. Pbatica, 530. Pbato Lungo, 438. Rotondo, 378. Pratone, 449, 450. Pbx-historic Museum, 22. , ToMB-i, 22, 463. Prima Porta, 392, 393. Primitive Romb, 112. Printing Office, Eablt, 191. Pbiobato, 258. Pbisci Latini, 546. Pelxcilla, Tomb of, 416. Prison (Byzantine). 248. , Forum, 88. Prisons, 231, 351. Pbix db Rome, 14. Pbocojo Nuovo, 393. Propaganda, 16. Peotometica, 45. PUBUC GaBDENS, 125, 211, 228. PUTICOLI, 172. INDEX. 565 QUABANTA OBE, 231. QUAEBIBS BENEATH THE CaPI- TOL, 69, 248. QuiNTaiOKUM, Villa, 483. * QuiRiNAL Palace, 208. Gabdbns, 211. Race Coubsb, 391, 459. Raphael, 4, 29, 94, 198, 199, 306^316. 323, 352, 375, 384, 386. , House, of, 277. , Tomb of, 185. Reading Rooms, 22. Rbdicicou, 379. RaoiA, 71. Rboina Cobli, 351. Regio Palace, 208. Rboolini-Galassi Tomb, 342, 535. RxGREsso Station, 442. Rblikfs of Twelve Divini- TIBS, 53. Religious Ori'Bks, List of, [104]. Restaurants, [25]. Rex Sacrificulus, 83. Rlano, 393. Riario Family, Tomb«* of thb, 31. Ricciarui Palace, 277. Rifle Butts, 391. RiONANO, 393. Rio di Decima, 531. DEI Prati, 462. Tobto, 630, 531. RiPA Vbibmtana. 353. Ribtorantb Costantino, 269. ROOCA Cantxrano, 455. [.Bonic.] RoccA DI Cave, 466. Cenci, 460. GlOVANB, 450, 453. MasSIMA, 450, 508. ROCCA DI PAPA. 491, 501 (sec Directory, 434). Priora, 477, 478. 8. Stefano, 468. RoJATE, 468. Roma Prenestina Stat., 461. TuscoLANA Stat., 515. Vbcchia, 473. Roman Pavement, 164. Villa, 482. liomano, Giulio, 129, 191, 197, 204, 316, 352, 472. Rome, Historv of, [66]. Romitorio di S. Nicola, 454. EONCIGLIOKE, 544 (see Directory, 434). Rondimm Palack, 6. Rosa, Salvator, 15. RosPiGLiosi Palace, 206. Rostra, 62. Julia, 62. Vetera, 62. Round Templk, 250. Roviano, 455. Royal Stables, 211. Rubens, 29, 46, 204, 238, 354. RUGITELLA DE GRANO, 39. RuiNfs (see Ancient Buildings, Destiuetion, Walls, Aque- ducts). RuspOLi Palace, 7. RusTiCA, La, 454. Sacr« Cceur, Nttns, 14. Sacred Grove of ink Arvales, 515. Saciupante Palace, 20 1 . SagroSpeco, 456. Saint AdaUCtus, 428. Andrba a Pontk Molle, 377. Andrew, Shrine of, 360. Angelo, Castello, 272. (Hill Town), 452. Augustine of Canter- bury, 127. Basilio, Monastery Of, 495. BENofr Labre, House of. 162. 15. Bruno, Statue of, 225. Cecilla, Academy o'p, , Tomb of, 418. — CiRiACA, House of, 129. COLOMBA, CaSALE DI, 547. cosimato, 463. — Dominic, Rooms of, 257. — Felicita, Catacombs, 377. , Chapel, 159. — Francis, Rooms of, 226. — Gennaro, Castkllo, 494. — Gregorio (Tivoli), 472. — Gregory, Paternal House of, 260. — Ignatius, MartyrdOU OF, 104. - — Ignatius Loyola, 404, 8. Sabatk, 543. Sabink Rangk, b03. Sacchktti.Palacr, 230. Sacco Muro, 452. Valley, 466, 467, 503. SacCONI, 256. Sacbllum, 61. Sacra Via, 83. 443 ; Rooms of, 4. Lawrence, 129. Lorenzo, 605. Maria Nuova, 484, MaRTINO AL ClMINO, 544. Mauro Bridge, 468. Monica, 200, 620. — - Nereus and S. Achil- LBUS, 238, 427. Onofrio Stat., 395, 537. Paolo Stat., 515. Paul's House, 27, 244. Peter, Chains of, 161. , Crucifixion of, 281. AND S Paul, Parting of, 401. — - Philip Neri, House of, 236. PiBTRO Station, 537. Pius V., Rooms of, 257. Polo, 450, 452. FCHLO DEI CAVALIBRI. 462. Procula, 531. ROCCO (ViCOVAKO), 461.; 2 P Y » 1 i 566 Sadtt Vknahtics, Obatobt or, 147. Vrro, 467. Saikt», List of, [104]. Salons, 451. Salviati Palace, 30. Sambuci Yallxt, 454. Sancta Qenbbosa ad Sextum Phiuppi, 272. Sancta Sanctobdm, 148. Samovino, 4. 35, 199, 200. Santackoce Palace, 233. Santanqklo in Capoccia, 438, 460. Sabacimrsco, 454. Sabcofuaous, 46, 47. 48, 64, 153, 164, 364. 389. Satdbnalia, 60. Sayelu Palace, 248. , Tombs ov the, 36. Savinos Bank, 21. Saxonum Yicns, 351. Saxula, 452. SCALA DBLLA TKlNITi, 15. — Santa, 148. IN BOBGO. 351. (Sdbiaco), 457. SCALAB GkMONIAB, 93. SCALZACANK, 460. Scannabbcchi Rivbb, 647. scabpbllata, 460. SCHOLA, [49], 420. Octaviab, 245. Xantha, 64. Sciakba Colonna Palacb, 20. Scipio Ajtbicanus, Housb of, 91. SciPios. Tomb of the, 413. Scots Collbob, 213. Scott, Sib Waltkb, Houbb OF, 17. ScuLPTOK.**, List of. [110]. sculpturb, [87]. Sculptubes fbom S. Aonisb, 233. ScuoLA Di Bbllb Abti, 179. DI Equttazionb, 391. Gbbgobiana, 197. Di S. Paolo, 244. PiA, 276. Tbcnica, 162. SdHutiano del Hombo, 358. Sbcbbtakium Sbnatus, 93. Sbdiaccia, 645. Sbdla. dbl Diavolo, 645. SEONI, 467 (see Directory, 434). Sella, Statue of, 367. Sklya Laubentina, 529. Di Nbttuno, 510. Sbmxnzaio Comunalb, 408. INDEX. Sbminabio Romano, 199. DI S. PiBTBO, 280. Sbmo Sancus, 262. SxMPBONii. Tomb of the, 207. Sbnatb Housb, Itauam, 195. , Roman, 66. Sbnatok, Palace of the, 66. Senbca, Tomb of, 482. Sepolte Vive, 162. Sbpolcbo DEI Nasonii, 392. Sbpta JnuA, 27. Sbpt. Sbvbbds, Abch of, 66. , Gatb of, 253. Sbptizonium, 117, 407. Sbpdlcbetum, 88. Serapeon of Canopds, 442. Serqius Qalba, Tomb of, 397. Sbbmonxta, 510. Sbbpbntara, 379. Skrpbnt and Ship, 262. Servian Walls, [42], 127, 174, 205, 269, 260. 362, 400. Servilius Quabtus, Tomb of. 482. Servilius SaANU^i, Villa, 487. Sbssorium, 178. Sette Bagni, 379, 647. Basi, 473. FbATTB, 438. Sale, 161. Vbne, 643. Sevxn Aqueducts, Meetino OF, 176. SeVVT - BRANCHED CANDELA- BRUM, 422. Seven Hills, [37], 69. Sevebus, Palace ok, 117. Sfokza Cesakini (Genzano), Palace, 492. Shellet, Tomb of, 399. Sibtlline Books, 123. Sic AN I, 443. Siege of 1849, 361. SiGNA TeGULABIA, 51. SlONIA, 507. Signorelli, Luca 306, 376. Silver Cups and Coins, 25, 26. SiMBBUiNE Mountains, 437. Simon Magus, Fall of, 82. SrruLA FBOM Pbabnestb, 45. SiXTINE CHAPKL, 300. Sixtus IV., Tomb of, 288. Slauohtbb Houses. 398. Smith, Villa, 377. Societies, [11]. SodUyma, 353, 386. SOLFABATKLLA, 531. SOLFATABA, 438, 490. Sophocles, Statue of, 160. SoRA Palace, 339. SOBACTX, 460. Spada Palace, 233. , Villa, 379. Spaona Palace, 16. SpANIARIM, TomB>* OF, 237. Spanish Academy, 359. Specola Vaticana, 360. Speculum Dianae, 460. Spbbonx, 470, 476. Speziebia, 484. Sphaeba, 116. Spunta Pietba, 546. SrABLBs OF Charioteers, 407. , quibinal, 211. Stabula Factionum, 407. Staonum Agbippab, 186. Nebonis, 103. StatHotico Oreco, 457. Statilii, Columbaria of, 175. Statio Rationis Marmorum, 199, 202. Stations of the Crosk, 104, 123. Statues: — AnTIMOUS, 228, 329. Apoxtomenos, 337. AtlUUSTUS, 281. Boxer, 218. Cola di Rienzo, 3;^. Demo()Thene.x, 336. domitian, 69. Garibaldi, 360. Goethe, 380. HiPPOLTTUs, 155, 239. Hugo, Victob, 380. Mabcus Aubelius, 38. MosBs, BT Michel Anqblo, 160. PoMFET,'233. Sblla, 367. Sophocles, 126. Tkemulus, 70. Stazionb Chimica, 214. Steamer Routes, [2]. Stiqliano, 543. Stonecutters, Guild of. 131. 8T0RTA, LA, 537 (see iHreC' tory, 434). Stobta StrbaM, 538. Stracciacappa Tabs, 643. Stbada Militare, 487, 490. DBLLE ViGNB NUOVE, 546. Stbeet of Tombs, 483. Stbenia, Shbine of, 83. Stuart, Villa, 896. Monument, 291. Sttoianum Vicus. 543. Sub Lanuvtum, 494. 8UBIAG0, 466 (see Director;/, 434). Sublaqceum, 455. sobukbanum pha0ni8, 379, 645. SuMMA Sacba Via, 84. Suspension Bridge, 230. ScTRi, 644. Sylvester IL, Death of, 177 ; Tomb of, 142. T. TaBEBNA MBRtrORIA, 266. Tabebnae Vetbres, 64. Table of Bbonze, 51. Tablinum, 118, 120. Tabula Alimentaria, 222. Tabulae Iliacae, 65. Tabularium, 67. Takpeian Rock, 56. Tasso, Tomb of, 359. TAa'io's Oak, Rooms and Relics, 360. Teatro Argentina, 190. Metastasio, 180. Nazionale, 204. Tebbia Stream, 508. Tkle<;i{aph, [23]. Telemachus, 104. Tempio di Bbamante, 358. DBLLA TOeSB, 448. Temples :— Aesculapius, 262. Apollo, 123, 247. AUQUSTU.s, 77, 113, 256. Antoninus and Fauhtina, 88. Bona Dea, 258, 443. Camenae, The, 408. Castob and Pollux. 76. (CoBi), 509. Cebes and Phoskrpinr, 417. , Liber, and Libeba, 252. (OsTIA), 626. Claudius, 128. Concord, 61, 65. DBA DiA, The, 516. Diana Avbntina, 269. Nbmobbnsis, 493. INDEX. Trmplbs — continued. Divus Rediculus, 417. EvENTUs Boni, 190. Fobtuna Antlas, 611. muliebris, 473. VIRILIS, 260. Hercules, 190, 486. (COBi), 509. Hope, 248. lOMI, 233. IsiS, 47, 189. AND SeBAPIS, 21. Julius Caesah, 70. JoNO Gabina, 470. Lanuvina, 505. MONETA, 36. Rbgina, 257. >k)spiTA, 248. ViCTBIX, 453. JUPITEB CaPITOLINUS, 56. AND JUNO, 247. Latiaris, 602. Libert AS, 267. Stator, 80, TONANS, 56. ViCTOK, ll.'i. Mars, 416. Ultor, 95. Matuta, 250. Minerva, 97. Campensis, 21, 189. Medica, 176. Neptune, 10. PiBTV, 248. portumnus, 516. Romulus, 87. Sacrae Ukbib, 86, 98. Saturn, 60. Spbs, Sospita, and Pietas, 248. Sun, The, 206. Trajan, 31. Venus and Cupid, 178. Genitrix, 96. AND Roma, 81. Vespasian, 61. Vesta, 71. Vulcan (Ostia), 621 Trneram Palace, 227. Terminillo Grande, 468. TERRACINA, 510 (see Direc- tory, 434). Terra Cotta, 156, 387. Testaocio, 397. Tbvebone River, 378, 437 (see Anio). Theatre of Balbus, 244. of Mabcellus, 247. OF POMPET, 240. Thermae (see also Baths). ' Antoninianae, 408. 567 Thebmak Dbcianab, 269. OF Helena, 177. , List of, 168. OF Titus, 103, 158. Theodora and Marozia, 273, 366. Thorvaldsen, 93, 185, 290; Statue of, 212. Tiara, 142. Tiber, [38], 503. Tiberius, House of, 78, 79. PalaceIof, 122. Di- Tibur, 462. Titian, 29, 46, 316, 386. TIVOLI, 443, 452 (see rectory, 434). Cascatellb, 448. Castle, 443. Cathedbal, 447. Churches, 446. cosmatesque remains, 447. Electric Light Wobks, 448. Etruscan Tomb, 449. Falls of the Anio, 445. Gesc, 446. Gbbek College, 443. Grotto of Neptune, 446. Grotto of the Siren, 446. Hall of the Augusta lbs, 448. La Cabita, 447. Madonna di Quintiliolo, 448. Monte Catillo, 446, 448. Ntmphaeum, 448. Observatory, 447. Pons Valerius, 445. VOPISCI, 446. PONTE dell' ACQUORIA, 448. GrBGOBIANO, 446, 446. POBTA S. AnGBLO, 450. S. CbOCE, 443, 447. S. Giovanni, 449. Public Gardens, 443. S. Andrea, 447. S. Antonio, 448. S. Biagio, 447. S. Giovanni, 447. S. Gbegobio, 449. S, M. Maggiorb, 447. S. Michelb, 446. S. ViNCENZO, 447. Stbada di Carciano, 443. Tempio dell a Tosse, 448. Temple of Hebcules Saxanus, 447. OF Hebcules Victob, 448. OF thb Sibyl, 446. 2 P 2 S68 INDBX. Tiyou-rcontirmed. Temple of Ykbta, 446. Tomb op Auekstics Soter, 449. Via Constantina, 448. corniculana, 448. Villa Baaschi, 442. OF Brdtus, 443. OP Cassics, 443. OP CatDLLUS, 444. r- D'ESTE, 447. OF Horace, 448. OF Maecenas, 448. OF QuiNTiLius Varus, 448. op turcius, 449. Tobacco Factort, 265. Tomb of the Acilii Gla- BRONES, 378. OF Alex. Severds, 472. - — OF Annia Rf.oilla, 49, 417. OF ArUNS, 491. OF Attilius EvHODUa, 485. — OP BiBULrs, 32. — OP Card. Adam, 263. — OP Card. Bainbridob, 237. — OF Cecilia Metblla, 424. — OP Cornelius, 420. — op Crustidius, 424. op eurtsaces, 176. — OP Gallibnus, 486. OP Geta, 416. — OP Granius Labeo, 424. — OP Hadrian, 274. — OP Maenius Bassus, 452. — OF Marcus Aurelius COTTA, 484. OP THE MeTELU, 484. — ^ OP Mezzopanti, 360, — OP Nero, 536. — op Pius IX., 366. OF Plautius Lucanus, 439. OP POMPET, 487. OP Priscilla, 416. OP THE Reliefs, 534. OP S. Cecilia, 418. OF THE SCIPIOS, 413. OP THE SbMPRONII, 207. OP Seneca, 482. ■^ — OP Seroius Galea, 397. OP Servilius Quaetus, 482. OP SlXTUS rV., 288. r — - OP THE TaBQUINS, 534. OP TaBSO, 360. OP VebanNIUS, 485. Tomb op Vibius Mabianus, 536. ON THE VlA PORTUENSIS, 271. TOMBA DEI PaNCUATII, 489. DEI Valerii, 487. Tombs (Rock) at Ardea« 531. AT Cervetri, 634. oftheDella Valle,36. OF THE HORATII AND Curiatii, 483. OF Magister Paulds, 268. FROM Narce, 390. AT THE Porta Salabia, 374. , Prehistoric, 22, 453. OF THE RiARIO FaMILT, 31. OF THE SaVELLI, 36. Tombstone of St. Paul, 403. topogkaphy, [37]. Toe Carbone, 483, de' Conti, 97. Di Quinto, 391. ToKLOMA Museum, 355 (GiRAUD), 277. (Verospi), 8. Villa, 369. (Castel Qandol- PO), 486. torraccio, 514. Torre Boacclana, 617, 519, 624, 528. CaLDARA, 531.1 Cantarelli, 171. Cartularia, 80. dei corvi, 537. DEL FiSCALE, 489. DI FocE Verde, 614. DEL GRILLO, 97. LUPARA, 646. Marancia, 426. Mellini, 197. DI Mezza Via, 478, 490. DELLE MiLIZIB, 205. NUOVA, 460. OteVOLA, 614. Paolo, 514. Paterno, 529. PlONATTARA, 469. DI Pratica, 503. Samouiona, 199. 1)1 S. Anabtasia, 531. DI S. Lorenzo, 531. DI S. MicHELE, 620, 621. DI Sapienza, 451, 469. de' Schiavi, 461, 468. DELLA SCIMIA, 200. DI SeLCE, 484. Sebpentara, 379. Torbb Spaocata, 486. de' Spbcchi, 206. Tee Teste, 469. DI TiMONE, 412. VaJANICA, 530. DI Vallb, 500, 618. TORRETTA, 6;J8. TokRIONE DI MiCHERA, 473 Tower of Aeneas, 505. OP THE Capitol, 68. OF S. Giovanni, 460. Trajan's Canal, 616. Column, 100. House, 259. tuamwatsj, [27]. Tbastevere Station, 637. Traversa di Fiorano, 485. Treasure Chambers, 60. Trebia, 458. Trebonianum, 543. TEE FOKTANE, 405, 618. Trevi (Anio), 458. , Fountain, 19. Trevionano, 543. Triaxgolo, Villa del, 461. Tribunal Aurelium, 65. Tricunium, 118. PAUrERUM, 127. Trioarium, 231. TrIOPIUM op AtTICUB, 424. Trophies of Marius, 38, 174. FROM THE Temple op Nkptune, 33. tuluanum, 92. TuRNUS Herdonius, 498. TUBRIQKRAE AnTEMNAE, 390. TURRIS DE GaNDULPUIS, 499. tusculum, 475. Amphitheatre, 476. Arx, 476. FORUH, 476. Piscina, 406. Theatre, 476. Villa di Cicerone, 476. INDEX. 569 Umbilicus Romas, 63. UnIVKRSITA DELLA SaPIBNZA, 193. Univebbitas Paupbrum Anglicoeum, 237. " Universities " op Provision Sellers, 266. UNiVERsrry, 193. OP Physics, etc., 163. USTRINUM, 10, 179. 483. V. Vagchereccia (Veii), 639. Vacuna, 503. Vairone Torrent, 392. Valdambkini Palace, 180. Valentini Palacf., 31, 99. Valle Palace, 191. Valebia, 456. VaLERH, TOMBA DEI, 487. Valerius Asiaticus, 14. Valle degli Arci, 462. Ariccia, 491, 493. dell' Inferno, 280, 396, 396, 537. PlETRA, 458. SambUCI, 454. Valus Ferentina, 498. VaLMONTONE, 469, 461, 503, 607. Vaiidyck, 29, 46, 376. Varia, 452. Vasceu/», Villa del, 361. Vases, Greek, 388. , ItaLO-GreEK, 44, 45. VasscUlectus, 30, 144, 404. Vatican, 296, 818. Antinous, 329. Apollo, 327, 336. Belvedere, 330. Vatican— continued. Appartamenti Bokgia, 349. Arazzi (Tapestiues), 323. ARCHrrpxTTS, 296. .Archives, 349. Athlete, 337. Atkio del Meleagro, 331. quadrato, 332. RtvroNDO, 331. Augustus, 336. Belvedere, 297, 328. Biblioteca (Libkakt), 343. BiOA, 320. Bkaccio Nuovo, 336. Bronze Gate, 293. Bronze Peacocks and Pine-cone, 338. Bronzes, 342. Capiella Paolina, 300. di Niccolo v., 311. Casino del Papa, 350. Claudius, 325. Column of Antoninus Pius, 338. Cortile del Belvkdkijk (OctaOOX), 328. di S. Damaso, 298. Discobolus op Myron, 320. DiSPUTA, 308. Egyptian Museum, 338. Eros of Centocelle, 326. Etruscan Museum, 339. Female Runner, 322. Gabinetto dklle Mas- chkke, 327. GaLLEKIA DEI Candelabri, 321. Lapidakia (Inscrip- tions), 337. DRLLE Statue, 326. Gallery of In.scriptions, 337. OF Maps, 324. Gardens, 338, 350. GlARDINO DELLA PlONA, 338. History, 296. Husband and Wife, 328. Incendio del Borgo, 307. Jewellery, 342. Jupiter Serapis, 325. Laocoon, 329. Last Judgment, 305. Library, 343. I.OGGIE OP Raphael, 312. Maps, 32t, MSS., 346. Mint, 350. Miracle of Bolsena, 310. Mithuas, 345. Mosaic (Floral), 318. Vatican — continued. Mosaic op Masks, 327. MUSEO Chiaramoxti, 332. Cristiano, 347. Etuusco-Guegoriano, 339. Pio-Clementino, 318. Pkofano, 345. Niobe, Group, 323. NOZZE Aldobrandini, 206, 348. Observatory, 350. Paintings (Early), 347. Pavement (Ancient), 306, 310. Penelope, 327, 334. Pictuke Gallery, 314. PiNACOTECA, 314. Reading Room, 344. Sala degli Aximali, 326. r DELLA BiGA, 320. DEI BusTi, 328. op Const antine, 311. A Croce Greca, 318. DUCALE, 300. dell' Immacolata, 306. DELLE Muse, 325. Reg I A, 298. Rotunda, 324. Sarcophagus op Helen and CR08A, 397. Emanuklk Fiubebto, 138. Empolitana, 467. DBI Falkonami, 241. DBLLA FkR&ATKLLA, 408. Flaminia, 1, 6, 391, 647. Galvani, 397. GnruA, 230. DEL GOVBRNO VeCCIIIO, 193. Labicana, 167, 469, 471, 479^^ Latina, 412, 480, 487. liAUBENTnrA, 406, 630, 631. LbOKB IY.. 394. LlOURIA, 215. DBLLA LDNOARA, 361. Maddalbna, 181. Maroava, 34. Marohera, 368. DBLLA MaRMORATA, 396. Marmorbllb, 93, 96. Mabchbra d' Oro, 201. Maschbronb, 232. DB.LA MUBIONB, 10. INDBX. Via Naziokale, 227. nombntana, 369, 644. Nova, 408. 08TIEN8I8, 405, 618, 521. PALOVBBLLA, 194. PiK DI MaRMO, 21. dbi pontbfici, 179. portubnsis, 266, 271. Prabnkstina, 469. Rattazzi, 174. RiCASOu, 174. S. Martino, 368. S. Pancrazio, 359. S. Sabina, 256. S. Stefano, 131. — — DBLLA SaLARA, 396. - Salarta, 647. DEI SapOVARI, 248. DEL SbICIVARIO, 21. DBLLB SeTTB CrIBSB, 401, 422. 425. SbvbriaKA, 513, 629. DBI SpBCCHI, 233. Sublacensis, 455. TasSO, 138. Tibbrika, 393. TiBURTINA, 437. DBLLA TrIBUNA, 246, 247. DEL TRITOint, 18. Trionfale, 394. Triumphalw, 6fl. 502. VuaCCLANA, 475. YaLBRIA, 455. DBI Vascbllari, 263. VeIBNTINA, 536. Vbnti Settbmbke, 367. VlMINALB, 217. VlTBLLIA, 361. Viaduct OF Akiccia, 490. VlALB DBL Re, 26^, 270, 537. DBLLA RE<^iINA, 377. ViBfua Makianus, Tomb of, 536. VlCARBLLO, 26, 643. ViOOLO DBL BOTTINO, 15. DBLLA BVFOLA, 248. DBLLA CaMILLUOCIA, 395. del DiVINO a MOKE, 180. DBOLi Otto Caktoni, 179. DBLLA RUPE Tar PEA, 37. DBLLA VETRINA, 202. ViCOVABO, 462. Victor Emmanubl, Monu- ment TO, 32 ; Statue of, 13 ; Tomb of, 185. Victoria, Villa, 369. Vicus Albxandri, 618. AURBLII, 543. juqarius, 92. — Patricius, 163. — Tuscus, 77 Vidoni Palace. 190. ViGiLEs, Barracks of, 259 269. ViOMA CbCCARBLLI, 515. ChIARI. 379, 545. CONTI, 177. Crostarosa, 372. DBL FiSCALB, 489. GlOBI, 390. DBL Grande, 460. gubrribri, 411. Jacobtni, 271. NarO, 416. Randanini, 421. Vaonoliki, 418. VlQNACCB, 511. ViONB NUOVB, 379. Villa (see also Cata, Palaces). Adriana Station, 489. Albam. 374. (Anzio), 612. AlDOBRANDINI, 205. (Anzio), 511. Altibri (Albano), 487. Amaranthiana, 425. Barbbrini, Castbl Gan- DOLFO, 481, 499. Bertonb, 377. Bonaparte, 367. Borqhksk, 380. (Amzio), 513. Caklivointana, 129. Cabbarum, 392. Casali, 129. Caserta, 173. Catena, 472. Chioi, 378. ClCClAPOBCI. 367. of(^obbo(Abtura), 474. (Tusculum, bto.X 511. OF ClODIUS, 481, 486. OF COMMODUS, 473. OF DOMTTIAir, 481. DoRLA (Albano), 487. Dobia-Pakphili, 361. Oanoalanti, 377. OF GORDIANUS, 469. OF Hadrian, 439. OF Horace, 453. Lantb, 860. OF LiVTA, 392. Madama, 394. OF Marcknab. 443, 448. Massimi. 138. Mattei, 129. Medici, 13. — Mrllivi, 396. Mbvacci, 510. OV NsBO (Aktixtm). 611 ; (SUMAOO), 456. ol ' V Pamfhiu Doria, 163. Paolina,-367. di Papa Giulio, 387. Patrizi, 369. OF PbRSIUS, 485. OF PhaON, 379, 545. OF PlINT, 629. OF POMPET, 481, 487. QUINTILIORUM, 483. SaVOIA, 378. OF SBRVnJUS SiLANUS, 487. Smtth, 377. Spada, 379. Stuart, 396. TORLONLA, 369. — (Castbl Gandolfo), 486, 499. DBL TRIANOOLO, 461. Umberto Primo, 1, 380. DBL VaSCBLLO, 361. Vbibntana, 392. Victoria, 369. wolkonski, 138. [villas (ANCXBirr) at Anzio, 513. Lvibtuow del Pantheo*. 194. [ViTERBO, 644 (see Directory, 435). VlTRIANO. 450. ' VlTTOBIA COLONNA, 497. Vivarium, 138, 368. INDEX. Vocabulary, [30]. volcanal, 60. Volcanic Rock?, [64]. VOL0CIAB Agobr (Anzio), 611. VoLTO Santo, Copt of, 20. 571 Xrmoix><:hium, 197. Wall Paintings, Farnbsina Gardens. 219. Waus, [42]. OF Leo IV., 350. OF Urban VIII., 396. OF KiNOLT Rome, 113. Water Pipes, Ancient, 120. Wharves, Ancient Roman, 180, 522. Wine Jars, Discovert of, 367. Wolf of the Capitol, 40. WoLKONSKi Villa, 138. Wolves (Caobd), 38. Workhouse, 224. Y. York,* Card., Duke of, 280. z. ZAOAROLO, 149, 469, 461, 471, 4 79 (see Directory, 485). ZbCCA. 360. Zbnobia at Tibur, 444. Zdochrki, House of thb, 16. .»■. \ LONDON : PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, DUKB STREET, STAMFORD STREET, S.E., AND GREAT WINDMILL STREET, W. I: 945R66 M963 CfJLUMBIA UNIVERSITY 1^ 0032187033 ^' ^ 2 / 5 ^^^ < o X Q (X BOUND JUL Ikj 1955 1:^.,