Maps and Plans (part 3)

The best of the drives is to the Madonna della Guardia, on Cape San Martino, by the village of Poggio, and back by the coast-road. From the Hôtel Victoria the Corniche is continued till arriving at a part where the road divides into two; one descends, the other ascends; take the latter, which an inscription on a marble slab indicates to be the “Strada Consortile de San Remo à Ceriana.” This road ascends through olive trees to Poggio. Just before entering Poggio, the carriage-road to the Madonna strikes off to the right by the east side of the promontory, while a stony bridle-path goes right over the centre. The town seen on the opposite side of the valley is Bussana. Poggio, one of the many wretchedly poor villages, has two churches. The road, which has ascended all the way from San Remo to Poggio, still continues to ascend by the Ceriana valley to Ceriana. Inn: H. Etoile d’Italie, 6½ m. from San Remo, commanding ever-extending views, which, together with the profusion of wild flowers, form the principal attraction of the excursion. Cab with 1 horse to Ceriana and back, 14 frs.; 2 horses, 20 frs., with ½ hr. rest. The Madonna road from Poggio is nearly level. The chapel, with a few tall cypresses, stands at the extremity of Cape San Martino. The prospect is extensive. To the east are, on the coast, Arma, Riva, San Stefano, and in the distance San Lorenzo. On the hills behind them are Bussana, Pompeiana, and Lingueglietta. Behind is Poggio. To the west are San Remo, La Colla, and Bordighera. Cab with 1 horse to the chapel and back, 7 frs.; 2 horses, 10 frs., with ½ hr. rest (see maps, pp. 163 and ).

A good carriage-road, commencing near Cape Nero, leads up to La Colla, on one of the spurs of the Piano del Carparo, 1000 ft. above the sea, and 2 m. from San Remo, by the bridle-path. Cab with 1 horse, 8 frs.; 2 horses, 12 frs., with ½ hr. repose. See page 199.

San Romolo.

St. Romolo to Monte Bignone.

One of the most frequented excursions is to San Romolo, 1700 ft. above the sea, and 4 m. northwards, either from the Place St. Etienne, or the Place St. Sir. Donkey, there and back, 5 frs. San Romolo consists of some villas, an old convent, and a chapel, built over the cell which was inhabited by the hermit St. Romolo. It commands splendid views, and from it the ascent is made of the Piano del Ré, a ridge 3500 ft. above the sea, between Mounts Caggio or Cuggio and Bignone. To reach the ridge, descend a short way the Romolo road, then take the path to the left, and make for the corner next Monte Bignone, whence the bridle-path ascends to the summit, 4235 ft. above the sea, 5 hrs. from San Remo, or about half that time from San Romolo. “In making the ascent of Monte Bignone, it is always safest to be accompanied by a guide. For those who are strong the ascent on foot is the pleasantest, but the road is quite practicable for sure-footed donkeys, although in places it is somewhat trying for those whose nerves are not strong. The whole route is exceedingly beautiful, glorious prospects meeting the eye at almost every turn; the path sometimes traverses forests of fir trees, with amongst them innumerable bushes of the bright-leaved holly, at others it runs along the edges of steep ravines and precipices: many curious and rare wild flowers attracting the eye on the way; till at length, after an ascent of about two hours from San Romolo and four from San Remo, the broad sloping and grassy summit of the mountain is reached. Continue the ascent until its highest point, marked by a stone obelisk, is gained, and from which one of the most magnificent prospects imaginable lies stretched out on all sides, embracing an area in some directions of more than a hundred and fifty miles, astonishing and enchanting the beholder. To the south, the glorious expanse of the Mediterranean, and in the far distance the island of Corsica, with the snowy peaks of Monte Rotondo; on the right Monte Caggio, and the mountains forming the western half of the San Remo amphitheatre, terminating at Capo Nero surmounted by Colla, and the valleys of San Remo and Bordighera; farther away, the mountains of the Mentonean amphitheatre, and along the coast successively the various capes and promontories as far as Cap d’Antibes and even the Esterels; on the left the Ceriana and Taggia Valleys, with on the farther side of the latter Castellaro and the Madonna di Lampeduza, and Pompeiana and Riva on the seashore; while far away to the east are the mountains of the Eastern Riviera or of the Riviera di Levante, with the Apennines in the distance; lastly, to the north is a broad and deep valley, having on the other side a range of mountains still loftier than the one on which we are standing, and above these again, the snow-capped Alps stretching away in the one direction towards the Esterels, and in the other to Turin. Looking now more closely into the valley below, on a narrow ridge on the near side of the valley, is seen the town of Perinaldo, and on a hill on the opposite side, Apricale; both of a singularly deep red hue, from the fact that the tiled roofs only of the houses are seen from this great altitude. There is a pathway leading down to Bajardo, and thence to Pigna, where accommodation at a small but clean inn may be had for the night; whence the return home can then be made by the Nervia valley and Bordighera, altogether a most beautiful and varied excursion. (For the valley of the Nervia, see p. 201, and map, p. 165.)

View from Monte Bignone.

“It is impossible to convey in words anything like a correct idea of the splendour of the prospect on a clear day from Monte Bignone; it must be seen to be appreciated; it has been described as one of the finest in Europe. The excursion is one which may be safely undertaken with ordinary precautions, and is within the compass of any person of fair health and strength. An additional charm consists in the number of rare and beautiful wild flowers, which are different from those found at a lower elevation. Amongst the most noticeable of these is the blue Hepatica, Anemone, Hepatica L., a pink variety of which is sometimes met with, the pink cyclamen-like flower, Erythronium Dens Canis L. with its trefoil-like and spotted leaves; in shady places the Primrose, Primula acaulis All.; everywhere over the summit of the mountain the Cowslip, Primula veris; two species of Gentian, Gentiana verna and G. acaulis L.; Ophrys fusca Link, also a species of Asphodel, Asphodelus albus Willd.; Saxifraga cuneifolia; Sempervivum arachnoideum L.; and lastly, in shady dells, Daphne laureola L. With two or three exceptions, these flowers were found in blossom at the end of April, but they had been so for some weeks previously. On my way up the San Romolo valley I noticed many plants of Helleborus fœtidus L., as also for the first time in flower the large and handsome pink Cistus, C. albidus L.; this is the species so commonly found above the region of the olive trees.” —San Remo and the Western Riviera, by Dr. Hassall.

San Remo to Taggia, there and back, cab, 1 horse, 8 frs.; 2 horses, 12 frs., with ½ hr. rest; by coach, 2 horses, for the day, 20 frs. Or from San Remo by rail to Arma, whence omnibus to Taggia, 10 sous. Donkey from Taggia to Lampedusa, 2 frs. The best place for refreshments in Taggia is the Albergo d’Italia, formerly the palace of the Marquis Spinola. The stream Taggia or Argentina is crossed by a long curved bridge of unequal arches. From the east end of this bridge a steep road leads up to the town of Castellar, whence a well-kept path ascends to the chapel of the Madonna di Lampedusa. From both places there are charming views. The Taggia road ascends the valley the length of Triora, by the village of Badalucco.

Taggia.

21½ 79 TAGGIA, pop. 5000, on the Giabonte, 3 m. from the station. An omnibus awaits passengers (½ fr.) In Taggia it halts at the Locanda d’Italia, at the termination of the Via Curlo; whence commences the road to Castellar, situated upon a hill on the opposite side of the river, and about ½ hour’s walk from Taggia. Castellar is visited on account of the gaudy sanctuary and the view from the hill. Taggia, though a poor dirty town, with steep, narrow, and slippery streets, has two very fair churches. At No. 1 Via Soleri—the principal street in the town—is the habitation of Giovanni Ruffini (Dr. Antonio). To reach it, on entering the town, after having passed through the archway, take the street to the left, the Via Ruffini, then, first left, the Salita Eleonora. On the beach, near the Taggia station, is the little port of Arma, with the ruins of a fort built in the 15th cent. 2 m. farther east by rail is San Stefano, pop. 600, at the foot of Mont Colma, with a climate like that of San Remo.

Porto Maurizio. Oneglia.

31 69½ PORTO MAURIZIO, pop. 8000. Hotels: France; Commerce.

Porto Oneglia, pop. 8000, H. Victoria, on the opposite sides of a small bay. The most important part of San Maurizio is the high town, containing the principal church, of which the porch consists of a double row of Corinthian columns flanked by two square towers. The interior represents the Roman-Greek style met with in all the churches on this coast, only here the details are more elaborate and more highly finished. The roof, instead of being plain barrel-vaulted, is divided into arches, domes, and semi-domes, resting on massive piers with attached Corinthian pillars. The soffits of the arches and domes are covered with diaper mouldings, with rich friezes and dentils along the edges. The form of the pulpit is graceful, and the staircase nearly hidden. Many of the old houses have handsome cornices over their windows and doorways. A good and much-frequented road, or rather promenade, connects Porto Maurizio with Oneglia, about a mile distant, beautifully situated at the mouth of the Impero. This is the birthplace of Admiral Andrea Doria, 1466. After passing through a long tunnel we reach the Port of Diano Marina. The broad valley inland up the Piètro is covered with fine olive trees. Farther east is Cervo, on an eminence overlooking the station and the sea. Then Laigueglia, with gardens full of orange trees. From Laigueglia a fine smooth beach extends all the way to

Alassio.

Alassio, pop. 5000, a new winter station, 44½ m. east from Menton, and 56 m. west from Genoa, built along the beach, and nearly surrounded by a high wall, with at both ends a suburb beyond the walls. Hotels: H. et P. Suisse, opposite station, 6 to 9 frs. On the beach at the E. end, the *G. H. Alassio, 8 to 9 frs. On the beach at the W. end, the H. Méditerranée, 6 to 8 frs. Near the station, the Episcopal chapel.

Alassio and its neighbour Laigueglia are partially protected from some of the cold winds by low but compact mountains belonging to the chain of the Ligurian Alps. Pleasant walks and well-paved causeways extend up the hills, while along the coast are pretty drives to Loano and Ceriale, or up the valley westwards from Albenga. Around both towns are many large carouba and orange trees. Palms are less abundant. Between Alassio and the next station, Albenga, is the small island of Gallinaria, with a castle on the summit of the hill.

Albenga.

Albenga is 4 m. N. from Alassio, on the Caprianna, and at a little distance from the coast. Hotels: Hotel d’Albenga; Italia; Vittoria. Their omnibuses await passengers. This, the ancient Albium Ingaunum, the birthplace of the Emperor Proculus, is situated on low ground, in a broad valley watered by the Caprianna. Around Albenga are many deciduous trees, and here and there in the sheltered spots orange and lemon trees trained as espaliers. A good carriage-road extends up the valley of the Nerva and across the Col di S. Bernardo, then by the town of Garessio and the valley of the Tanaro to Ceva, 4 hours by rail from Turin.

After Albenga follow Loano, pop. 3800, pleasantly situated on the beach at the foot of a gentle sloping hill, and Pietraligure, on the Isola, pop. 1000, a sheltered town, with abundance of palms, orange, and lemon trees, principally at the eastern end, round the cape.

Finalmarina. Noli.

59½ 41 FINALMARINA, pop. 3500. Hotel: Garibaldi. The church of St. John the Baptist, after the design of Bernini, is richly ornamented with marbles of various hues, mingled with rich gilding and bright frescoes, presenting a grand combination of gorgeous colour. In Final Borgo is the church S. Biaggio, resplendent also with colour, but more subdued. The pulpit and altar display most delicate workmanship. There is a great deal of fine scenery in the neighbourhood, and pleasant walks in the valleys, and up the heights to the numerous dismantled forts (15th cent.), and to the Castello Gavone, a picturesque ruin. Five miles N. from Finalmarina is Noli, pop. 1000, Inn: Albergo del Sole, at the commencement of the arcade, fronting the beach. This curious town, formerly a republic under the protection of Genoa, is still partially surrounded by walls garnished with rectangular towers. It is pierced from E. to W. by narrow parallel streets, the best being the Via Emanuele II., which commences at the beach on E. side by the clock-tower, near the inn, and traverses the town to the W. side by the new church. The continuation, outside the town, the Via Monasterio, leads up to the mountains covered with vines, olives, and maritime pines. On the top of the hill are the ruins of Noli castle, with walls garnished with circular towers. The old church, 11th cent., is near the station. Fishing is the chief industry. A beautiful road, 2 m. N. by the coast, leads to Spotorno.

Savona.

74 26½ SAVONA, pop. 17,000. Hotels: Suisse, a large house in the Piazza di Teatro; *Roma, under the Arcades; and the Italia, opposite the Suisse. In the ancient seaport of Savona, Mago the Carthaginian deposited his spoils after the capture of Genoa. The greater part of the town is now modern, consisting of handsome gardens, boulevards, and well-paved broad streets lined with massive arcades, and substantial houses built in enormous square blocks of from four to five stories high. The rock, the Rupe di S. Giorgio, on which the acropolis formerly stood, is occupied by the castle, and pierced by an elliptical tunnel. At both ends are small harbours with shallow water. The Cathedral, built in 1604, is, in the interior, entirely covered with ornamental designs in different shades of brown and orange, relieved here and there by stripes of gilding. The two large frescoes in the choir, and the other at the western end, are by V. Garrazino. In the last chapel, N. side nearest the altar, is a triptych by Brea, 1495. Near the Cathedral, in the Sistina chapel, is the tomb of the parents of Pope Sixtus IV., the uncle of Julius II. In the church of San Domenico there is in the first chapel, left on entering, a “Nativity” by A. Semini. The figure of the Virgin appears rather large, but the contour and expression of the others are admirable. In another chapel on the same side of the church is an “Adoration of the Magi” by Albert Durer, in the form of a triptych. In a small church, called the Capella di Christo, over the altar within a niche, is a wooden figure of our Lord, said to be 800 years old. In the sacristy are two reliefs in black marble from 400 to 500 years old. The Emperor Pertinax, and the Popes Gregory VII., Sixtus IV., and Julius II., were born in or in the neighbourhood of Savona. 4 m. from Savona by coach and rail is the sanctuary of Nostra Signora di Misericordia. The church, built in the 16th cent., is covered with precious marbles, and ornamented with paintings by Castello, the intimate friend of Tasso. At Savona junction with line to Turin, 91 m. northwards (see p. 183).

Albissóla.

77 23½ ALBISSÓLA, pop. 2000, on the Sansobbia. This town is about a mile from the Port or Marina. 4½ m. farther eastwards by rail is Varazze, pop. 10,000, a pleasant town at the head of a large bay. A little shipbuilding is carried on here. Beautiful palm, lemon, and orange groves. This is the birthplace of Jacopo di Voragine, the author of the Golden Legend, the reading of which was the principal means of transforming Ignacio Loyola from an intrepid soldier into a zealous missionary. Between Varazze, 64 m. N.E. from San Remo, and Arenzano, 6¼ m. N.E. from Varazze, is another favoured part of the Riviera, sheltered by a ridge of most picturesque hills, of which Monte Grosso (1319 ft.) is the culminating point. The road here passes through firs, umbrella pines, carouba trees, cypresses, evergreen oaks, arbutus trees, and some fine shrubs of Phillyrea angustifolia, with here and there just enough olive trees to afford evidence of the comparative mildness of the climate. About half-way between Varazze and Cogoleto is the village of Inoria.

Cogoleto. Columbus.

85 15½ COGOLETO, pop. 1000. From the station walk down to the town; and on reaching the main street, the Via Cristoforo Colombo, turn to the left. In the second division, right hand, at No. 22, is the house of Columbus, with the following inscription:—

Hospes, siste gradum. Fuit hic lux prima Columbo;

Orbe viro majori heu nimis arcta domus!

Unus erat mundus. Duo sunt, ait iste. Fuere.

It consists of three stories, with one side fronting the sea, and the other the main street. The rooms are small, and with arched roofs. That in which Columbus was born (1435) is on the first story. Fronting the adjoining room is a large balcony overlooking the Mediterranean, where it is possible the boy Columbus learned to conceive the idea of a continent beyond the Atlantic by having been accustomed to gaze on this sea at his feet, with the knowledge that beyond it there lay the vast continent of Africa. Although his parents were in humble circumstances, they were descended from a family belonging to the most illustrious nobility of Piacenza, who had lost their estates during the wars of Lombardy. Boatbuilding and fishing are the principal industries of Cogoleto. Map, p. 199.

Arenzano. Pegli.

87¼ 13¼ ARENZANO, pop. 5000. *H. Arenzano, 7 to 8 frs., near station. One of the cleanest towns on the Riviera, pleasantly situated in a picturesque country and commanding extensive views of the coast. The road between Arenzano and Cogoleto passes by Monte Grosso.

91¾ 8¾ VOLTRI, and the next town, Pra, may be called one. Paper-making and shipbuilding are the principal industries. Map, p. 199.

95 5½ PEGLI, pop. 1000. A winter station. The largest hotel is the *H. Pegli et de la Méditerranée, with one side to the sea and the other to the public garden and English chapel. Pension in winter, 9½ to 15 frs. On the beach the H. Gargini, second class. Pegli is a quiet little village, prettily situated on the sea, and among hills. It has constant communication by tram and rail with Genoa, and is visited on account of the grounds around the Villa Pallavicini, ornamented with statues of Roman divinities, temples, triumphal arches, huts, and an obelisk. But the remarkable object is the artificial cave, covered with large stalactites, in the midst of a lake 5 feet deep, surrounded by evergreen shrubs and trees so arranged as to produce wonderfully pretty vistas. At one part the edge of the lake seems to join the sea, although many miles distant. All this has been created on the formerly sterile side of a hill, where almost nothing would grow from the want of water and of soil. Water was brought from a great distance, and caused to tumble down the mountain in cascades into the lake, which had to be lined with porcelain to retain it. The cave was then built of brick, and covered with consummate art with stalactites, as in nature. The visitor is rowed in a boat about this most curious piece of land and water. In other parts there are a multitude of surprises, in unexpected jets of water, and in beautiful peeps of scenery no larger than a picture. Attendant, 1 fr.; for party, 2 frs.

Sestri-Ponente. Cornigliano.

1¾ m. E. from Pegli and 3¾ W. from Genoa is Sestri-Ponente, pop. 10,800. Hotel: *G. H. Sestri, 8 to 12 frs., with commodious bathing establishment at the foot of the garden. The beach, composed of small pebbles, has a rapid slope. Good sea water can be brought to bedroom every morning. The station is near the hotel, and the trams pass by the gate. The interior of the parish church is superbly gilt and covered with frescoes. Just under the wide spanned roof are painted statues of the patriarchs and prophets. Sestri makes a better winter station than the next town, Cornigliano, *H. Rachel, 9 to 12 frs., with sheltered garden, 2½ m. W. from Genoa. Both of these towns are considered from 4° to 5° colder than Menton. The tram passes the garden gate of both hotels. After Cornigliano the tram and train traverse the populous suburb of Sampierdarena and arrive at Genoa. The principal railway station is at the W. end of Genoa. The Piazza Annunziata is the terminus of the Pegli, Sestri, and Cornigliano trams.

Genoa.

100½ GENOA, pop. 145,000. The hotels most conveniently situated for visitors are the G. H. de Gènes, 9 to 15 frs., in the Piazza de Ferrari, opposite the theatre and the post office; the *G. H. Isotta, 10 to 15 frs., No. 7 Via di Roma, parallel to the glass arcade, and also near the post; the *Londres, 9 to 10 frs., near the station; the Victoria, in the Piazza Annunziata, and the H. Étrangers, No. 1 Via Nuovissima. The above are in a line with the palaces, and cost 8 to 10 frs. Down in the port in the Via Carlo Alberto, and most conveniently situated for those who have to embark, are—taking them in the order from W. to E.—the Croix de Malte, the H. de la Ville, the H. Smith, the *H. Trombetta, and the *France. They charge from 8 to 14 frs. By the side of the last two hotels is the Bourse, and in the neighbourhood of the Bourse are the best money-changers.

For Genoa to Turin, see p. 279.

Anglican church in the Via Goito, a small street leading northwards from the Acqua Sola Promenade. In the same neighbourhood is the broad street Via Assarotti, with at No. 37 the Valdensian and Presbyterian churches. Shops for filigree work in gold and silver in the Via degli Orefici by the side of the Bourse, and at the foot of the Sestiere della Maddalena, which descends from the Piazza delle Fontane Morose. At No. 17 of that Piazza is a good shop for coral ornaments.

Genoa: Cafés. Cabs. Steamers.

Cafés.— *Café Roma, by the Teatro Carlo Felice; *Stabilimento delle Nazioni, Via Roma; *Concordia, Via Garibaldi. The principal sights are the church of the Annunziata, p. 212; the Cemetery approached by the Staglieno omnibus from the Piazza de Ferrari; the Palaces between the railway station and the Piazza Nuova. The church of Santa Maria in Carignano, approached by the Carignano omnibus from the Piazza de Ferrari, passing through the Acqua Sola Gardens, 138 ft. above the sea (p. 218). North from the Acqua Sola is the Villa Negro, containing the Museum of Natural History. The best of the drives is along the Via di Circonvallazione.

Florio-Rubattino have steamers to Bastia (Corsica), Cagliari, Civita-Vecchia, Leghorn, and Porto Torres, in the north of Sicily. Peirano, Danovaro, and Co. have steamers to Ancona, Brindisi, Catania, Gallipoli, Leghorn, Messina, Naples, and Triest. For the English steamers between Liverpool, London, and the ports of the Mediterranean, apply to Lertora Fratelli, No. 2 Via S. Lorenzo.

1-horse cabs—the course, 1 fr.; the hour, 1½ fr.; every successive ½ hour, 80 c. 2-horse cabs—the course, 1½ fr.; the hour, 2 frs.; every successive ½ hour, 1 fr. Boats to and from the steamers, 1 fr. each. Rail from Genoa to Turin, 104 m. N.W. (p. 279).

Post Office in the Galleria Mazzini. Telegraph Office in the Palazzo Ducale. Best money-changers near and around the Bourse.

Genoa is singularly constructed around a small bay on shelving ground, rising rapidly from the water’s edge to the height of from 500 to 600 feet. The old part of the town is a labyrinth of crooked streets from 6 to 12 feet wide, and frequently so steep that steps have to be cut in them. The most remarkable of the new streets is the Via di Circonvallazione, composed of a series of lofty terraced “corsos” skirting the face of the hills, commencing at the E. end from the Piazza Manin, 330 ft. above the sea, and extending westward in a zigzag form to the railway station by the Albergo dei Poveri. They are reached from the upper ends of the Vias Palestro, Mameli, Caffaro, and Brignone di Ferrari, by ramps and long stairs. The palaces, another feature of Genoa, are large gaunt mansions, all similar in style—gates 40 feet high, with marble columns—courts paved with various coloured marbles—broad staircases, all of marble—rooms 30 feet high with arched ceilings, and adorned with gilded columns, large mirrors, crystal lustres, and mosaic floors; the roofs panelled, and the panels divided by sculptured figures, and filled with finely executed paintings in oil. The best churches and palaces are in the streets extending in a continuous and slightly curved line from the railway station, at the west end, to the Piazza de Ferrari at the eastern end of Genoa.

Genoa: Palaces. Palazzo Doria.

The visiting of the palaces is rather fatiguing, as the best works of art are preserved in the upper stories, reached by splendid but lofty staircases. The best two are close to each other, the Palazzo Durazzo Pallavicini, No. 1 Via Balbi, and the Palazzo Rosso, No. 18 Via Garibaldi. They contain specimens of everything for which the palaces are remarkable. A fee of 1 fr. is sufficient to leave with the keeper of the gallery. Most of the palaces have each of the rooms provided with a list of the pictures and frescoes it contains printed on a card, which makes the visitor quite independent of the servants and guides.

As there are so many places to visit between the railway station and the cathedral, the best plan is to do that portion on foot, and after having visited the cathedral, to take a cab from the stand at the foot of the Via S. Lorenzo, and drive by the Via Vittorio Emanuele, round by the ramparts, and up the Via Rivoli to the church of Sta. Maria di Carignano.

The only palace west from the station is the Palazzo Doria, reconstructed by Montorsoli, 1525, and decorated and embellished by Perino del Vaga, a pupil of Raphael’s, and a contributor to the paintings in the Vatican. Perino’s best works here are Jupiter defeating the Giants, in the principal hall, and the Triumph of Scipio, at the entrance. In the centre of the garden is a fountain representing Andrea Doria as Neptune, with his Sea-horses, by P. Carlone. In the garden, on the other side of the railway, are a colossal statue of Hercules, erected by Doria, and a monument to the memory of his dog Rolando, given him by the Emperor Charles, who conferred upon him the title of “Il Principe.” The tomb of Andrea Doria is in the church of San Matteo, and over the altar the sword presented to him by Paul III.

Genoa: Via Milano.

Adjoining the Doria palace is the Via Milano, a terraced promenade lining the western side of the harbour, as the less beautiful but more costly terrace by the Via Carlo Alberto lines the eastern front. Walking eastward from the station the first large building is the Royal Palace, No. 10 Via Balbi. This palace, formerly the property of the Durazzo family, was erected after the plans of P. F. Cantone and J. A. Falcone, while the staircases and terraces, which have been so greatly admired, were by the Chevalier Charles Fontane. The accommodation is extensive, but the rooms are small, excepting the principal reception hall, the theatre, and the library. The pictures are indifferent.

The Balbi Palace, No. 4 Via Balbi, built after the plans of B. Bianco, and improved by P. A. Corradi, contains a large collection of paintings—among others a Lucrecia, Cleopatra, and a St. Jerome, by Guido; St. Jerome, a Virgin, and Jesus scourged, by Tizziano; a St. George and St. Catherine; and the Infant Jesus, by Correggio.

Genoa: P. Durazzo Pallavicini.

No. 1 Via Balbi is the P. Durazzo Pallavicini, one of the most important to visit. The architect was B. Bianco, but the vestibule and staircases (considered the finest in Genoa) are by A. Tagliafico. The paintings are almost entirely by Italian masters, such as Molinaretti, Guercino, Franceschini, Leida, Carracci, Lanfranco, Procaccini, Cappuccino, Langetti, Castelli, Ferrari, Vercelli, Reni, Merone, Cogorano, Zanotti, and Merighi. In the first room there is a valuable triptych by A. Durer, and the gem of the collection, James I. of England and Family, by Van Dyck. In the reception room are other three choice works by the same master. The frescoes on the roofs are by Boni, Piola, Davolio, and Bazzani. In each room there are cards with the names of the artists and subject.

From the Via Balbi we pass into the Piazza dell’ Annunziata, with, on the left hand, the church of that name, the most sumptuous in Genoa, built in 1228 by the Monaci Umiliati, but altered and left in its present state by the Conventurati in 1587. The façade, supported on six stately marble columns, is unfinished. The interior is full of beauty, and resplendent with glowing colours harmoniously blended. Over the entrance is Procaccino’s masterpiece, the Last Supper. The frescoes on the cupola are by A. Ansaldi, those on the choir by J. Benzo, and the remainder principally by the Carloni. Among the other beautiful things are the angels supporting an altar, the spiral pillars in the apse, and the elegant columns of the nave. In front of this church trams start for Cornigliano, Sestri Ponente, and Pegli every 10 minutes.

We now pass along the Via Nuovissima, and at No. 6 descend to San Siro, which was the cathedral church of Genoa till 985. The high altar is by Puget. The fresco on the roof by G. B. Carlone. The marble columns are all of one piece. Near San Siro, in the confined little square No. 6 Piazza Pellicceria, is the Palazzo Spinola, with many beautiful paintings, such as the Martyrdom of St. Barthélemy and St. Laurent by Ribera, the Four Seasons by Bassano, Virgin and Child by Guercino, a Magdalene by Guido, St. Anne and the Virgin by L. Giordano, the Last Supper by G. C. Procaccini, S. Jerome by Spagnolletti, a Holy Family by Albani, the Four Evangelists by Van Dyck. In the fourth room is the gem of the collection, a Holy Family by Rubens. The frescoes are by Tavarone, G. Sebastiano, Ferrari, and Gallery.

Genoa: Palazzo Rosso.

In the Via Garibaldi, No. 18, is the Palazzo Rosso (Galleria Brignoli), with a small but valuable collection of pictures by Italian masters, distributed among the rooms denominated Spring, Summer, Autumn, and Winter. The frescoes on the roofs are by Toila, Ferrari, and Carloni. It contains also a good library.

No. 9 Via Garibaldi is the Municipicio or City Chambers, a splendid building, entirely of marble, and covered with frescoes representing incidents in the history of Genoa. All the rooms and galleries are open to the public excepting the council-chamber, the Sala Rossa, and the Sala Verde. In the first hall (the council-chamber) is a portrait of Columbus in mosaic, and on the roof a fresco representing him in the presence of Ferdinand and Isabella. In the second, among other paintings, is a triptych ascribed to A. Durer, and in the third (the Sala Verde) a beautiful bust of Columbus. The architect was Rocco Lugaro, the ornaments and figures over the windows are by G. T. Carlone, and the frescoes by Pavarone, Paganelli, Passano, and M. Canzio.

Genoa: Palazzo Serra.

At No. 12 Via Nuova is the P. Serra, built, like most of the other palaces in this street, about the year 1552, by the celebrated architect Galeazzo Alessi. The size and distribution of the principal apartments are excellent, and many are beautifully ornamented in fresco by the brothers Semini, particularly the ceiling in the first antechamber, representing the funeral games instituted by Æneas in honour of Anchises. The dining-room was the work of the famous Genoese architect Tagliafico, and is greatly admired for its simplicity and good taste. But the greatest object of attraction in this palace is the grand salon, shining with gold. Along each side are columns of marble gilt, alternating with lofty mirrors reaching from the floor to the roof. The architraves and panels are curiously carved and gilt. The fresco on the roof is by Leon, and represents the triumph of Spinola over the Turks. The roof of the next room was painted by A. Semini.

The Palazzo Adorno, No. 8 Via Garibaldi, contains a good though smaller display of paintings and frescoes. The same may be said of No. 5 in this same street, the P. Spinola.

At No. 6 Via Garibaldi is the P. Doria, with a handsome portico and splendid halls containing a choice collection of paintings by P. Veronese, Guercino, Murillo, Van Dyck, Domenichino, and Tintoretto. We now enter the Piazza de Ferrari, with the post office, the principal theatre, the H. Gènes, and the Accademia delle Belle Arti, where young men assemble at night to study drawing, painting, and sculpture. Important trams start from this Piazza. The Staglieno tram stops at the cemetery; the Carignano tram at the church of Carignano.

The second street left from the P. de Ferrari leads to S. Matteo, built in 1278, but altered in 1530 by G. A. Montorsoli at the request of Andrea Doria, relating to whose family are the numerous inscriptions on the church. Over the altar is his sword. The “palaces” in front of the church belonged to the Doria family.

Genoa: S. Ambrogio. Cathedral.

In the Piazza Nuova is S. Ambrogio, entirely covered with beautiful marbles and adorned in much the same style as the church of the Annunziata. Among other paintings it contains a large picture of the Assumption by G. Reni, third chapel right; St. Ignatius healing one possessed of devils, by Rubens; and over the high altar, by the same master, the Circumcision. The frescoes in the cupolas are by Carloni and Galeotto. The large building to the right is the former Ducal Palace, now the government house. The grand reception room up stairs is ornamented with 54 columns of Brocatello marble, with bases of Siena marble. From the windows is seen the tower of the Embriarci, constructed by Guglielmo Embriarco, the inventor of the movable wooden towers used by Godfrey de Bouillon in his attacks upon Jerusalem.

On the other side of the Ducal Palace is the Cathedral, built in the 11th cent., but repeatedly restored. The exterior and interior are of black and white marble in alternate bands. The façade consists of three large portals resting on spiral, plain, and twisted columns. The arch of the centre porch has an immense span, bordered by bold fascicled work, while over the doorway is the Martyrdom of St. Laurence in relief. In the interior there is a strange mixture of styles. The nave is separated from the aisles by sombre coloured pillars supporting pointed arches, over which runs a series of round-headed arches. The roof of the choir has frescoes by Teverone. The marquetry of the stalls was executed in the 16th cent. The leading feature, however, in this church is the chapel of St. John the Baptist, in the centre of the left aisle. It was built in 1490, and ornamented with statues by G. Porta and M. Civitali, of which the best are those representing Zacharias in his official robes, Elizabeth, and Habakkuk. Under a canopy supported by four porphyry columns is the shrine by D. Terrano (1437), said to contain the ashes of John the Baptist, brought from Mirra in 1097. At the end of the right or south aisle is the chapel of Mary, with a Crucifixion by Van Dyck. In the sacristy is preserved a vase once famous under the name of the Sacro Catino (sacred vessel). It was found at Cæsarea, in Palestine, and tradition asserted that it had been presented by the Queen of Sheba to Solomon, and that out of it the Saviour had eaten the paschal lamb with his disciples. It was believed to be of emerald; and a law was passed in 1476, declaring that if any one applied a hard substance to the vase he should suffer death, because it was suspected that the material was only glass.

Below the cathedral at the foot of the Via S. Lorenzo is a cab-stand, whence drive by the church of Carignano and the Acqua Sola Gardens to the Via di Circonvallazione, commanding a series of beautiful views of Genoa. From the P. de Ferrari an omnibus runs to Carignano, passing through the Acqua Sola Gardens, 30 c.

Genoa: S. Maria. Campo Santo, or Cemetery.

S. Maria in Carignano, built 1555-1603 after designs of Galeazzo Alessi, is 165 ft. square, and 174 ft. above the sea. The statues above the entrance, of Mary, Peter, and Paul, are by David. Of the four colossal statues below the dome, St. Sebastian and Bishop Sauli are by Puget; the other two are by Parodi and David. The best of the paintings (covered) are—St. Francis by Guercino, Mary with Sts. Francis and Charles by Procaccini, St. Peter by Piola, and a Descent from the Cross by Cambiaso. But better than all the pictures is the view from the highest gallery on the dome, 368 ft. above the sea, ascended by an excellent stair of 249 steps, fee 25 c. each. The omnibus in the square goes to the Acqua Sola Gardens. From the top of the little wooded hill at the N.W. extremity of the Splanata della Acqua Sola is another fine view.

About 2 m. from Genoa by the western side of the Bisagno is the Campo Santo, the Staglieno cemetery, approached by omnibus every ½ hour from the Piazza de Ferrari. The greater part of the road runs parallel to the Genoa aqueduct arches, which follow the sinuosities and inequalities of the mountain sides for nearly 15 miles.

The front portion of the cemetery is rectangular, 656 ft. wide and 820 ft. long, surrounded by a double arcade of marble arches with a span of 21 ft., and 18½ ft. high. Each arch can contain seven tiers of three coffins each, the end space of each narrow cell allowing just room enough to label the date of the death and the name of the occupant. The poorest people are buried in the ordinary way, in the ground surrounded by the arches. The richest have a whole arch to themselves, where all that money can command in talented sculpture is made to do service to the feelings of bereaved friends, by perpetuating the memory of those they have lost, in the choicest and most costly marbles. These lovely statues appeal more to the sympathy of the spectator than the medley contents of even a famous sculpture-gallery. Above this rise other two galleries, and behind the second on the hill side is another large piece of ground. On a level with the first upper gallery, and approached by 77 long white marble steps bounded by a massive parapet of dark greenstone from the quarries of Pegli, is the mortuary chapel, consisting of a great dome supported on 16 round columns, each of one block of black marble 32½ ft. high. In eight niches round the interior are colossal statues of Bible personages, beginning with Eve. The façade rests on six white marble columns 21 ft. high. The whole vast structure of galleries, stairs, walls, and floors is arched into cells and vaults for the dead. Genoa: Albergo dei Poveri. At the N.W. end of Genoa, above the Annunziata, is the workhouse, Albergo dei Poveri, 318 ft. above the sea, on the Via di Circonvallazione, founded in the 17th cent., and containing accommodation for 1300 poor. At the E. end of the city is a large establishment for the insane, called the Regio Manicomio.

The Riviera di Levante; or, Genoa to Pisa.

Distance 102½ miles, time 4½ hours by “direct” train. See Maps, pages 199 and .

102½ GENOA.—The best winter stations on the Italian Riviera are, with the exception of Bordighera and S. Remo, those situated between Nervi and Rapallo. The coast is exceedingly picturesque and sheltered from the N. winds by precipitous mountains, covered at the base with vineyards, orange and lemon trees, and on the higher zones with olive, peach, and fig trees. Lord Carnarvon has been the first to take advantage of the superior beauties of this part of the Riviera in the choice of a site for a villa on Cape Portofino. Map, p. 211.

Nervi.

7½ 95 NERVI, pop. 8000. *H. et P. Anglais, E. from the station, with large garden, 8 to 15 frs. H. et P. Victoria, on the W. side of station, 9 to 12 frs. On the face of the mountain, about 100 ft. above the H. et P. Anglais, the *H. et P. Belle-Vue, 8 to 9 frs., including wine; admirably situated. In the Piazza, near the station, and at the terminus of the Genoa and Nervi trams, is the *P. Suisse, 6 to 8 frs. Opposite, the H. et P. Nervi, 9 to 12 frs. English doctors. Episcopalian service.

Nervi, with the neighbouring town of Bogliasco, forms one continuous narrow street 2 m. long, hemmed in between houses and walls. On the S. side is the sea, on the N. high hills covered with olive trees and studded with churches and cottages. Ten m. S.E. from Nervi is Santa Margherita Ligure, pop. 5000. *H. et P. Belle-Vue, 7 to 10 frs. A charmingly situated town at the head of a sheltered tiny bay. In the neighbourhood is the sumptuous villa Spinola, in the midst of beautiful gardens. The prettiest walk is by the road skirting the beach to the village and promontory of Portofino, 3 m. S. To the right or N. is the villa Castello di Pagi, and on the fourth hill from the end of the promontory the villa of Lord Carnarvon overlooking the little fishing village of Portofino, and commanding a glorious view.

18½ 84 RAPALLO, pop. 6000. H. et P. Europe, 8 to 10 frs. At the head of a small bay. A good deal of lace and olive oil is made here. Among the many pretty walks is the one to S. Margherita, 2 m. N., by the low road skirting the beach. The high road is more beautiful, and a trifle longer.

Chiávari.

24¼ 78¼ CHIÁVARI, pop. 12,000, at the mouth of the Entella. Inns: Albergo della Fenicé; Locanda Nazionale; Caffé Ristorante Priario. One of the best towns on the coast, with well-paved and arcaded streets, substantial houses, and handsome churches containing a few valuable pictures. The most profusely ornamented is, close to the station, the church of the Virgin of Orta, whose “sacred” picture hangs over the high altar. Chiávari manufactures lace and chairs of light wood with twisted straw seats, plain and coloured, called Sedié di Chiávari. Many of the organ-grinders are said to hail from this town. 4½ m. from Chiávari, across the Lavagnaro, is Sestri Levante, pop. 8000. Hotels: Grand Hotel, with palm-garden; Italia. Trains halt a few minutes at this pleasant place, the Segeste of the Romans. Sestri is situated on a bay terminating with a promontory, on which is a garden commanding a grand view. Shortly after passing Riomaggiore, 51½ miles from Genoa, the Gulf of Spezia comes into view, with the promontory of Porto Venere and the island of Palmaria on the right, and in front numerous capes, the chief of which is Cape Corvo. From Sestri to Spezia by carriage and pair, 45 frs.

Spezia.

56½ 46 SPEZIA, pop. 11,500, 1 m. from station. Spezia, although near good scenery, has nothing attractive itself; neither does it make a suitable winter residence. It has some excellent hotels bordering the spacious corso along the beach, the best being the “Croce di Malta,” a large and handsome building, 10 to 15 frs. Then follow the H. National; the Italia; and, below the arcade, the Brettagna, all first-class, but the Brettagna is the most moderate. Boats with one man, 1½ fr. per hour; with two men, 2 frs. In 1861 Spezia was made a station of the Italian navy. As a harbour it is one of the finest and largest in the world. Napoleon I. intended to have made it the Mediterranean harbour of France. The Royal Dockyard, at the southwest side of the town, occupies 150 acres; while the artillery magazines, in the bay of S. Vito, cover an area of 100 acres. On the W. side of the bay is the picturesque Porto Venere, the ancient Portus Veneris, 8 m. distant by land, 10 frs. per carriage 1½ hr., or boat 2½ hrs. The marble of Porto Venere is black, with gold-coloured veins.

“To the N.W. and W. of Spezia is a chain of mountains, of which Monte Bergamo, 2109 ft., is the most distant. It may be ascended from the Genoa road, which runs under its N.E. flank. Nearer to Spezia is Monte Parodi with a carriage-road to the top, whence there is a grand panoramic view of the surrounding country. Near this is the village of Biassa, whose inhabitants are supposed to be of Moorish origin. While the N.W. coast of the Gulf of Spezia is rugged and hilly, the northern and eastern portion for about three miles is comparatively level, which renders it a good walking place for invalids. The valleys of the Migliarini, at the northern extremity of the eastern half of the Spezia valley, are also excellently adapted for invalids, especially at that time of the day when the sea-breeze is blowing freshly. A favourite excursion from Spezia by water is to Lerici and San Terenzo, about 6 m. S.E. The steamer sails at noon, and returns at 4. Lerici is in a most sheltered situation, and remains in sunshine an hour after the sun has set at Spezia. The house, a square old-fashioned Italian villa, which Shelley occupied in 1822, is on the shore close to the sea, near the village.” —The Riviera, by Dr. Sparks. After Spezia, the train crosses the Magra, the ancient boundary between Italy and Liguria, and arrives at

Sarzana.

67¾ 34¾ SARZANA, pop. 11,200. Hotels: New York; Londres. This ancient town, with the picturesque fortress of Sarzanella, formerly belonged to the Grand Duke of Tuscany, who, in the 15th century, ceded it to the Genoese in exchange for Leghorn, at that time a mere village. Sarzana was the birthplace of Tommaso Parentucelli, who, from a simple monk, was in 1447 elected pope under the title of Nicholas V., and who constituted his native place into a bishopric. He was a great patron of learning and founder of the Vatican library.

The Bonaparte family lived in this town till 1612, when they removed to Corsica. The cathedral (14th cent.) is a plain cruciform edifice, partly of marble and partly of stone. Behind the cathedral, by the first street right, is the citadel, two minutes’ distant; and about fifteen minutes’ farther, the fortress built by Antelminelli, Lord of Lucca, a beautiful though low machicolated structure on the top of a hill overlooking the railway. Both citadel and castle are partly in ruins, and well seen from the station.

Avenza. Carrara.

74 31 AVENZA. Station for Carrara, 3¼ miles N.E. by branch line. Gigs also for Carrara await passengers at the station. Fare, 5 fr.

Carrara (pop. 14,000), situated on the Carrione, formed by the union of the Torano, Fantiscritti and Colonnata streams, descending valleys with valuable marble strata. Hotels: The Nazionale, close to the theatre; The Posta, adjoining the Post-office and close to the Accademia. Near the Nazionale is the Italian Protestant chapel. At the station great blocks of marble meet the eye. Passing them and crossing the bridge by Walton’s marble works, walk up the Corso Vittorio Emanuele to the Piazza Alberica, with a statue of Maria Beatrice and a short arcade. Near the right side of this piazza are the two hotels. The road to the left leads up the Carrione to the valley of the stream Torano, and the village of the same name, ¾ of a mile from Carrara. The valley now becomes narrower, the road worse, and the heavily laden bullock-carts more numerous, carrying and dragging blocks of marble. To the left rises Mount Crestola, and immediately opposite Poggio Silvestro, Polvaccio di Betogli, and the Mossa del Zampone, from all of which the Romans procured statuary marble, and which still continue to yield some of the finest quality. All the quarries (cavé), of which there are 400, employing 6000 men, are a good way up the face of the mountains. The ascent to them is over steep slippery marble debris. The nearest and the easiest “cavé” to visit are on Mt. Crestola. The other quarries are in the valleys of the Colonnata and of its affluent the Fantiscritti. In the Fantiscritti mines Roman relics have been found. Any boy will do to show the way to the rivers Carrione and Torano, and when there it is impossible to go wrong; but to visit any particular mines a guide is necessary. Fee 4 fr. Besides the common road there is a railway for the conveyance of marble blocks from the valley of the Torano to the Marina or Port of Carrara. Many antique Roman statues are of marble from Carrara, anciently called Luni. The marble of which the Greek statues are made is from Paros, and from Mount Pentelicon, near Athens. Carrara is a healthy and busy town, not troubled in the least with mosquitoes in winter and spring. The great business of the town is the transporting and dressing of marble; and the principal establishments the studios of the artists, where statues, monuments, chimney-pieces, and ornaments are sculptured and exposed for sale. Admission readily granted.

The churches present nothing remarkable; the marble of the exterior walls of the cathedral has become brown, while that of the interior is nearly black. In the Accademia delle Belle Arti are some good copies of the works of great artists and a few Roman antiquities found chiefly in the mines of Fantiscritti.

78¼ 26¾ MASSA is about a mile from the railway, by a good road, at the foot of Mt. Castagnola, which, with the still loftier peaks in the rear, Mts. Tambura and Rotondo, protect it from the northerly and easterly winds, so that it may be considered one of the winter stations on the Mediterranean. The climate is mild, as the vigorous orange trees in the gardens testify. In the neighbourhood are many pleasant walks, both on the plain and up the valleys. The Hotel Giappone in the Piazza Aranci, although a plain house, is clean, and is kept by kindly people. The town is quiet; there are a few workers and dealers in marble, but the principal occupation is agricultural. The ducal palace in the square was once the residence of Elisa Bacciocchi, Napoleon’s sister. Valuable marble quarries. Pop. 5000.

84¼ 20¾ PIETRASANTA, pop. 1000. Inn: Europa. A poor town, with marble works near the station outside of the walls, where baths are chiefly made. On the first large house, right hand of square, a tablet informs us that in it Michael Angelo Buonarrotti, on the 27th April 1518, “strinse nuovi contratti per la facciata di S. Lorenzo in Firenze.” S. Martino (13th cent.) has a fine wheel window, of the kind found in nearly all the churches in this neighbourhood. At the entrance opposite the Campanile (1380) is a font about the same period. In the interior of the church are handsome marble columns, confessionals, pulpit, and font. The domes and semidomes are painted in fresco. Next is the Uffizio Municipale, with, in front, a statue to Leopold II., 1848. Then follows St. Agostino (14th cent.), all within a few yards of each other. In the neighbourhood are quicksilver and argentiferous mines and the Quarceta marble quarries.

Viareggio.

90¾ 14¼ VIAREGGIO, pop. 20,000. Hotels: Russie; Pension Anglo-Americaine; Commercio. A favourite sea-bathing station of the inhabitants of Pisa and Florence. On the 22d of July 1882 the body of Shelley was found cast on this beach. A few miles eastward, towards Lucca, is Lake Massaciuccoli, and the Roman ruins called the Bagni di Nerone, about 6 m. W. from Lucca in a beautiful country.

Pisa.

Pisa: Piazza del Duomo. Cathedral.

105 PISA, pop. 26,300. Hotels: On right bank of the Arno, in the Lung’ Arno Regio, the *Grand Hotel; *Bretagna; *Nettuno; Londra. Close to station, right hand, the *Minerva et de la Ville; Washington; left hand, Commerce. Behind the H. Bretagna is the Anglican church. On the left side of the Arno, opposite the Victoria, is the Post-office. Cab-stand at the station. Fares.—From the station to the cathedral, with from one to two passengers, 1 fr.; from three to four, 1 fr. 15 sous. The hour, 2 fr. From the station go straight up the Via Vittorio Emanuele to the Arno, where cross the bridge and walk down the river to the fifth street right, the Via Santa Maria, crossed by an arch at the commencement. The Via Santa Maria leads directly to the Piazza del Duomo, containing, in a row, the Leaning Tower, the Cathedral, and the Baptistery, and immediately behind, the Campo Santo, with frescoes considerably effaced, yet valuable as specimens of the Tuscan school of the 14th and 15th centuries. Fee for the Campo Santo 25 cents each.

The Cathedral, commenced in 1063 by the Greek architect Buschetto, was completed in 1092. The exterior is adorned with a range of blind arches decorated with party-coloured marble. Four open arcades, similarly constructed, rise over the western entrance, with the beautiful bronze doors of John of Bologna, as well as over those at the southern entrance by Bonano. Both doors are covered with a profusion of figures in delicately wrought iron, representing saints, prophets, and various other objects, enclosed in an elegant border of birds, foliage, fruits, and flowers. The internal length of the church is 311½ ft., and of the transepts 252 ft. The roof of the nave is 109 ft. high. A double row of columns runs up the nave, and a single row along the transepts and choir. Sixty of them are of oriental granite, and the rest (14) of fine marble, and each of one piece. The arches resting on them are semicircular, and are mostly in alternate layers of white and black marble. The roof is covered with richly gilt panelling. The altars are by Michael Angelo, and are arranged in pairs, each couple opposite each other being alike, excepting the two at the opposite ends of the transepts, which, however, are similar in design. One represents the fall by woman, and the other the reconciliation by woman in the ascension of the Virgin. Over the high altar, on the semidome, is a colossal Mosaic by G. Gaddi, in 1325. Among the best of the paintings are four of saints by A. del Sarto, near the bishops’ chairs. Here also are paintings of Moses and Aaron, St. Luke and St. John, by Beccafumi, and the Sacrifice of Abraham and the Entombment by Sodoma. Upon a pier of the right transept is a St. Agnes by A. del Sarto, and on the corresponding pier of the left transept a Madonna by Perino del Vaga. In the right transept notice the altar of St. Blaise, the chapel and tomb of S. Ranieri, the great picture of the Virgin with Saints by del Vaga and Sogliani. In the left (north) transept is the chapel of the Holy Sacrament, with a beautiful silver ciborium. The windows are small, but have some fine stained glass of the 14th and 15th cents. Galileo, while a student at Pisa, discovered, by observing the oscillations of the lamp suspended in the nave, that the vibrations of a pendulum are synchronous, or recur at equal intervals whether great or small.

Pisa: Leaning Tower. Baptistery.

The Campanile or leaning tower is a cylindrical edifice built of square blocks of compact marble, and consisting of a well-designed solid basement, 159 ft. in circumference, with walls 13 ft. thick, above which rise six open arcaded galleries, supported by 200 granite and marble columns. Over the sixth arcade rises a round tower 27 ft. high. The entire height is 183 ft., the mean diameter of the main portion 52 ft., and the deflection from the perpendicular 11 ft. 2 inches, exclusive of the cornice, which projects 32 inches more. It was commenced in 1174, and finished 1350. The ascent is very easy, by a stair 3 ft. wide, formed in the wall; but not fewer than three are allowed to visit the top at the same time. Fee for the party, 1 fr. The keeper lives in one of the small houses (No. 14) nearly opposite.

The Baptistery is a circular building, 361½ feet in circumference, surmounted by a dome 180 feet high, and constructed after the designs of Diotisalvi. It was commenced in 1153 and finished towards the end of the 14th cent. Above the third storey rises the dome, intersected by long lines of very prominent fretwork, meeting in a cornice near the top, and terminating in a small dome crowned with a statue of St. John the Baptist, the titular saint of all such edifices. In the interior eight large Sardinian granite columns and four marble piers support twelve arches, over which rises the tier of piers and arches which support the cupola, within conical, but externally hemispherical. In the centre stands an octagon marble font for the baptism of adults, with four circular compartments at opposite sides for the baptism of infants. The beautiful pulpit by Niccolo da Pisa (1260) is ornamented with bas-reliefs, and supported on seven columns. Pisa: Cemetery. Behind the Baptistery is the Campo Santo, founded about the year 1189 by the Archbishop Ubaldo. It is a rectangle 424 feet long by 145 broad, and surrounded by a broad gallery with a plain wall to the exterior, and 62 mullioned arches with quatrefoil tracery towards the interior. The inner side of the wall is covered with paintings in fresco, begun about the year 1300, and continued till 1670. Immediately to the left on entering is the monument of the oculist Andrea Vacca by Thorwaldsen. To the right commence frescoes illustrating incidents in the life of St. Ranieri, the patron saint of Pisa, by Andrea da Firenzi, 1377. Those beyond the second door illustrate the temptations and miracles of hermits in the Theban wilderness, by the Lorenzetti. Between Nos. 39 and 40, Hell. Above 38, the Day of Judgment. Then, by Orcagna, the Power of Death,—filling those living in pleasure with horror, but those in sorrow with joy. Now follow (in the eastern side) the oldest of the three chapels, and frescoes illustrating the Crucifixion, Resurrection, and Ascension. On the north wall the most interesting frescoes are by Puccio Orvieto, 14th cent., illustrative of events in the Old Testament. On the west wall is hung part of the chain the Pisanos caused to be drawn across the mouth of the harbour, which, however, Conrad Doria broke through in 1290, burnt the fleet of Pisa, and carried off the chain to Genoa. A few years ago, according to the inscription, the Genoese returned it to Pisa. On the wall, under the chain, is the monument to Giov. Niccoli Pisano; and, a little to the right, a Madonna by that famous sculptor. The empty space within the cloisters was once the common burying-ground of the city. It is filled, to the depth of ten feet with earth brought from the Holy Land by the galleys of Pisa. Pisa: S. Maria della Spina. Among the other churches may be mentioned Santa Maria della Spina, on the bank of the Arno (a low square church)—an excellent specimen of the Moorish-Gothic introduced into Italy in the 11th cent. The churches of St. Matteo, St. Pierino, St. Michele in Borgo, St. Andrea, and St. Francisco, contain a few curious and some good paintings, with other antiquities. The church of St. Stephano is reputed to contain the bones of St. Stephen. The palaces of the Cavaliers, Lanfreducci, Seta, and Casa Mecherini, are worthy of notice.

Near the Grand Hotel is the Sapienza or University, founded by the Emperor Henry VII. The quays and bridges of Pisa are extensive, and well-constructed. Four miles from Pisa are the baths of St. Julian, considered beneficial for diseases of the liver and gout (see next page).

Leghorn.

Between Pisa and Leghorn there are trains nearly every hour, distance 11¼ miles. Leghorn (pop. 90,000). Hotels: In the Piazza del Cantiere, the Nord, fronting the harbour; and close by, in the Via Vittorio Emanuele, the Bretagne; New York; France; and at No. 59 of the same street, Il Giappone. Anglican church in the Scala degli Hollandesi. Presbyterian church, No. 3 Via degli Elisi. Cabs per hour, 1½ fr. Boat from the hotel to the steamer, 2 fr. Leghorn has many handsome and well-paved streets; among the best of them is the Via Vittorio Emanuele, which, commencing at the head of the harbour from the Piazza dei Cantieri, traverses the principal square, the Piazza d’Armi, with the cathedral, and extends to the Piazza Carlo Alberto. Its continuation, on the other side of the square, the Via Larderel, extends to a large building on the right hand crowned with a semi-dome. This is the grand reservoir, supplied with water from the mountains Colognone by an aqueduct 12 m long. Smollett died at Leghorn just after completing “Humphrey Clinker,” and was buried in the English cemetery. Leghorn: Steamers for Corsica. Steam-boats every week for Bastia in Corsica, for Porto Torres in Sardinia, and for Marseilles and Genoa.

Pisa to Florence by Lucca and Pistoja.

Distance 62 miles east. See Map of Turin to Florence, page 199.

62 PISA. The direct line to Florence is by Pontedera Empoli. Distance, 49 miles. Time, 2 hours and 10 minutes. The first station by the Lucca route is San Giuliano, with its thermal springs, temp. 109° and 84° Fahr., rising from a calcareous rock at the foot of the wooded Monti Pisani. The waters “are used internally in chronic hepatic complaints, in gravel, and some renal affections; in dysentery, and dyspepsia attended with pain and vomiting.” —Madden’s Health Resorts. After Giuliano, we reach the Rigoli station, whence the line extends along the left side of the Serchio, enclosed within its bed by expensive embankments.

15 47 LUCCA (pop. 22,000). Each portmanteau taken from the station to the cab, 6 sous; bag, 2 sous. Cabs await passengers, 1 fr.; portmanteau, 4 sous.

Sights.—A walk on the ramparts, 3 miles in circumference, and a visit to the Duomo and to the Picture-Gallery. To the south of Lucca, near the station, is an ancient aqueduct of 459 arches.

Hotels: Universo, between the Duomo and the Piazza Napoleone, a first class-hotel; Croce di Malta, near the Piazza Napoleone; and the Corona, near the Piazza also, but towards the church of St. Michele. Diligence to the Baths of Lucca start from a court opposite the H. Corona. Distance, 17 miles. Fare, 3 fr. Carriage, 15 fr. Money-changer in the Piazza dell’Erba, off the P. Napoleone. Lucca is one of the most ancient cities in Italy. Originally it belonged to the Etrurians, but was taken from them by the Ligurians, and colonised by the Romans about 170 years before the birth of our Lord. The most remarkable event that distinguished it in ancient times was the interview which took place here between Cæsar, Pompey, and Crassus, and which attracted to the town half the senate and nobility of Rome. After the fall of the Roman empire, Lucca was governed by princes of its own, from one of whose race, Azon II., of the house of Este, the royal families of Brunswick and England are descended. The town is in the form of the letter O, surrounded by ramparts which afford a most agreeable drive. At the railway end is the Piazza Napoleone, and near it all the principal sights. Lucca: Palazzo Ducale.
Picture-Gallery. Cathedral. One entire side of the Piazza is occupied by the Palazzo Ducale, now the Palazzo Provinciale, a vast and substantial edifice, built in 1578, enclosing two large courts, and containing the prefecture, the post-office, the picture-gallery, and the government offices. The Picture-Gallery, open every day (except Mondays), between 10 and 2, although small, contains some precious works, in handsome halls. In the first room is a Madonna della Misericordia, and in the second, the Creator with Mary Magdalene and St. Catherine, both by Fra. Bartolommeo, in 1515 and 1509. Also pictures by Reni, Zucchero, and Tiziano. In the Sala da Ballo, painted in fresco by Luigi Adamolli Milanese in 1819, are a Madonna by Perugini; a full length portrait of Napoleon’s sister Elisa; and two ancient pictures on wood—a Nativity, and a Christ with Saints. The remainder of the pictures are in the rooms which were occupied by Maria Aloysia Borbonia (Marie Louise), whose monument by Bartolini (1843) stands in the centre of the square. Leaving the Piazza Napoleone, by the street at the end of the small avenue, we come to another open space containing San Giovanni and the Duomo, and between the two churches a house called the “Administrazione del opera della chiesa;” where, among other things, are preserved La Croce dei Pisani, an elaborately wrought gilt silver cross, by B. Baroni in 1350, and the gold lamp, weighing 24 lbs., which formerly hung in front of the Tempietto in the Duomo. They are shown at any time, but a fr. is expected. The Cathedral or Duomo of St. Martino was commenced by Anselmo Badagio, who, three years afterwards, as Pope Alexander II., blessed the enterprise of the Norman invader of England. The façade, with its three tiers of columned galleries, was built in 1204, the choir in 1308, and the triforium in 1400. The sculptures of the portico are subjects from the life of St. Martin. Over the door on the left is a Descent from the Cross, by Nicolo di Pisa, 1233.

Loftiness and simplicity, verging on plainness, characterise the interior of this church, as well as those of all the others in Lucca, with the exception of San Romano, which is profusely decorated. The windows are small and filled with modern glass, excepting the three at the eastern end, which are by P. Ugolino. All the pictures are covered, excepting on Sundays and feast-days, but the custodian can always be found in the sacristy, who shows the church for a franc. Commencing at the first altar, right hand from main entrance, Nativity, by Passignano; second, Adoration of the Magi, P. Zucchero; third, Last Supper, Tintoretto; fourth, Crucifixion, Passignano; fifth, Resurrection. In south transept, west side, is the monument to Pietro da Noceto, one of the many admirable works by Matteo Civitali, to whose genius the church owes its best sculpture, which he contributed during a period of nearly thirty years from 1472. The angels on the altar in the Chapel del Sagramento, opposite the monument, as well as the whole of the chaste white marble altar in the Chapel of St. Regulus, adjoining the sacramental chapel, are by him. On the left side of the high altar is the altar to “Christo Liberatori,” by G. Bologna, and adjoining, La Cappella del Santuario, where again we find the beautiful handiwork of Civitali displayed on the altar and reliquaries on both sides. The Madonna which forms the reredos of the altar is by Fra Bartolommeo. This picture and the Madonna by Ghirlandaio (1400), in the sacristy, are the two gems in the church. Just outside the Cappella del Santuario is a recumbent figure of Ilaria del Carretto by Jacopo della Quercia (1444), unfortunately slightly mutilated, yet a beautiful imitation of the repose of nature transferred to statuary. Lucca: The Tempietto.
S. Giovanni.
S. Frediano. In the north aisle is the Tempietto, a small octagonal chapel standing apart, in which is preserved the cedar wood crucifix, 8th or 9th cent., said to have been carved by Nicodemus with the assistance of an angel. The fresco on the left side of the main entrance into the Duomo represents him cutting it out. This cross is exhibited three times a year. The embroidery on the red curtain is an exact copy. The figure of S. Sebastian on the Tempietto, as well as the elegant pulpit opposite, are by Civitali. Opposite the cathedral is San Giovanni, founded in the 12th cent. The baldness of its great walls is partly relieved by the coloured panelled ceiling. Leaving the Piazza Napoleone by the western corner of the Palazzo Provinziale, we soon reach the Piazza and Church of San Michele, founded in the 8th cent., with a lofty façade composed of tiers of variously shaped columns. Continuing in the same direction towards the ramparts, we reach S. Frediano, of the 7th cent., with a large Mosaic (12th cent.) over the main entrance. Just within it, on each side, are frescoes by Ghirlandaio. To the right is an ancient circular font about 9 feet in diameter, beautifully carved in relief by Magister Robertus in 1151. The font at present used is against the wall, and is by N. Civitali, the nephew of Matteo. The second chapel on the right contains the tomb of St. Zeta, the patroness of Lucca, in a sarcophagus on the altar. Third chapel beyond this (east side) is a coronation of the Virgin by Francia, and on the opposite wall of the same chapel a curious old carving in relief, representing the assumption of the Virgin. On the opposite side of the church is a chapel covered with ancient frescoes by Aspertino, one of which represents the transporting to the church of the cross made by Nicodemus after it had been found in the sea. By the side of it is St. Augustine being baptised by St. Ambrosius at Milan; and above them, in the semicircle, an entombment. Opposite is S. Frediano (who was an Irishman) staying by prayer an encroachment of the sea, and an Adoration of the Magi. Above is St. Ambrosius instructing his disciples. On the ceiling, God surrounded by Angels, Saints, and Prophets. 3½ m. from Lucca is the Villa di Marlia, in the midst of beautiful grounds.

The Baths of Lucca.

The Baths of Lucca.

17 miles from Lucca. See Map, page 199.

The road ascends by the left bank of the river Serchio, through pleasing scenery, passing the town of Muriano, situated on the right side of the river. About 13 miles from Lucca is the curious bridge of the Maddalena, consisting of four arches, the arch next the village of Borgo being disproportionately large, and with a gradient from the bank to the centre of 60°. It is only 4 feet wide, and, although built in 1322, is the only bridge across the Serchio that withstood uninjured the great flood of 1836, when the Serchio attained in three hours a height till then unknown, and swept away with irresistible fury all the other bridges, and broke up the mounds, dikes, and embankments. The two villages (pop. 9500) which go under the name of the Baths of Lucca are Il Serraglio on the left bank, and Corsena on the right bank of the Lima, near its junction with the Serchio. On the hill behind Corsena are the springs and bathing establishments. By the side of the Lima is the Bagno Cardinali, close to the Casino; and about 100 feet above the Cardinali is the Bagno Bernabó. A short way westward, overlooking the valley of the Lima, is the Bagno Doccebasse, and immediately below it the Bagno dello Spedale-Demidoff, for the exclusive use of the poor. On the top of the hill, among some houses, is the Bagno Caldo, and a little to the east, standing by itself, the Bagno San Giovanni. Hotels: the best are Pagnini’s Hotel and Pension, next the Casino; and the America, nearer the bridge. On the opposite side of the river, in Il Serraglio, are the New York, and the Corona, plainer houses. A mile up the river by the right bank, along a beautiful road, the Strada Elisa, is another village, which is also included in the Baths of Lucca, the Bagno alla Villa, the most beautifully situated of the three. Hotels: At the entrance of the village, the H. and P. Queen Victoria. At the foot of the hill on which the bathing establishment is situated, the H. and P. du Pavilion and the Anglican chapel. Near them the H. and P. du Parc. The pension price in all, both here and at Corsena, is from 7 to 11 frs. Cabs: First hour, 2 fr.; afterwards 1½ fr. Numerous furnished houses to let. From 400 to 1000 fr. for six months.

The bathing establishments are fitted up with every modern appliance. The baths are rather small. Chemically the different springs are very similar, but in temperature they vary; the coolest is the Doccebasse, 85° Fahr., and the hottest the Bagno Caldo, 133° Fahr. The principal ingredients are sulphates and carbonates of lime, chlorides of soda and magnesia, and carbonate of iron. The total amount of saline matter being 15 grs. to the pint. On a tablet at the entrance to the baths of La Villa is inscribed a list of the diseases cured by the water; but their principal action is on the digestive organs, and through them sympathetically on the whole animal economy. Besides, a great deal of the beneficial effect said to be produced by the water ought with more reason to be ascribed to the delightful mountain air, and the charming walks, drives, and rides, which entice visitors to spend the greater part of the day in healthy rambles. The surrounding country is beautiful—steep mountains covered with vines, chestnuts and oaks rise on each side of the river; while well-made paths and roads wend their way up through these vineyards and forests to multitudes of points of various heights, commanding charming views. Season, May to October.

Pistoja. Cathedral. Baptistery.

40½ 21½ PISTOJA (pop. 13,600). Hotels: Globe et Londres; Inghilterra, both in the Piazza Cino. Cabs from the station to the hotels, 1 fr.; portmanteau, 20 c. Next the H. Inghilterra is the church of S. Giovanni, erected at the end of the 12th cent., in alternate layers of black and white marble. The sculptured pulpit, resting on lions, is supposed to be by Fra Guglielmo of Pisa, 1270. The centre of interest is in the Piazza Duomo, easily found from different parts of the town by means of the lofty Campanile, the “Torre del Podesta,” which rises above all the other buildings. By the side of it is the Duomo, a plain edifice, built in 1240. Over the central door is a Madonna, with angels, by A. della Robbia, and over the side-door frescoes by Balducci and Giovanni Christiani, 1369. To the right, on entering, is the monument to the jurist Cino (1336). In the upper tier he is represented addressing an assembly, accompanied by six other doctors, while below he is represented in his class-room lecturing to nine students. The altar of the chapel, to the right of the high altar, is of solid silver. It is generally covered, but by applying at the sacristy a man will uncover it for 2 fr. It remained unfinished for more than 150 years (1314-1466), and is said to be the finest piece of silversmith’s work of that time in Italy, and that 416 lbs. of silver were employed in its execution. Below the chancel is a crypt. Fronting the Duomo is the Baptistery, begun 1339 (by C. di Nese), an elegant octagonal structure, also in alternate layers of black and white marble, each corner terminating in a pinnacle. The font is quadrangular, of panelled marbles, and constructed in the 13th cent. Outside, near the door, is a beautiful stone pulpit. Adjoining is the Palazzo del Podestá (now the seat of the Tribunale Civile), constructed in 1367, and restored in 1864. The vaults and soffits of the massive arches are covered with the armorial bearings of the former mayors of the town; while, to the left of the entrance, are still the stone-seats and tables where they sat in judgment. Pistoja: Pal. Municipale.
S. Andrea. Opposite is the Palazzo Municipale (14th cent.), and a little way down the street, the Ospedale del Ceppo (13th cent.), with a coloured terra-cotta frieze. Near the two hotels is the church of S. Maria dell’ Umilta, built in 1509 by Ventura Vitoni. In the vestibule are large frescoes by Vasari. Near it is S. Andrea (12th cent.), with quaint reliefs over the entrance door, and in the interior a precious marble pulpit, sculptured by Giovanni da Pisa, 1298-1301. The beadle, for a trifle, illuminates this piece of elaborate sculpture, when it is seen to still greater advantage. Between the two last churches is S. Filippo da Neri, with such a quantity of frescoes, representing angels and saints in glory, that even the visitor on entering feels himself among clouds also. In the Piazza Prato is S. Francesco, with some good frescoes and altar pieces. In the centre of the nave is the tomb of an Englishman, Thomas de Weston, Doctor Legum, 1408. The word pistol is said to be derived from the name of this town, as they have been manufactured here from a very early date. Catiline lost his life in a battle fought near Pistoia, B.C. 62, and the precise spot where he is said to have fallen is marked by a tower.

Passengers from Pisa to Florence have generally to change carriages at Pistoja.

11¼ m. from Florence and 50¼ m. from Pisa is Prato, pop. 13,100. Hotels: Giardinetto, Contrucci, surrounded by ancient walls, and defended by a castle built by the Ghibelines. The interior and exterior of the Cathedral are faced with white and green marble in bands. The nave has columns of serpentine. The elevated choir has good frescoes by Filippo Lippi, and in a chapel are others by Agnolo Gaddi (1365).

Florence.

61½ m. from Pisa by Lucca, or 49 m. by Empoli, is Florence, 357 m. from Turin, 82 m. from Bologna, 134 m. from Piacenza, 196 m. from Rome, and 60¼ m. from Leghorn.

Florence: Hotels and Pensions.

FLORENCE, on the Arno, pop. 169,000. Hotels and Apartments: On the right or north side of the Arno, the Grand Hôtel Royal de la Paix; de la Ville; Grand Hôtel d’Italie; Washington; Grand Hôtel Nueva York; Gran Bretagna; del Arno; and just behind the Paix, the Russie. All these hotels have a south exposure, and are greatly run after in winter. Charge from 10 to 16 frs. per day, according to the room. The following charge from 9 to 13 frs., and are situated in the new streets a little way back from the Arno, and near the Cascine or Park of Florence (north-west side of plan):—Hôtel and Pension Corona d’Italia, Via Montebello; Hôtel and Pension Iles Britanniques in No. 42; and Hôtel and Pension Venise in No. 33 Via della Scala. In the Iles Britanniques are also furnished apartments at from 250 frs. to 400 frs. per month. Hôtel and Pension Couronne d’Angleterre, Via Solferino; Hôtel and Pension Anglo-Americain, Via Garibaldi; and the Universo in the Corso Vitt. Emmanuele. In the busy parts of the town, and charging rather less than the above, the Hôtel Milan No. 12 Via Cerretani; Hôtel and Pension Angleterre, Via Panzani; and at No. 21 of same street, Hôtel Bonciani, with front also to the Piazza S. Maria Novella. Near the bridge La Santa Trinitá, and in the Via Tornabuoni are the Europe and Nord. In the Via Porta Rossa the Hôtel Porta Rossa; in the Via della Spada the Ville de Paris; in the Via Condotta, La Luna; in the Piazza S. Maria Novella (near the station) Hôtel Roma; Minerva; Bonciani, with furnished apartments; and by the side of the station, La Posta and Rebecchino. In the Piazza Maria Novella there are omnibuses for Sesto Fiorentino and a large cab-stand. Conveniently situated for visiting the sights, and not expensive (from 7 to 9 frs. per day), are the H. d’Espagne above the Restaurant Etruria and the Etoile d’Italie in the V. Calzaioli. Pension Suisse, Via Tornabuoni; Le Phœnix, Via dei Martelli; Lion Blanc (in which also single rooms are let), Via Vigna Nuova; Cavour, Via del Proconsolo; Commerce, Piazza di S. Maria Novella; Hôtel and Pension Rudolfo, Via della Scala. Furnished apartments all over the town. Just outside the Porta Romana, in the Viale Petrarcha, furnished apartments cost from 250 to 400 frs. the month. The most expensive as well as the most fashionable are those situated on the right bank of the Arno; but in the streets a little way back from the Arno apartments can be had for less. It is of very great importance in winter to have bedrooms with a south exposure. Those with a north exposure feel cold even on a sunny day. People who take furnished rooms can dine at very moderate rates in restaurants, such as the Toscana or the Etruria, both in the Via Calzaioli. Best money-changers and restaurants in the Via Calzaioli, between the Piazza della Signoria and del Duomo. Fioravanti and Co., 5 Via Cerretani, change circular notes as well.

Protestant Churches.—American Church, 17 Via dei Serragli; American Episcopal, 11 Piazza del Carmine; English Episcopal, 5 Via del Maglio; Scotch Church, 11 Lungarno Guicciardini.

Cab Tariff.—The course, 1 fr.; night (between 7 P.M. to 6 A.M.), 1 fr. 30 c. Time, first half-hour, 1 f. 30 c.; every successive half-hour, 70 c. Large trunks, 50 c.; portmanteau, 25 c. Omnibuses run between the Piazza della Signoria and the old city gates. Fare, 10 c.; Sundays, 15 c.

Florence: Hints and Directions.

Best maps of Italy and of the environs of Florence at the office of the Topografico Militare, No. 8 Via Sapienza, near the Annunziata. Best plans of the town published by Pineider, in the Piazza della Signoria, and Bettini, No. 12 Via Tornabuoni. They also publish excellent little guides to Florence, with complete catalogues of all the pictures and statues in the various museums and churches. Pineider’s is published in English likewise, and costs only a franc. They have a similar one for Rome. For the investigation and study of art in Florence, see the works, Walks in Florence by Susan and Joanna Horner, 2 vols., Isbister and Co., London, and volume 3 of Hare’s Cities of Italy.

It is fatiguing, and unwise in those who are not students, to wander into every part of Florence to gaze upon every picture and every figure by a great master. The best are all in a few places, which, fortunately, are near each other. For oil-paintings the combined galleries of the Uffizi and Pitti are sufficient. In them the most important room is the Tribuna (p. 238), containing the concentrated excellence of both galleries in painting and antique sculpture. Besides what are in the Tribuna, Raphael has eleven pictures in the Pitti, of which the most famous is No. 266 in the Stanza dell’ Educazione di Giove (see p. 244). Michael Angelo’s finest sculpture is in the new sacristy of San Lorenzo (see p. 265), but the best collection of his works is in the National Museum (see p. 261). His David is in the Accademia delle Belle Arti (see p. 272). In the National Museum is the best collection of sculpture by great Italian Artists, such as Michael Angelo, G. Bologna, Luca and Andrea della Robbia, Ghiberti; Brunelleschi, Donatello, Pisano, Benvenuto Cellini, Rossi, Mino da Fiesole, and Verrochino, chiefly in the first and sixth rooms of the first floor, and in the sixth room of the second floor. Of the churches, the most important are the Duomo or Cathedral, the Baptistery and Campanile, Santa Croce, San Lorenzo (but particularly the Sagrestia Nuova and the Cappella dei Principi, attached to St. Lorenzo), S. Maria Novella, and the Annunziata. They are open from early in the morning till mid-day, and again from three till six. The best specimens of fresco painting are in the churches and their cloisters. Remarkable ancient frescoes in the Brancacci chapel of Del Carmine (page 252). Best painting by Cimabue, a Madonna, executed in 1240, in the Rucellai chapel of S. Maria Novella (page 268). Best frescoes by D. Ghirlandaio on the chancel or recess occupied by the high altar in S. Maria Novella (page 268). Best frescoes of A. del Sarto in the narthex of the Annunziata (page 269). Best frescoes of Giotto in the first and second chapels of S. Croce (page 260). Of the palaces the best are the Palazzo Vecchio (page 274), Palazzo Strozzi (page 275), and the Palazzo Corsini (page 275). The best view of Florence is from the top of the dome; the ascent is very easy. The pleasantest drive, with views, is to the Piazza Michel Angiolo, by the Porta Romana and the Boulevards Machiavelli, Galileo, and Michel Angiolo (page 249), studded with handsome villas.

Florence: Piazza della Signoria. Loggia dell’ Orcagna.

At Florence the Arno is crossed by six bridges. One of these, the Ponte Vecchio, differs from all the rest in having shops on each side. By referring to the plan it will be observed that the road to the Pitti Palace with the Boboli gardens, commences at the south end of this bridge; while, at the northern end, commences the Via Por S. Maria, leading to the Piazza della Signoria. From the north-west corner of the Piazza della Signoria a fine broad street, the Via Calzaioli, leads to the Piazza del Duomo; from the eastern corner the street called the Borgo de’ Greci leads into the Piazza Santa Croce. It is of great importance to understand the relative position of these three squares. The chief feature of the Piazza della Signoria is the Palazzo Vecchio, a fine specimen of the Florentine castles of the Middle Ages (page 274). On either side of the main entrance are the terminal statues of Baucis and Philemon, by Bandinelli, and in front the colossal group of Hercules and Cacus, also by him. Opposite is the spacious Gothic arcade called the Loggia dell’ Orcagna, from the name of the architect, or dei Lanzi, from the name of the watchman who formerly guarded the building. It was usual in the early period of the Republic to provide a space near the government-house where the people could meet and take part in public affairs; and for this purpose this open gallery was built opposite the Palazzo Vecchio about the year 1376. Five steps, running along the front, lead up to the platform, covered by a vaulted roof, supported on four arches, resting on three columns terminating in beautiful capitals of the Corinthian order. Two shaggy lions, in Cipollino marble, ornament the entrance. The lion on the left is by F. Vacca, 17th cent.; the other, on the right, as well as the six statues of Sabine priestesses, along the inner wall, beautiful in attitude and drapery, are antiques, and were brought from the Villa Medici in Rome in 1788. In front, under each arch, stand three separate groups, by celebrated masters of the 16th cent. To the right is the Rape of the Sabines, by G. Bologna, in 1583. Originally this group was intended to represent Youth, Manhood, and Old Age. To the left the statue in bronze of Perseus, with the head of the sorceress Medusa, by B. Cellini. The posture is fine, and full of power and animation, but the head and body of the Medusa are represented streaming with blood with a revolting exaggeration. Also left, Judith and Holofernes in bronze, by Donatello. Behind Perseus is the Rape of Polixena, a marble group, by Pio Fedi, in 1864. In the centre is an antique group supposed to represent Ajax dragging the body of Patrocles—restored by S. Ricci. Next it is the marble group, by G. Bologna, representing Hercules slaying the Centaur. In this Piazza is also the Fountain of Neptune, by Ammanati (pupil of Bandinelli), 1571. It is crowded with nymphs and satyrs, presided over by a statue of Neptune (19½ feet high) in a car drawn by four horses. Adjoining is a superb equestrian statue of Cosmo, by Bologna. The horse is admirable. To the left of the statue is the Palazzo Uguccione (considered to have been designed by Raphael), built in 1551. Adjoining the Loggia dei Lanzi are the extensive buildings “degli Uffizi,” the great storehouse of art treasures. On both sides of the Piazza, along the basement floor, extends a wide and lofty colonnade, by Vasari (1560-74), ornamented with 24 statues of the most eminent Italians. On the same side as the Loggia is the Post-Office (Reale Poste). Florence: National Library. On the opposite side, at the second door from the end, is the entrance to the Galleria degli Uffizi, and six doors farther down, the entrance to the Biblioteca Nazionale, with about 250,000 vols. and 14,000 MSS. Open from 9 to 4. Any book may be had for consultation in the reading-room by writing the name on a slip of paper. The National Library was formed in 1864 by the union of the Palatine Library collected by the Medici with the Magliabecchian Library collected by Antonio Magliabechi in 1700. The arch at the S. end of the colonnade leads to the river Arno and the Ponte Vecchio.

Galleria degli Uffizi.

Open daily from 10 to 3. Fee, 1 fr. each. Sundays, free. W.C.’s near the portrait rooms; key with the keepers in the corner of the southern gallery. In the top storey of the Uffizi buildings is the famous collection of paintings, statues, and antiquities, united with a similar collection in the Pitti Palace, by long galleries which cross the Arno by the Ponte Vecchio, and extend along the street Via Guicciardini, by the tops of the houses. The payment of a franc admits to both collections, and the visitor may commence at either end; either from the second door left hand, under the Uffizi colonnade, or from the door at the N.E. corner of the Pitti Palace, next to the iron gate opening into the Boboli gardens. But the easiest plan is to commence with the Uffizi, and to descend towards the Pitti gallery by the stair at the top of the western gallery. The only part of the way in which it is possible to go wrong, is where (after having passed through the gallery of birds, fishes, and plants, admirably drawn in 1695 by Bart. Legozzi, and a small room with a few beautiful miniature paintings representing scenes in the life of our Lord,) we come to a common stone staircase, which, to enter the Pitti galleries, ascend, but to go out, descend. Downstairs, outside, are the Piazza Pitti and the entrance to the Boboli gardens.

Florence: Uffizi Gallery—Vestibules—Corridors.

Entering the Uffizi by the second doorway under the colonnade, those who wish to save themselves the fatigue of the 126 steps up to the galleries may, for a franc, be carried up in a lift. In the first vestibule are Roman statues and bas-reliefs representing festivals and sacrifices, and busts of Lorenzo the Magnificent, Cosmo I., Francis I., and of others of the Medici. Second vestibule, more Roman statuary, and an inimitable Greek figure of a wild boar; the whole expressing admirably the growling ire kindling in an irritated animal. Two exquisite wolf-dogs, bold, spirited, and true to nature. The horse, said to have belonged to the Niobes group, does not bear close examination.

We now enter the eastern corridor, 178 yards long, with the ceiling painted in arabesques by Poccetti. Ranged on both sides are valuable specimens of ancient statuary, and of Roman busts of emperors and members of the imperial family, Augusti et Augustæ. On the walls is hung a valuable and interesting series of pictures, beginning with the stiff gilded Byzantine style of the infancy of the art, as No. 1, a Madonna by Andrea Rico di Candia (1102), and advancing gradually by No. 2, St. Cecilia, by Cimabue, 130 years later. A marked improvement in colour and grouping is seen in No. 6, Christ in Gethsemane, by Giotto, pupil of Cimabue. No. 17 is a beautiful triptych by Fra. Angelico; No. 24 a Madonna by Credi; No. 29 a Battlepiece by P. Uccello; and No. 61 a Crucifixion by Lippi.

Florence: Uffizi Gallery.—Tuscan School.

From the two long sides of the gallery large doors open into halls where the pictures are arranged in schools; the first of these being, as is shown on the plan, the Scuola Toscana, contained in three rooms, and consisting of 165 paintings, by M. Albertinelli, A. and C. Allori, B. Angelico, M. A. Anselmi. B. Bandinelli, Fra. Bartolommeo, G. Biliverti, S. Botticelli, A. Bronzino. F. Cambi, J. Casentino, Cigoli, P. di Cosimo, L. di Credi, F. Curradi. C. Dolci. Empoli. P. Francesca, M. A. Franciabigio. A. L. Gentil, D. and R. Ghirlandaio, F. Giorgio, G. S. Giovanni, B. Gozzoli, F. Granacci. Ignoto (unknown). Fra F. Lippi. O. Marinari, Masaccio, T. Manzuoli, G. da Milano, F. Morandini. G. Pagani, M. Pasti, S. Pieri, A. Pollaiolo, Pontormo. G. Ramacciotti, Razzi, Il Rosso, G. F. Rustici. V. Salimbeni, C. Salviati, A. del Sarto, L. Signorelli. Fr. Ubertini. R. Vanni, O. Vannini, G. Vasari, Dom. Veneziano, A. Verrocchio, Leonardo da Vinci, Volterrano. F. Zucchero. The earliest painters are in the inner room. Among the most remarkable of them are, B. Angelico, 1294. A. Botticelli, 1286, a large picture, and 1289 and 1299. Fra. F. Lippi, 1307. D. Ghirlandaio, 1295 and 1297. G. da Milano, 1293, in ten compartments. A. Pollaiolo, 1301 and 1306; D. Veneziano, 1305.

In the middle hall—Albertinelli, 1259. Fra. Bartolommeo, 1265; Bronzini, 1271. Cigoli, 1276 his best work. F. Lippi, 1257 and 1268; Razzi, 1279, formerly a banner carried in processions. Leonardo da Vinci, 1252, an unfinished picture.

First hall—Albertinelli, 1259; Allori, 1165; Biliverti, 1261, one of his best works; Bronzino, 1271; Cigoli, 1276; Credi, 1168; Leonardo da Vinci, 1157 and 1159 remarkably fine.

Florence: Uffizi Gallery.—Tribuna.

Next to the rooms occupied by the Scuola Toscana is the Tribuna, a plain 8-sided hall, 30 ft. in diameter, designed by B. Buondelmonti, and painted and decorated by Poccetti. In this room are preserved five of the most famous antique statues in the world, and forty-two of the choicest pictures in the collection by Alfani, F. Barocci, Fra. Bartolommeo, A. and L. Caracci, Correggio, Domenichino, A. Durer, Guercino, L. Kranach, F. Francia, Lanfranco, B. Luini, Mantegna, Michael Angelo, L. d’Olanda, P. Perugino, Raphael, G. Reni, Giulio Romano, Rubens, A. del Sarto, Schidone, Spagnoletti, Tiziano, Van Dyck, P. Veronese, and D. Volterra. Facing the door is the Venus de Medici, 4 ft. 11 inches high, supposed to be by Cleomenes, son of Apollodorus, which, along with the statue of the Apollino, were brought from the Villa Hadrian, in Tivoli, during the reign of Cosmo III. The group of the Wrestlers, exquisitely finished, wants animation. The Dancing Fawn, attributed to Praxiteles, is one of the most exquisite works of art that remains of the ancients. The head and arms were restored by Michael Angelo. In the Knife-Grinder, the bony square form, the squalid countenance, and the short neglected hair, express admirably the character of a slave, still more plainly written on his coarse hard hands and wrinkled brow. Among the paintings, six are by Raphael—all gems. 1120 Portrait of a Lady, painted when he was 20; 1123 the Fornarina, every hue as perfect as if transferred to the canvas by the sun—the expression is pert; 1125, the Madonna del Pozzo (Well), attributed also to Franciabigio, beautifully finished; 1127 St. John in the Desert, colouring tawny, but admirable light and shade; 1129 the Madonna del Cardellino (nightingale), one of Raphael’s best works, painted when he was 22; 1131 Portrait of Julius II., considered one of the finest portraits in the world. In the Hall of Saturn, in the Pitti Gallery, and in the National Gallery of London, are likewise portraits by Raphael of this impetuous and warlike pope. 1139 Holy Family by Michael Angelo. This picture, one of the few by him in oil, exhibits powerful drawing with dexterous execution. 1112 the Madonna between St. Francis and St. John, called also the Madonna delle Arpie, by Andrea del Sarto—rich but subdued colouring, very pleasing to the eye. 1117 the famous recumbent Venus, by Tiziano. 1118 the Rest in Egypt, by Correggio—wonderful colouring.

Florence: Uffizi Gallery.—The Italian School.

Six rooms follow in succession from the south side of the Tribuna, and contain respectively the Italian, Dutch, Flemish-German, and French schools, and the collection of gems. The Italian, or more properly the Lombardo-Venetian Schools contains 115 paintings by Albano, D. Ambrogi. Baroccio, J. Bassano, G. Bonatti. Cagnacci, Canaletto, A. Caracci, G. da Carpi, G. Carpioni, B. Castiglione, M. Cerquozzi, C. Cignani, Correggio. Domenichino, B. and D. Dossi. C. Ferri, D. Feti, L. Fontana. Garofalo, L. Giordano, Giorgione, F. Granacci, J. Guercino. J. Ligozzi, B. Luini. A. Magnasco, A. Mantegna, L. Massari, L. Mazzolini, Fr. Minzocchi, Moretto da Brescia. Palma (both), G. P. Pannini, Parmigianino, P. Piola, C. Procaccino, S. Pulzone. G. Reni, P. Reschi, S. Rosa. E. Savonazzi, J. Scarsellino, B. Schidone, F. Solimena. A. Tiarini, Tinelli, Tintoretto, Tiziano, A. Turchi. G. Vanvitelli, P. Veronese, A. Vicentino. B. Zelotti. S. Zugo. Of those, the most noteworthy are Guido Reni, 998 Madonna; Parmigianino, 1006 Madonna, and 1010 Holy Family; Correggio, 1016 Child’s Head; A. Mantegna, 1025 Virgin, with Child in her lap; Caravaggio, 1031 Medusa.

Florence: Uffizi Gallery.—The Dutch, Flemish, and French Schools.

The Dutch School contains 135 paintings, of which the best are by Berkeyden, Borch, G. Dow, Galle, Hemskerch, Metsu, Mieris, Netscher, O. Paulyn, Poelemburg; Rembrandt, 922 an Interior, with Holy Family. R. Ruysch, Ruysdael, Schalken, Stingelandt, Van Aelst, Van der Heyden, Van der Werf, Van Kessel.

The Flemish and German Schools, in two rooms, consist of 157 paintings, of which the best are by Cranach 822, Catherine Bore, wife of Luther; 838 Luther; 845 John and Frederick, Electors of Saxony; 847 Luther and Melancthon. C. Gellé or Claude Lorraine, 848 Landscape, considered the gem of this department. G. Dow, 786 Schoolmaster. A. Durer, 766 His father; 777 St. James; 851 Madonna. Holbein, 765 Richard Southwell. 784 Zwinglius, and 799 Sir Thomas More. Quintin Matsys, 779 St. Jerome. Rubens, 812 Venus and Adonis, but his best pictures are in the Sala della Niobe. Susterman, 699 and 709 Portraits. Teniers, 742 a Chemist, and 826 a Landscape. Van Dyck, 783 a Madonna.

The French School is represented by 47 paintings, of which the most noteworthy are by Fabres, 679 the poet Alfieri, and 689 the Countess of Albany, wife of, firstly, Prince Charles, the young Pretender, and afterwards of Alfieri. Gagneraux, 690 A Lion-hunt. Mignard, 670 Madame do Grignan and her Mother, and 688, Madame de Sévigné. N. Poussin, 680 Theseus before his Mother. Rigaud, 684 Portrait of Bossuet.

Florence: Uffizi Gallery.—Room of Gems.

The Room of Gems has six upright glass cases, in which are exposed to view statuettes, vases, cups, caskets, and a variety of ornaments made of lapis lazuli, rock crystal, jasper, agate, aqua marina, turquoise, and gold. In the second glass case is the most valuable article, a casket of rock crystal, with twenty-four events from the life of Christ engraved upon it by Valerio Belli, by order of Clement VII., who presented it to Catherine of Medicis as a wedding present. The Room of Gems opens into the south or connecting corridor, painted in fresco by Ulivelli, Chiavistelli, and Tonelli. The most remarkable sculptures here are 129 reliefs on a sarcophagus, representing the Fall of Phaeton into the Eridanus (the river Po), with the Transformation of his Sisters into Poplar Trees; and the races in the Circus Maximus of Rome; 137 Round altar with reliefs representing the Sacrifice of Iphigenia; 145 Youth extracting a Thorn, a replica of the more famous statue in the Vatican; 145 Venus Anadyomene; 146 Nymph. (The key of the W.Cs. is kept in the little office in the corner of this corridor).

Florence: Uffizi Gallery—The Venetian School.

West Corridor and rooms. Rows of Roman statues stand on both sides, and the walls are covered with Italian paintings of a much later date than those in the eastern corridor. The first two rooms contain the Venetian School, represented by 82 paintings, and the next four contain portraits of artists, nearly all by themselves. The room behind the Venetian school contains a collection of 80,000 medals and coins. The 82 pictures which illustrate the Venetian School are by twenty-five great masters, T. Bassano, G. Bellini, P. Bordone, C. Caliari, D. Campagnole, Giorgione, L. Lotto, A. Maganza, Moretto, Morone, G. Muziano, Padovanino, Palma (both), Pini, Porta, Savoldo, A. Schiavone, Tinelli, Tintoretto, Tiziano, P. Veneziano, C. Veronese, P. Veronese, A. Vicentino. At the head of all stands the immortal Tiziano. His finest portraits are those of the Duchess (599) and of the Duke of Urbino (605), Francesco della Rovere I.; of “Flora,” called his Mistress (626); of Giovanni, father of Cosimo I. (614); and of Sansovino (596). Also by Tiziano, 633, Holy Family; 609 Battle between the Venetians and Austrians; 648 Catherine Cornaro, Queen of Cyprus; and 618 Sketch of Virgin and Child for his celebrated picture in Sta. Maria at Venice. P. Veronese, 589 Martyrdom of St. Justina; 596 Esther before Ahasuerus, and 636 The Crucifixion. Tintoretto, 617 The Marriage in Cana. Florence: Uffizi Gallery—
Portraits of Artists. In the next two rooms are Portraits of Artists of all nations, from the 15th cent. to the present time. In a niche is the statue (338) of Card. Leopoldo de’ Medici, and in the middle of the hall the celebrated Medici Vase (339), with the sacrifice of Iphigenia in relief, by a Greek sculptor. Cardinal Leopold, brother of the Grand Duke Ferdinand, founded this collection in the 17th cent., and left it with 200 portraits; now it has about 500. Among the most remarkable are—288 Raphael, by himself, in 1506, when 23; 225 Van Dyck; 228 Rubens; 232 Holbein; 292 Leonardo da Vinci; 384 Tiziano; 378 Tintoretto; 374, 384, and 459 Annibale Caracci; 368 Antonio Caracci; 403 Guido Reni; 546 Sir Joshua Reynolds; 465 Thomas Murray. The door adjoining the hall of portraits of painters opens into the long series of corridors and stairs leading to the Pitti Gallery. See page 243. Sala delle Iscrizione.—The walls are covered with Greek and Roman inscriptions, arranged in 12 divisions according to the subject. In this room are also some very interesting ancient sculptures. Among others (315) the Torso of a Faun. Cabinet of the Hermaphrodite.—The most important piece of sculpture here is 306 Hermaphrodite reclining on a lion’s skin, a valuable Greek work; 318 Bust of Alexander the Great in suffering. Cabinet of Cameos.—A very precious collection of ancient and modern cameos, statuettes, and enamels, including those presented by Sir William Currie in 1863.

Florence: Uffizi Gallery—The Hall of Niobe.

Sala del Baroccio.—Against the walls are beautiful tables in pietradura or Florentine mosaic, and one in the centre of the room by Jacopo Antella, in 1615, from designs of Ligozzi. This hall contains 172 pictures, chiefly by Italian artists. The great picture in size and merit is 169, by Baroccio, The Madonna del Popolo or “The Virgin interceding with her Son;” 163 is Susterman’s portrait of Galileo; 191, by Sassoferrato, a Madonna; 207, one of Carlo Dolce’s best works, “St. Galla Placida.” Sala della Niobe.—The hall of Niobe was built in 1774, by the Grand Duke Pietro Leopoldo, for the famous statues supposed to have been by Scopas or Praxiteles, and found near the Porta S. Paolo at Rome in 1583, representing Niobe and her children struck by thunderbolts from Apollo. They constitute one of the finest and most powerful groups in the world, but stationed as they are round the cold, flat, white wall of an oblong saloon, each on his separate pedestal, the illusion of design and composition is not only destroyed but individual criticism invited, a test all of them cannot bear. It is believed that originally they formed a group on the pediment of a temple. Niobe is rather large, nearly nine heads high, but the child she protects is without a fault in form. This group is of one piece of marble. All the others are in single figures. But the soul and source of all that is interesting in these statues is the wonderful figure of the wounded and dying youth, represented lying on his back, his legs just crossing each other, the left hand reclining on his breast, and his right arm slightly raised. As a statue, it commands the highest admiration, and as a chaste and powerful picture of death, the keenest sympathy. Behind the statue of Niobe is a very large picture by Rubens—Henri IV. at the battle of Ivry—a performance of wonderful spirit, but unfinished; and opposite it, 147 The entry of Henri IV. into Paris; 144 Van Dyck, a portrait; 152 Honthorst, Fortune-teller.

Florence: Uffizi Gallery—The Hall of Bronzes.

Sala dei Bronzi.—In two rooms; among these ancient bronzes the most remarkable are the bronze heads of Sophocles and Homer, and the Torso 428 found near Leghorn—a torso is the trunk of a statue that has lost the arms and legs; 426 The head of a horse; 424 The figure of a youth, 5 feet in height, called the Idolino, found at Pesaro in 1530. The pedestal is attributed to Ghiberti. A tablet containing a list of the Roman Decurions, dated A.D. 223. Galleria Feroni.—In this room are arranged the pictures bequeathed by the Marchese Leopoldo Feroni, of which the best are, an Angel with a Lily, by C. Dolce; A Butcher’s Shop, by Teniers the younger; and a Holy Family, by B. Schidone. Outside, in the corridor, is 131, Portrait of Pasquali Paoli, the Corsican patriot, by Richard Cosway; and 110 and 113, Landscapes, by Agostina Tassi, the master of Claude Lorraine.

Florence. The Way from the Uffizi to the Pitti Galleries.

The Connecting Galleries.

Between the Uffizi and Pitti Galleries is a series of passages and stairs finished in 1564, and opened on the occasion of the marriage of Francesco de’ Medici with Joanna of Austria, of whom the statue of “Abundance” in the Boboli gardens is supposed to be a likeness. The walls of the stairs and corridors on the Uffizi side of the Arno are covered with a rich and valuable collection of engravings, constituting a complete history of the art from the 15th cent. to the present time. The corridor on the Ponte Vecchio crossing the Arno is occupied with a glorious collection of drawings by the great masters. The first part of the corridor on the south side of the Arno contains numerous portraits of the Medicean family, and then follows (on the long passage behind the Via Guicciardini) a vast collection of tapestry, executed in the 16th and 17th cent. in Paris and Florence. The best are those representing the festivities at the marriages of Henry II. with Catherine de’ Medici, and of Henry IV. with Maria de’ Medici, executed in 1560 after designs by Orlay. From the tapestry gallery a short stair ascends to a room hung with pictures painted in chiaroscuro, or in one colour, by several of the old painters. From this another short stair leads to the long narrow gallery on the wall of the Boboli gardens. This gallery is hung with water-colour drawings, by Bartolommeo Ligozzi, in 1695, representing with wonderful truthfulness, figures of birds, fishes, and plants. To these illustrations of natural history succeeds a series of miniature paintings of scenes in the life of our Lord. Now we come to the common stone stair leading upwards to the Pitti Gallery, and downwards to the door fronting the Piazza Pitti, and next the gate leading into the Boboli gardens. At the top of the stair is a large vestibule, with a window looking into the gardens. The names of the Sale and Stanze (Halls and Rooms) are on the catalogues. Each room is provided with two of these catalogues, one in Italian and another in French. The halls are painted in fresco, and adorned with statuary and rich tables of Florentine mosaic.

Florence: Pitti Gallery. Halls of Saturn and Jupiter.

The Pitti Gallery.

The vestibule opens into the Sala dell’ Illiado, painted by Sabatelli in 1837, and having in the centre a statue of “Charity,” by Bartolini. Nos. 191 and 225 are Assumptions, by Andrea del Sarto, and 184 is his Portrait, painted by himself. No. 185, a Concert, is a remarkable picture, and one of the few existing by Giorgione. Tiziano is represented by some of his best portraits:—No. 200, Philip II. of Spain; 201, Cardinal Ippolito de’ Medici; 215, Portrait; and 228, the Head of Jesus. 208, the Madonna del Trono, by Fra. Bartolommeo. 219, P. Perugino, Adoration of the Child Jesus. 188, S. Rosa, his own Portrait; and 218, Warrior. 190, Sustermans, a Prince of Denmark. 224, Rod. Ghirlandaio, Portrait of a Lady. 230, Parmigianino, the Madonna col lungo Collo. 235, Rubens, Holy Family. 286, Bassano, House of Martha.

Sala di Saturno.—The frescoes on the ceiling are by Pietro da Cortona. The gems of this room may be considered:—151, Portrait of Pope Julius II.; and 165, the Madonna del Baldacchino, by Raphael. The others by Raphael are the Portraits of (158) Card. Bibbiena; and of (171) Inghirami and (174) the Vision of Ezekiel. 150, Charles I. of England and Henrietta Maria, by Van Dyck. 164, a Deposition, by Perugino.

Sala di Giove.—Ceiling painted by P. da Cortona. In the centre of the room statue of “Victory,” by Consani, and at the sides five Tables in Florentine mosaic. The most remarkable picture in this, the Saloon of Jupiter, is 113, the Three Parcæ, or Fates, by Michael Angelo. Then follow Nos. 118, Andrea del Sarto and Wife; and 124, an Annunciation, by A. del Sarto. No. 133 is a Battle-piece, by Salvator Rosa. In the lower corner, right hand, is his own Portrait, with the initials S. A. R. O. No. 140, an exquisitely finished Portrait of G. Benci, by Leonardo da Vinci. 139, Holy Family, by Rubens.

Florence: Pitti Gallery—Halls of Mars and Apollo.

Sala di Marte.—Frescoes and decorations by Cortona. Raphael, Rubens, Van Dyck, and A. del Sarto, have in this room some beautiful paintings. The gem is (79) the Madonna della Sedia (chair), by Raphael. 94 is a Holy Family, also by him—called the “Impannata” or cloth window. No. 81, Holy Family; and 87 and 88, Story of Joseph, by A. del Sarto. 82, Card. Bentivoglio, by Van Dyck. No. 86, Peace and War, by Rubens. 96, Judith, by C. Allori.

Sala di Prometeo.—The Mosaic Table in this room, by Giorgi, occupied him fourteen years. 338, Madonna, by Fra. Filippo Lippi.

Sala di Apollo.—Raphael has three portraits in this room:—59 and 61, M. and A. Doni; and 63, Leo X. Tiziano has some fine works:—No. 67, a Magdalene, shows his power in colour; and 54, Aretino, the poet, is one of his best portraits. 40, Madonna, by Murillo. 58, by A. del Sarto, Descent from the Cross, one of his best works. 64, the same subject admirably treated by Fra. Bartolommeo.

Sala di Venere (Venus).—Painted by Cortona. Nos. 4 and 15 are two most charming Sea-pieces, by Salvator Rosa. No. 18, La Bella Donna, by Tiziano. No. 27, Jesus appearing to Peter, by L. Cardi (Il Cigoli).

Galleria Poccetti.—Painted by Poccetti. Bust of Napoleon by Canova. Small corridor, or Corridor of the Columns, with two columns in oriental alabaster, and the walls hung with Florentine mosaics, and admirably executed miniatures in water-colours and oil, collected by Card. Leopold. No. 4, In glass cases are displayed valuable articles in ivory, amber, rock-crystal, and precious stones.

Stanza della Giustizia.—Painted by Fedi. The beautiful ebony cabinet was used by Card. Leopold. The most interesting picture in this room is 408, Portrait of Oliver Cromwell, painted from life by Sir Peter Lely, by request of Ferdinand II. of Tuscany.

Florence: Pitti Gallery—Rooms of Flora, Ullisse, Giove.

Stanza di Flora.—In the centre is the famous Venus by Canova, called also the Venus Italica from its having been intended to replace the Venus de’ Medici, when that still more famous statue was carried off to Paris, where it remained fifteen years. No. 415, Ferdinand II., by Sustermans. 416 and 421, Landscapes, by Poussin. 423, Adoration of the Shepherds, by Tiziano.

Stanza dei Putti.—Painted by Morini. No. 470 is a large picture by Sal. Rosa, called the Philosopher’s Forest—Diogenes throwing away his drinking-cup. No. 465, Landscape, by Ruysdael.

Stanza d’ Ullisse.—Painted by Martellini. No. 324 is a fine portrait by Rubens of the favourite of James I., George Villiers, Duke of Buckingham, assassinated by Felton in 1628. No. 289, Madonna, by Ligozzi. 297, Paul III., by Bordone. 306 and 312, Landscapes, by Sal. Rosa.

Stanza del Bagno.—This, the bath-room, is tastefully fitted up with a mosaic pavement. Four handsome columns in verd antique, and four marble statues, by Insom and Bongiovanni.

Stanza dell’ educazione di Giove.—Painted by Catani. 266, the Madonna del Granduca, by Raphael, is one of the finest pictures in the Pitti Gallery. 245 is attributed to Raphael. 243, Philip IV. of Spain by Velasquez. 248, a “Descent” by Tintoretto. 256, Holy Family by Fra. Bartolommeo.

Stanza della Stufa.—The frescoes on the walls, representing the Four Ages of Man, are by Cortona, from sketches by the nephew of Michael Angelo. The frescoes on the ceiling, representing the Virtues, are by Rosselli, in 1622. Among the treasures of this room are four antique statues in niches, a column of green porphyry, bearing a porcelain vase with a likeness of Napoleon I., and two justly celebrated bronze statues of Cain and Abel, modelled by Dupré of Siena, and cast by Papi in 1849.

Florence: Boboli Gardens.

The Boboli Gardens.

Now either return to the Uffizi by the very long galleries or descend to the foot of the stairs, and when outside, turn to the left and pass through the gate leading into the Boboli Gardens, open on Thursdays and feast-days. Permission to enter on other days is easily obtained at the office of the Minestero della Casa, under the south corner of the corridor. The gardens are laid out in a stiff style. Clumps of oleanders and oleasters among ilexes, laurels, pines, yews, and cypresses, encircled by tall myrtle hedges, make the grounds in many parts more like a labyrinth than a garden. Near the entrance is an artificial grotto, with, in front, a group by V. Rossi, and a Venus by G. Bologna; and in the four corners unfinished statues by Michael Angelo, intended for the monument of Julius II. at Rome, and presented to Cosmo I. by L. Buonarotti. Opposite the palace is the Amphitheatre; within the centre a granite obelisk and a large granite basin from Egypt, but brought to Florence from Rome. Beyond the palace, near the Porta Romana, is the Piazzale del Lago, with groups in marble by G. Bologna. In the flower-garden “del Cavaliere,” are two more fountains, with monkeys in bronze, by the same artist, and a small villa, from the top of which there is a fine view (entrance 25c.) On the highest part of the gardens, facing the palace, is a colossal statue of Dovizia (Abundance), commenced by Bologna, and finished by his pupil Dacca.

Florence: Pitti Palace.

THE PITTI PALACE was begun by Luca Pitti, a Florentine merchant, in 1436, from designs by Brunelleschi. In 1549 the still unfinished building was purchased by the Medici, who advanced it considerably, but not till quite recently was this vast pile finished. The façade is 659 feet in length, 148 feet in height, and the total surface occupied by the building 35,231 yards. Bart. Ammanati added the wings, and enclosed the beautiful court opposite the middle entrance with Doric, Ionic, and Corinthian columns, and placed at the extremity the pretty grotto covered in with Roman mosaic, supported on 16 columns, and ornamented with statues in marble and porphyry, and small trees and satyrs in bronze. To the right of the court is the Royal Chapel. Above the altar is an ivory crucifix by G. Bologna. At the end of the portico, to the left, a door opens into the court, in which is the entrance into the room containing the splendid Collection of Plate by Benvenuto Cellini and Maso Finiguerra, and ivories by Bologna and Donatello. Zumbo, the famous artist in wax, has likewise some of his works here. The state apartments are sumptuously furnished.

Florence: Tribuna Galileo—Museum of Natural History.

Nearly opposite the Pitti palace, at No. 16 Via Guicciardini, is the house in which Machiavelli lived and died in 1527. A little farther up the Via Romana, in the house No. 19, is the

Museo di Storia Naturale,

in the second floor, and the Museo Galileo in the first floor. Both open on Thursdays and Saturdays, from 10 to nearly 3. In the vestibule is an old terrestrial globe, black with age, 3 feet in diameter, probably by Ignazio Dante, a famous astronomer, brought to Florence by Cosmo I. He died in 1586. Upstairs is the Museo, or Tribuna di Galileo. Explanatory catalogues in Italian and French are on the table. The statue of him is by A. Costoli. In the niche to the right are his telescopes, of which the lower one was constructed by himself, and by which he discovered the satellites of Jupiter. In the niche on the left are his compasses and magnet. The other philosophical instruments belonged to the Accademia del Cimento, instituted in 1657 and dissolved in 1667. It held its meetings in the palace of Prince Leopold de’ Medici. All around are beautiful frescoes, illustrating scenes in the life of Galileo. Among the relics is the forefinger of Galileo, taken from the body when it was removed to its present resting-place in the church of Santa Croce. In the second storey is the excellent and comprehensive Museum of Natural History. The collections are admirably arranged, and in good condition. The botanical department contains the herbariums of Andrea Cesalpino, which he is supposed to have collected about the year 1563; of P. A. Micheli, collected about the year 1725; of Central Italy, by Parlatore, commenced in 1842; of Labillardière, who accompanied La Perouse in his expedition to New Holland; of R. Desfontaines, the master of De Candolle; and of the Englishman, P. B. Webb, who bequeathed his herbarium to this museum. Florence: Anatomical
Preparations in Wax. But the most wonderful objects in the museum are the anatomical preparations in wax, chiefly by Clemente Sasini and his assistants, under the direction of Tommaso Bonicoli, 1775 to 1791. Like the great works of the great painters, they are executed with the most minute care and truthfulness to nature, whether it be the magnified anatomy of the cuttle-fish or of the silkworm, or the life-like representation of the most delicate organs of the human body. They are contained in twelve rooms, entered from the shell department, by the door lettered “Ittiologia,” opening into the Zootomia.

Florence: House of Galileo.

The House of Galileo,

at the head of the Via Romana, is the Porta Romana, the city gate by which, in 1536, Charles V. and Pope Leo X. entered Florence. An omnibus runs between it and the Piazza del Duomo. At the outer side there is a cab stand, which is likewise the starting-place of the omnibus for the Certosa (see page 250). Immediately outside the Porta commence three broad roads—the lowest is called the Via Senese and leads to the Certosa; the centre one, bordered with tall cypresses, is the Via del Poggio Imperiale; while to the left is the Viale Machiaveli, the first of a series of magnificent boulevards (viali) leading to that noble terrace the Piazza Michelangiolo. Let us first ascend the Via del Poggio to the Royal Villa, formerly the property of the Medicis, now the Instituto della Annunziata, a boarding-school for girls. From it ascend by the Via del Pian di Giullari, and when at the top of it take the road to the right leading directly to the village of Arcetri, containing the house in which Galileo spent the last years of his life, and in which when blind, and 74 years of age, he was visited by Milton. Galileo was born in 1564, at Pisa, and died in 1642. The house, a plain building, is indicated by a bust and tablet on the wall towards the street. The steep little road to the left leads up to the farmhouse in which is the Tower (Torre del Gallo) from which Galileo made his astronomical observations. It contains several relics of the great astronomer—a telescope, table, and chairs, a bust of him taken after death (il piu antico che si conosca), a pen-and-ink sketch of him on marble by Salvatelli, a smaller portrait of him by P. Leoni, 1624. From the farmhouse a steep narrow road leads down to the Boulevards between the Piazza Michelangiolo and the Porta Romana.

Florence: Piazzale Michelangiolo. San Miniato.

The Piazzale Michelangiolo.

There is no place about Florence which affords such an agreeable walk or drive as to the Piazzale Michelangiolo and the church of S. Miniato. They are situated on a hill on the left bank of the Arno, two bridges higher up the river than the Uffizi, and are distinctly seen from the Lung’ Arno. The nearest way to approach them on foot is, having crossed the Ponte alle Grazie (the first bridge above the Ponte Vecchio), walk up the left bank of the Arno, passing the Piazza containing the fine marble monument to Prince Nicholas Demidoff, by L. Bartolini, in 1835, and continue the walk up the river till arrival at a square tower in the Piazza della Molina, whence commence the ascent by the stairs and road the Viale dei Colli. Or approach it from the Porta Romana by the fine avenues the Viali Machiavelli and Galileo, bordered by trees and handsome villas, disclosing as they wind round the steep sides of the hills a succession of ever-varying views. The Piazzale Michelangiolo is a splendid terrace, 165 feet above the Arno, commanding a grand prospect, and adorned with five statues in bronze, copies by C. Papi of Michael Angelo’s famous works. To the right is the Viale Michelangiolo, the carriage road leading down to the Barriera San Niccolo, opposite the suspension-bridge (Ponte Sospenso). Above the Piazzale, by the convent church of San Salvatore del Monte (built in 1504 by Cronaca), is the Basilica of San Miniato, one of the earliest (1013) as well as one of the most perfect structures in the Byzantine style. Internally it is 165 feet long by 70 wide, and is divided longitudinally into aisles by pillars of classical design. The façade is faulty. The tower was erected in 1519. The floor of the nave is considerably under the level of the chancel, which terminates in a semi-dome, covered with mosaics executed in 1247, and of the same kind as those of St. Mark’s at Venice. Behind the altar are five small windows of thin slabs of Pavonazzo marble. Between the stairs leading up to the chancel is the chapel constructed in 1448 by Michelozzi. Here lie the remains of Gualberto, the founder of the church and of the order of Vallombrosa. In the centre of the north aisle is the chapel of Cardinal Ximenes (died 1459). The monument is by B. Rossellino, and the beautiful terra-cottas on the ceiling by Luca della Robbia. On the south side is the Sacristy (built in 1387), exquisitely painted in fresco by Spinello Aretino, representing scenes in the life of St. Benedict. In the centre of the nave is a curious piece of Byzantine pavement, executed in 1207. Below the chancel is the crypt, supported on 38 marble columns, several being prolongations of those above. Under the altar is the tomb of San Miniato. From the terraces of the adjoining cemetery there are splendid views of Florence and of the valley of the Arno.

Florence: The Certosa.

The Certosa.

From outside the Porta Romano a small diligence starts every hour, at the hour, passing by the Carthusian Monastery of the Certosa, 3¼ miles distant; fare, ½ fr. Passengers alight at the great wall enclosing the grounds at the commencement of the small by-road to the right, leading up to the top of the circular hill on which the convent is picturesquely situated. It was erected by Niccolo Acciaiola in the 14th cent., and is now the property of the State, who retain in it some twenty-three friars of the order to take charge of the church, chapels, and buildings. At the entrance-gate is the pharmacy, where the liqueurs made in the convent can be bought and tasted. Their Chartreuse cordial is not equal to that made in France, but the Alkermis is of good quality. Fee to see the convent, ½ fr. At the top of the stair leading up to the church is a fresco by Empoli. The church, paved with marble in the cinque-cento style, has some good stalls (1590), and over the marble altar a fresco by Poccetti. Right hand, chapel with frescoes by Masari on the walls, and on roof by Poccetti and his school. From S. aisle pass to chapel of S. Maria, in the shape of a Greek cross. Here is a curious Trinity of the Giotti school. Descend to the Cappella di Tobia, with the mausoleum of the founder, by Orcagna (1360), and three monumental slabs over the tombs of his father, sister, and son. Next, a narrow cloister with eight small windows, with vignette paintings by Udine, 1560; Cappella del Capitolo, having for the reredos a Crucifixion by Albertinelli, and in the centre of floor the mausoleum of Buonafede by Stogallo, 1545; then the Camere di Pio Sesto, his sitting-room, and bedroom. He was a prisoner here nine months. Beautiful views are obtained from various parts. In passing through the villages women may be seen plaiting straw—a standard occupation in Tuscany.

Florence: Bello Sguardo. Monte Oliveto.

Views.—From the Porta Romana commences also the road to the Bello Sguardo and to Monte Oliveto (about a mile distant), both commanding splendid views of the city, of the valley of the Arno, and of the surrounding mountains. Immediately outside the Porta turn to the right, and walk by the side of the city wall by the Via Petrarcha till the second road on the left, the Via de Casone, by which continue to ascend till a road is reached on the left lettered, Via di Bello Sguardo. By it ascend to the next on the left, the Via dell’ Ombrellino, where at the house No. 1 ring the bell. The view is from the pavilion of this house; fee, ½ fr. To go from this to Monte Oliveto descend to the Via di Bello Sguardo, and from a house with a high railing turn to the right by the “Via di Monte Oliveto Per S. Vito,” and descend to a large gateway and house on the left hand. At this house ask for the key of the Monte Oliveto, then walk forward past the old convent, now a military hospital, to the top of the knoll crowned with cypresses, and behold the view. Now descend by the Via di Monte Oliveto, which, at the foot of the hill, enters the Via Pisana opposite house No. 82, near the Porta S. Frediano, whence an omnibus runs to the Piazza della Signoria. If preferred, the tour may be commenced at this end, taking the omnibus from the Piazza to the Porta.

Florence: Santo Spirito.

Santo Spirito and Santa Maria del Carmine.—By referring to the plan it will be observed that a very short way north from the Pitti Palace are two churches, the Santa Maria del Carmine, containing the famous frescoes of Masaccio (b. 1402, d. 1429), and of Filippino Lippi (b. 1457, d. 1504), and the church of Santo Spirito, in which Luther preached as an Augustinian friar when on his way to Rome. The present church of the S. Spirito was commenced in 1446 by F. Brunelleschi, destroyed by fire in 1470, and rebuilt in 1488 according to Brunelleschi’s design. The belfry, which is of admirable proportions, was erected by B. d’Agnolo. The church is 315 ft. long, and 191 at the transept, and is placed from south to north. The arches of the aisles rest on 47 pilasters and 35 columns, each of one piece of pietra-serena, brought from the quarries of Fiesole. Around the church are 38 semicircular chapels, ornamented with pictures by Alessandro Allori, Fra. Bartolommeo, Sandro Botticelli, Franciabigio, Raff. del Garbio, Rodolfo Ghirlandaio, Giotto, Filippino Lippi, Ant. Pollaiolo, and Cosimo Rosselli. Among the best of these are, in the choir, 12th chapel from entrance to church, a Madonna by Lippi. In left transept, 19th and 20th chapels, Martyrs, and The Adulteress, by Allori. 22d chapel, an Annunciation, by Botticelli. Among the sculptures the most remarkable work is in the 2d chapel, right hand on entering, a Pieta, by Baccio Bigio, a copy of the group by Michael Angelo in St. Peter’s, Rome. The proportions of the dead body of our Lord are admirable, and the ribs, loins, and pectoral muscles skilfully marked. Before the choir is a screen erected in 1599, composed of bronze and rich marbles, and although rather out of place, full of beautiful details. The high altar, under a ciborium or canopy supported on four columns of rare porphyry, is decorated with statuettes and candelabra by Giovanni Caccini. A door in the west aisle opens into the sacristy, the joint work of San Gallo and Pollaiolo, by whom it was finished in 1490. In the sacristy a door to the right opens into the cloisters, by A. Parigi, adorned with frescoes by Perugino, Ulivelli, and Cascetti.

Florence: Santa Maria del Carmine. Brancacci Chapel.

The church Del Carmine was erected in 1475, destroyed by fire in 1771, and rebuilt in 1788 by Ruggieri and Mannaconi. Among the parts which escaped destruction in 1771 was the Brancacci chapel, at the end of the western or right transept, covered with valuable frescoes, in 12 compartments, by Masaccio, Lippi, and Masolino da Panicale. The four principal subjects are (left wall) “Christ directing St. Peter to take a coin from a fish’s mouth to pay the tribute,” by Masaccio, whose portrait is given in the last apostle to the right; “the Restoration to Life of the Emperor’s Nephew,” painted by Filippino Lippi and Masaccio. On the right wall are— “St. Peter raising Tabitha,” by Masolino; “the Crucifixion of St. Peter;” and “St. Paul before the Proconsul,” by Filippino Lippi. These frescoes are said to have been studied by Perugino, Raffaelo, Leonardo da Vinci, and Michael Angelo. Of the eight small subjects, “The Expulsion of Adam and Eve,” and “St. Peter and St. John Healing the Sick by means of their Shadows,” on the left wall; “St. Peter Baptising,” and “St. Peter Distributing Alms,” on the right wall, are all by Masaccio. “The Visit of St. Paul to St. Peter in Prison,” on the left wall, and “the Deliverance of St. Peter from Prison,” on the right wall, are by Lippi. “Adam and Eve under the Tree of Knowledge,” and “St. Peter Healing the Cripple,” are ascribed by some to Masolino, by others to Masaccio. In the opposite arm of the transept is the Corsini chapel, with large marble alti-relievi by Foggini, and frescoes on the ceiling by Luca Giordano. In a chapel in the sacristy are some frescoes discovered in 1858, attributed to Spinello Aretino, but also, and with more probability, to Agnolo Gaddi, representing scenes in the life of St. Cecilia. The old church contained frescoes by Giotto, some fragments of which, removed the year before the fire, are now in the Royal Institution, Liverpool.

The Duomo, 252. The Campanile, 255. The Baptistery, 256. Il Bigallo, 257. San Michele, 257. Santa Croce, 258. The National Museum, 261. La Badia, 263. The House of Michael Angelo, 263.

Florence: Cathedral—Dome—Ascent.

The Duomo, or Cathedral Church of Santa Maria del Fiore was commenced by Arnolfo di Cambio, and the foundation-stone laid on the 8th of September 1298, under the auspices of the first papal legate ever sent to Florence, Cardinal Pietro Valeriani. Arnolfo died in 1310. In 1330 Giotto was appointed master-builder, who, assisted by Andrea Pisano, continued the work according to Arnolfo’s design. Giotto died in 1337. To Giotto succeeded Francisco Talenti, Taddeo Gaddi, and Andrea Orcagna. In 1421 Filippo Brunelleschi commenced the dome, and completed it in all its essential parts before his death, which took place in 1446. In 1469 Andrea Verrochio added to the dome the copper ball and cross. The dome, built without timber centrings, consists of two vast vaults, an interior and an exterior, both supported by strong ribs at the right angles, and surrounded at the base by a strong iron chain. From the floor to the top of the dome the height is 300 feet, the lantern 52 more, and to the top of the cross other 35. The total height therefore is, from the floor to the top of the cross, 387 feet. The circumference of the dome is 466 feet. Three galleries are carried round the drum. The first is reached by 153 steps; the next by 62 steps more; and the third, which runs round the top of the drum and the base of the dome, by other 65 steps. The appearance of the church from the first and third galleries is most striking. Outside the third gallery commences the cornice gallery of the dome. From this part 180 steps (between the two vaults) lead to the top of the cupola. From the top of the cupola to the ball the ascent is made up through the lantern by 32 vertical bronze steps, and 13 steps in marble, and 23 in wood. The number of steps, therefore, from the floor into the ball is 528; the only difficult part being the vertical bronze bear-like ladder in the lantern, which is not worth ascending, as little can be seen (and that little with difficulty) from an aperture in the ball. But the view from the gallery at the top of the dome is truly magnificent. Florence and neighbourhood lie stretched out below like on a map, and as the clearness of the Italian air admits of the smallest objects being seen distinctly, the traveller should visit this gallery as early as possible, to gain, by the assistance of the plan (page 234), a practical acquaintance with the topography of the city. To the N.E., by the Piazza Cavour and the stream Mugnone, is Fiesole, 3 miles distant, on an eminence (see page 276). To the west of the town, on the Arno, is the Cascine or Park, and the small hill with the clump of trees, on the other side of the river, is the Monte Oliveto (page 250). To the S.E., on the other side of the Arno, are the Piazzale Michelangiolo and San Miniato (page 249), while a good piece beyond is the Torre del Gallo (page 248). West from the Piazzale are the Boboli Gardens and the Pitti Palace. Fee to ascend tower, 1 fr. Attendant to be found in south sacristy.

The length of the cathedral is 556 feet, and of the transept 342 feet. The breadth, including the aisles, is 132½ feet, and the superficial area 84,802 feet, or about 6000 feet less than the area occupied by Cologne cathedral. In 1860 Victor Emmanuel laid the foundation-stone of the gorgeous new façade, coated, like the whole exterior of the church, with polished white marble, and dark magnesian serpentine disposed in chastely ornamented panelling, an arrangement often met with in the churches of Italy.

In the interior, four arches of enormous span run down each side of the nave to the choir, which expands with unrivalled majesty under the magnificent dome. Walk in and behold its beautiful proportions. Do not struggle to perceive by means of the dim light the few relatively unimportant statues and pictures, or the intricate designs on the marble pavement by Agnolo, San Gallo, and Michael Angelo, but go at once and stand below the second greatest dome in the world, shaped like the narrow end of an egg, or more correctly, in the form of an elongated octagonal elipsoid, resting on six massive piers ornamented with statues of eight of the apostles, by Bandini, Donatello, Bandinelli, and Sansovini. The octagonal balustrade is by Baccio d’Agnolo, and the reliefs on the panels by Bandinelli. The fresco on the roof represents the Judgment Day. The upper portion is by G. Vasari, in 1572, and the rest by Federigo Zucchero, known in England by his portraits of Queen Elizabeth. The drum of the dome is lighted by seven circular windows, which, as well as the three over the main entrance, and the twenty-seven long windows in the choir, were the work of Domenico Livi da Gambassi, Bernardo de’ Vetri, and others, from 1434 to 1460. Behind the altar is the last work of Michael Angelo (when eighty-one years of age), an unfinished Pieta, a heroic group, large but not colossal, composed of four figures, those of our Saviour, the Virgin Mary, Joseph, and an Angel. The interest of the piece lies in the melancholy but placid countenance of the Redeemer, and the inclination of the head lacerated by the crown of thorns. Florence: Michael Angelo’s last Work. The Mask, Michael Angelo’s first work, is in the sixth room of the National Museum, along with some other works of the great sculptor. His greatest productions are in the Sagrestia Nuova, see page 266. The reliefs in terra-cotta, over the elegant bronze gates of the sacristies, are considered amongst the best works of Lucca della Robbia. On the pier at the N.E. end of the nave is the statue of St. James, by Sansovino; and just behind it, on the wall, is a painting by Domenico di Michelino, in 1465, representing Dante (holding in his hands a copy of his poems), with a view of Florence in the background, the only monument the Republic raised to him they had so unjustly banished. In the north transept, covered by the wooden floor, just under the iron bar, is the gnomen and meridian line, formed by P. Toscanelli in 1408, and repaired by A. Ximines in 1756. The line drawn on the true pavement, under the present boarded floor, runs in a direction nearly at right angles to the nave (the nave being nearly east and west). It is only about 30 feet long, and receives the image of the sun, at and near the solstice, in June and July; at other seasons the image is lost on the sides of the cupola. The short diameter of the image in July is about 36 inches. The height of the aperture, through which the ray enters by a window of the cupolina, is 277 feet 4 inches, 9.68 lines French measure; so that, as the inscription states, it is the greatest gnomen existing.

Florence: Cathedral—Monuments—Campanile.

Among the most interesting monuments in the church are: at the main entrance, an equestrian portrait, by Uccello, of Sir John Hawkwood, a captain in the army of the Florentine Republic, who died at Florence in 1394. The mosaic, representing the coronation of the Virgin, is by Gaddo Gaddi. At the west end of the south aisle is the marble monument and portrait of Filippo Brunelleschi, by his pupil, And. Cavalcanti. The third monument from the door is to Giotto, by Majano. The beautiful water-stoup in front is by Giotto. Opposite the southern entrance, in front of the Casa dei Canonici, are the statues, in a sitting posture, of Arnolfo di Cambio and Brunelleschi, by Luigi Pampaloni, in 1830. To the right of Arnolfo’s statue, at house No. 29, is a stone in the wall, bearing the words “Sasso di Dante,” because on it the poet used to sit watching the progress of the cathedral from its commencement till 1301, when he was compelled to leave the city.

At the southern entrance is the Campanile del Duomo, designed and commenced by Giotto in 1334, and finished by Taddeo Gaddi. This dove-coloured marble gem of architecture, of admirable proportions and beautiful workmanship, towers 276 feet up into the air, by four storeys of elegant windows, and terminates in a grand square cornice projecting from the summit, from which, according to Giotto’s plan, a spire of 94½ feet was to have risen. The niches are peopled with statues of apostles, saints, and philosophers, and the panels with Scripture subjects in bold relief, by Donatello, Giovanni Bartolo, Andrea Pisano, Niccolo Aretino, Lucca della Robbia, Giottino and N. di Bartolo. Ascent by 414 steps. Fee, ½ franc each visitor.

Florence: The Baptistery—Gates.

Adjoining the cathedral is the church of San Giovanni, the baptistery of the city, founded in 6th cent., and repaired and restored in 1293 by Arnolfo di Cambio. It is an octagonal building, 94 ft. in diameter, covered by a cupola and lantern built in 1550. Three celebrated bronze gates, of admirable workmanship, give access to it. The gate on the S. side (fronting the Via Calzaioli) was modelled by And. Pisano, and, after twenty-two years of incessant labour, cast and gilt in 1330. The architrave, ornamented with foliage, was added by Lor. Ghiberti in 1446, and the group at the top, representing the Beheading of John, by V. Danti, in 1571—a work full of expression. The N. gate is by Lorenzo Ghiberti, commenced by him when twenty-one, and finished (modelled and cast) when forty-one, in the year 1424. It is in twenty compartments, representing scenes from the life of Christ. The three statues above, and the ornaments, are by Rustici, 1511, a fellow-pupil of Michael Angelo, and friend of L. da Vinci. At the eastern end, facing the cathedral, is the bronze gate which Michael Angelo said was worthy to form the entrance into Paradise. This marvel of art was commenced by Lorenzo Ghiberti in 1425, cast in 1439, and finished, with the exception of the lower reliefs, in 1456, when Ghiberti died, and left the remainder to be completed by his pupils, among whom were the brothers Pollaioli. It is in ten compartments, representing as many scenes from the Old Testament. In grouping, drawing, grace, and beauty, the figures are truly admirable. The perspective is well sustained; the distant objects being done in low, the nearer objects in middle, and those close upon the eye in high relief. Over the gate is the Baptism of Christ, by Sansovino, who, when he died, in 1529, had finished only the modelling; but Danti, in 1560, produced it in marble. The Angels, executed nearly a century afterwards, are by Spinazzi, also from Sansovino’s model.

Florence: The Baptistery—Altar.

The interior of the Baptistery rests on syenite columns and marble pilasters with gilded capitals. Above them is a triforium, with frescoes of saints on a gold ground painted on the panels. The roof and the soffit of the arch over the altar are covered with mosaics representing the Judgment Day, by Tafi, Torrita, and G. Gaddie, 13th cent. To the right of the altar is the monumental tomb of Pope John XXIII. (d. 1419), by Donatello and Michelozzi. To the left is the font, placed here in 1658, and attributed to G. Pisano. The silver altar of the Baptistery is kept in the “Uffizio del Comitate per la facciata del Duomo” (behind the east end of the cathedral), where it can be seen any day from 9 to 12, for 10 sous. It was constructed, during a long series of years from 1316, by the most eminent artists of the time, and represents in bold relief the story of John the Baptist. It weighs 335 lbs., is 12 ft. long by nearly 4 ft. high. The silver statue of St. John, made in 1452, weighs 14½ lbs., and cross 140 lbs.

Florence: The Bigallo. Or San Michele.

Opposite the Baptistery, at the corner of the Via Calzaioli, is the very beautiful little arcade or loggia of the Bigallo, attributed to Orcagna, enclosed with iron gates by F. Petrucci. The oratory contains an image of the Virgin by A. Arnoldo, 1359; and a predella, with paintings, by Ghirlandaio.

Or San Michele.

Nearly in the centre of the Via Calzaioli, between the Piazzas del Duomo and della Signoria, is the Or San Michele, built at first of undressed stone, by Arnolfo di Cambio in 1282, for a granary or horreum. Having been destroyed by fire in 1304, it was rebuilt in 1337 under the direction of Taddeo Gaddi, the chief architect of the commonwealth. To Gaddi succeeded And. Orcagna, who received orders to transform the lower part (the loggia) into a church. In 1569 the upper storey was converted into government offices. Round the building, in deep niches, are statues in simple attitudes and of noble dignified forms, the result of a decree that each trade should bear the expense of furnishing one statue, which should be the protector and supporter of its own profession. St. Luke, by John of Bologna (good specimen of his style), was executed at the expense of the lawyers. Our Lord and St. Thomas, by Verrochio, for the mercantile tribunal. John the Baptist, by L. Ghiberti, for the guild of foreign wool-merchants. St. Peter, by Donatello, for the butchers. John the Evangelist, by Montelupo, under a graceful canopy of Robbia-ware, for the silk manufacturers. St. George, by Donatello, his noblest work, for the armourers. St. James, by N. Banco, for the tanners and furriers. St. Mark, by Donatello, for the flax-dealers. West front, St. Eloy, by Banco, for the blacksmiths and farriers. St. Stephen, by L. Ghiberti, for the wool-merchants. St. Matthew, by L. Ghiberti and Michelozzo, for the stockbrokers and money-changers. Statues of four canonised sculptors, by Banco, for the builders and carpenters. St. Philip, by Banco, for the hosiers. And inside the church, to the left of the altar of St. Anne, a Madonna, by Simone da Fiesola, for the physicians and apothecaries. These statues are considered the finest works of the ancient Florentine school. Over the niches are the arms of the respective trades, under graceful canopies.

In the interior the most remarkable object is the canopied high altar, by Orcagna, otherwise called Cionis, with Ugolino’s sacred picture of the Madonna. Inscribed on the altar is “Andreas Cionis pictor Florentinus hujus oratorii archimagister extitit, 1359.” It is ornamented with Scripture histories in relief on marble, the different pieces being fixed together by pins of bronze run in with lead. The small but beautiful stained glass windows do not admit sufficient light into the church. Behind San Michele, in the Mercato Nuovo, is an admirable copy, by Pietro Tacca, of the celebrated Boar, adapted no less admirably to a Fountain.

Florence: Santa Croce.

Santa Croce.

South-east from the fountain, in the Piazza della Signoria, by the narrow street the Borgo dei Greci, is the Piazza Santa Croce, with, in the centre, the fine marble statue of Dante, 16½ feet high, by Enrico Pazzi. It and the new façade of the church were inaugurated in 1865, on the 600th anniversary of the birthday of the poet. The church of Santa Croce was commenced by Arnolfo di Cambio in 1297, to whom succeeded Giotto in 1344. The façade, although only recently finished, is according to the old design of S. Pollaiolo (d. 1509), and owes its erection in a very great measure to the liberality of an English gentleman, the late Francis Sloane, who died at Florence in 1871. The interior is divided into a nave and two aisles by seven acute Gothic arches. The pilasters, supporting columns as well as the roof, are of rude work, while the side chapels are not inclosed, but spread out on the walls of the aisles, an arrangement which greatly favours the display of the magnificent monuments erected in this church. The entire length from west to east is 385 feet, and from north to south at the transepts 128 feet.

Florence: Santa Croce—Michael Angelo—Dante—Macchiavelli.

Over the principal entrance, in the interior, is the statue of St. Louis, Bishop of Toulouse (d. 1297), the last work executed by Donatello. In the right or south aisle, commencing from the main entrance, after 1st altar, lies the monument and resting-place of Michael Angelo, who died at Rome in 1563, in his 89th year. The monument was designed by G. Vasari, and executed by three pupils of Michael Angelo. The bust, considered an excellent likeness, is by B. Lorenzione, one of the three. Next follows the great marble monument by S. Ricci, in 1828, to the memory of Dante, who died when in exile at Ravenna in 1321, in the 56th year of his age; and 3d, a monument to the poet Vit. Alfieri (d. 1803), by Canova, in 1809, and one of his best works. Opposite this monument is an elaborately wrought pulpit, by B. da Majano, in 1470. 4th. Monument and resting-place of Macchiavelli (d. 1527), by Spinazzi, in 1778. The originator of this monument was Lord Cowper, who, in 1707, raised a subscription for the medallion. Then follow a fresco of St. John and St. Francis, by A. Castagno, and an Annunciation in stone by Donatello; Florence: Santa Croce—Ketterick—
Countess of Albany. and opposite it, on the floor, is the tombstone of John Ketterick, Bishop of Exeter, who died at Florence in 1419, when on a mission from Henry V. of England to the Pope. Then follow the monument to L. Bruni (d. 1444), by B. Rossellini. The Virgin, above, is by A. Verrochio, the master of Leonardo da Vinci. The tomb of P. A. Micheli, and the mausoleum of Leop. Nobili, by Leop. Veneziani. Turning to the right by the monument to Neri Corsini (died in London, 1859), and a slab on the ground, with an inscription by Boccaccio, in honour of the poet Berberino (14th cent.), we enter the Chapel of the Castellani, with frescoes by Starnini (the ablest pupil of Giotto), and reredos by Vasari. Over the altar is a crucifix, by Giotto; at each side sarcophagi of the Castellani; and statues of St. Bernard and St. Francis, by L. della Robbia. To the left is the monument to the Countess of Albany, widow of the young Pretender, died at Florence January 29, 1824; age, 72 years, 4 months, and 9 days. After the chapel of the Countess of Albany follows the Baroncelli or Guigni chapel, with reredos painting by Giotto, frescoes by T. Gaddi, and a Pietà by Bandinelli.

A handsome door by the side of the Baroncelli chapel opens into the cloisters. In the cloister, the first door left hand opens into the sacristy, built by the Peruzzi family in the 14th cent. Separated from the sacristy by an iron railing is the Rinuccini chapel, with frescoes and altars by Giovanni da Milano (1379), a favourite pupil of T. Gaddi. The reredos painting is by T. Gaddi, 1375. At the extremity of the cloister is the Cappella del Noviziato. At the entrance is a shrine by Mino da Fiesole, and opposite it, and also over the altar, admirable specimens of L. Robbia’s terra-cotta work. The large relief is considered one of Robbia’s masterpieces. The small door to the right of the altar leads to the room where the remains of Galileo were kept many years after his death (in 1642). There are also two mausoleums—one to a young American girl, Fauveau; and another attributed to Donatello, both executed with much expression.

Florence: Santa Croce—Giotto’s Frescoes.

Returning to the church, we have, in the first chapel (right) frescoes of the Giotto school, and an Assumption by Allori. Second chapel, frescoes by Gio. da Giovanni. In the third, the Bonaparte chapel, is, to the left, the monument by Pampaloni, 1839, to the memory of the wife of Joseph Bonaparte; and, to the left, another to the memory of their daughter, Julie Clary Bonaparte (d. 1845). The fourth, or the first to the right of the high altar, is the Peruzzi chapel, with reredos by A. del Sarto. On the walls Giotto’s best frescoes, representing the stories of St. John the Apostle and of John the Baptist. Fifth, the Bardi chapel. The painting on the altar, representing S. Francesco, is by Cimabue. The frescoes are by Giotto, and represent the life and death of San Francesco.

Chapels of the Choir.—Over the high altar, painting by Andrea Orcagna. The walls and ceiling are covered with frescoes by Agnolo Gaddi, representing the legend of the finding of the cross, and the life of St. Francis. The five following chapels are not of much importance, excepting the third, in the north transept, painted in fresco by Luigi Sabatelli. The sixth is the Niccolini chapel, with frescoes on the roof, painted in the 17th cent. by Baldassarre Franceschini, surnamed il Volterrano. This chapel contains five mediocre statues by Francavilla, and two large paintings on wood by Alessandro Allori, and is also richly decorated with beautiful marbles. In the adjoining chapel, belonging to the Bardi family, is a crucifix by Donatello, one of his earliest and best works, yet not equal to that of his rival Brunelleschi in S. Maria Novella (page 267). After the Bardi chapel follow the Zamoyska mausoleum, with a painted reredos by Ligozzi, and the monument to the composer Luigi Cherubini (d. 1842), by Fantacchiotti. Florence: Santa Croce—Galileo—
Bartolini’s Last Work. Having arrived at the fine monument to Luigi, at the east corner of the north aisle, to avoid confusion it is better to return to the main entrance, and walk up the north aisle, commencing with the monument and resting-place of

Galileo Galilei,

who died in the village of Arcetri (p. 248), in 1642. Over the cenotaph is his bust, and a representation of his first telescope. Then follows the monument to Pompeio Josephi, a jurist; 3d, to G. Lani (1770), by Spinazzi,—on the column before this monument is a Pietà by A. Bronzino; 4th, to Angelus Tavantus, sarcophagus below flat pyramid; 5th, to Vitt. Fossombroni, by L. Bartolini, 1846; 6th, to Karolus Marzupinus, the learned secretary of the Florentine Republic, by D. Settignano, 1450; 7th, to Antoni Cocchio, 1773; and 8th, to Raffællo Morghen, the illustrious Neapolitan engraver, a beautiful monument, by Fantacchiotti. Fronting it, on the column, is the monument to L. B. Alberti, the last work of Bartolini.

To the south of the façade a large doorway gives access to the cloisters, around a spacious open court. At the far end, within this enclosure, is the chapel of the Pazzi, one of Brunelleschi’s best works. To the right of the entrance into the cloisters is a building containing the refectory, with a Last Supper, by Giotto, and above it a Crucifixion and Tree of Jesse. In the smaller refectory, adorned with a fine fresco of Gio. di Giovanni, the Inquisition held its tribunals from 1284-1782. The doorkeeper at the gates has the keys of the Pazzi chapel and of the refectory. In the centre of the enclosure is a statue by Bandinelli which originally stood on the high altar of the Duomo.

Florence: National Museum.

The National Museum or Bargello.

At the southern end of the Via del Proconsolo, and between the Piazzas Sta. Croce and Signoria, is the National Museum, in the Palazzo del Podestà, built in the 13th cent. by Lapo Tedesco and two Dominican friars, Fra. Sisto and Fra. Ristoro. It bore various names, according to the functions of the different dignities who occupied it. When, in the 17th cent., it was converted into a prison and became the seat of the head of the police, it was called the Bargello. In 1864 it was chosen for the National Museum. Open from 10 till 3.30, 1 fr. Free on feast-days. The walls of the court are ornamented with the escutcheons of 204 Podestas (chief magistrates). The rooms on the ground floor are filled chiefly with armour, among which are a bronze cannon cast in 1636, and Donatello’s seated lion, the Marzocco, or the Arms of Florence, a seated lion supporting a shield with its left paw. Ascend to the first floor by the outside staircase in the court. It was built by Agnolo Gaddi. At the top, in the vestibule, are two bells, one cast in 1228 by Bart. Pisano, and the other by Cenni in 1670.

Florence: National Museum.—Sculpture—Michael Angelo—Bologna—Cellini.

First saloon.—All labelled. Principal objects—By Michael Angelo, Wounded Apollo, Bacchus and Satyr, Dying Adonis, and an unfinished group of Victory. Donatello, David with the head of Goliath. G. da Bologna, Virtue conquering Vice. A beautiful series of reliefs, illustrating Music and its effects, chiefly by L. Robbia and Donatello. Second room.—Furniture and glass ware. Wax group by Zumbo. Third hall, the audience chamber of the Podestà.—Majolica, porcelain, and enamelled ware. Fourth hall, originally a chapel, but afterwards the room in which prisoners under sentence of death were confined. The frescoes are chiefly by Giotto, 1301. Among the portraits on the fresco of the east wall, representing heaven, are those of Dante, and of his master Brunetto Latini. The St. Jerome and the Madonna are thought to be by Ghirlandaio. In the adjoining Sacristy are two frescoes, one of which is thought to be by Cimabue and the other by Gaddi. Those who wish to see them must request the door to be opened. Fifth saloon.—Two triptychs by Orcagna. Works in ivory and rock crystal by Cellini, Bologna, and N. Pisano. Wood carving by Gibbons. (In this saloon is the stair up to the second floor.) Saloons 6 and 7.—Sculptures by the best Italian artists of the 15th cent., all labelled. Among them may be noted, in the sixth saloon, Donatello’s David, in the centre. In the seventh, in the centre, a Child by Donatello. The famous Mercury, by Bologna. David, by Verrochio. On the wall, a bronze table by Pollaiolo, representing the Crucifixion, and two bas-reliefs, the one on the right by Ghiberti, and the other on the left by Brunelleschi, prepared for the competition for the doors of the Baptistery of Florence, won by Ghiberti. Next, a fine ornament by Donatello. At the beginning of the third wall is a large bas-relief by V. Dante, representing the Brazen Serpent in the Desert; and below it, another representing a Battle, by Bertoldo. These are followed by a cabinet full of sketches by the best artists of the 15th and 16th cents. After these, the famous bust of Cosmo of Medicis in Armour, by Benvenuto Cellini, and his model in bronze of the Perseus, under the loggia. Ascend now to the second floor by the stair in the fifth room. 1st room.—Portraits in fresco by A. Castagno (1450), transferred to canvas a few years ago: viz. Uberti, Acciaoli, Dante, Petrarch, and Boccaccio. Stained glass by Marcilla, 1470-1537. 2d room on the right.—Fine display of glazed terra-cotta work by Luca and Andrea Robbia. Stained glass window by Giovanni da Udini. 3d room (tower).—Tapestry 17th cent. 4th room (on the left of the entrance).—French tapestry and collection of coins. In the next two rooms, 5 and 6, are the Masterpieces of Mediæval Sculpture, which formerly stood in the galleries of the Uffizi. Room 5, in centre, John the Baptist, by Donatello. On the wall, in relief, by B. da Rovezzano, 1507, the Translation of St. Gualberto, on white marble, mutilated. Room 6, in the centre, St. John by Benedetto da Maiano. Young Bacchus, by Sansovino. Apollo, by Michael Angelo. On end wall, the Death of St. Peter, by L. Robbia. By Michael Angelo, the Virgin, Jesus, and St. John (unfinished); the famous Mask of a Satyr (executed in his 15th year); Martyrdom of St. Andrew (unfinished); and Bust of Brutus. Window wall, bust of Battista Sforza, and a Holy Family, by Mino da Fiesole. Entrance wall, Leda, by Michael Angelo. By Mina da Fiesole, a Madonna and a bust of Piero dei Medici. Left wall, by Rossellino, a Madonna and a St. John. Faith, by Civitale, 1484, one of his best works. Five children supporting festoons, by Quercia, 1150, one of his best; and a Madonna, by Verrochio.

Florence: La Badia. House of Michael Angelo.

At the end of the Via Proconsolo, and opposite the National Museum, is La Badia, founded by Willa, in 978, for the Black Benedictines; rebuilt in 1284 by Arnolfo di Lapo; and again, in part, in 1625 by Segaloni. The church, in the form of a Greek cross, has some good monuments and pictures. The Campanile was built about 1330. The handsome door is by Benedetto da Rovezzano, 1495. The second monument to the right of the entrance is to Gianozzo Pandolfini, by Ferrucci in 1457. On the adjoining altar are beautiful reliefs by Maiano, 1442 to 1497. In the north transept is the mausoleum of the Gonfalonier Bernardo Giugni, d. (1466), by Mino da Fiesole. In the south transept is the mausoleum of Count Ugo of Tuscany (d. 1000). Above is an Assumption, by G. Vasari, and in the Cappella de’ Bianchi, a Madonna appearing to St. Bernard, by F. Lippi.

A little way east from the National Museum, at No. 64 Via Ghibellina, is the house of Michael Angelo Buonarrotti, a plain building, containing a collection of paintings, sculptures, and sundry objects connected with Michael Angelo, bequeathed to the care of the State by the last member of the family, Cosmo Buonarrotti, in 1858. The gallery is open to the public on Mondays and Thursdays, from 9 to 3. Catalogue in Italian or French, ½ fr. The collection is contained in seven rooms, some very small. In the centre of the first room is a small bust of Michael Angelo, and Nos. 1, 2, and 3 portraits of him at different ages. No. 14, Battle of Hercules, and No. 17, Madonna, both in relief, by Michael Angelo. Nos. 11, 13, 15, and 16 are glazed terra-cotta figures by the Robbias, displaying admirably the fine delicate surface of the enamel peculiar to their productions. Amongst those who have distinguished themselves in the manufactory of earthenware is Luca della Robbia, a Florentine goldsmith and statuary, born in 1388. He made heads and human figures in relief, and architectural ornaments of glazed earthenware, terra-cotta invetriata. The colours are white, blue, green, brown, and yellow. The art of making these glazed earthen figures invented by Luca was taught by him to his brothers Ottaviano and Agostino, and was afterwards practised by his nephew Andrea. The rooms to the left contain drawings and plans of Michael Angelo, many being the original sketches of his greatest works. First room right, the principal room of all, contains the statue of Michael Angelo in a sitting posture, by Novelli; and around the room sixteen pictures illustrating scenes in his life. The lower six are in grisaille. The ceiling is painted in fresco. The next or fourth room contains the family history, illustrated by twenty-one fresco paintings. In the small cabinet off this room are, among other things, a two-edged sword with the Buonarrotti arms. In the fifth room, No. 74, Michael Angelo, a Madonna in relief, on marble. 77, a cast in bronze of 74, by Jean Bologna, by whom is also 81, a bust of Michael Angelo. Sixth room (the Library), large frescoes, representing the eminent men of Italy. In the seventh chamber, and in the small room off, are Etruscan antiquities.

San Giovannino, 264. San Lorenzo, 264. The Mortuary Chapel. The Sagrestia Nuova, 265. Biblioteca Laurentiana. Etruscan and Egyptian Museum, 267. Santa Maria Novella, 267. Spezeria, 268. See Plan, near station.

Florence: San Lorenzo. Road to the Sagrestia Nuova.

North from the baptistery, at the end of the Via de Martelli, and next the Palazzo Riccardi (see page 275), is the Church of San Giovannino, rebuilt in the 16th cent., with frescoes representing scenes in the life of Christ, by Passignano, Barbieri, Bronzino, Tito, Corradi, and Ligozzi. A few yards west from San Giovannino is San Lorenzo, considered in the earlier periods of the Republic the metropolitan church of Florence. Its existence is traced as far back as the year 393, when it was consecrated by St. Ambrose. In 1059 it was rebuilt and consecrated by Pope Nicholas II. Having been destroyed by fire in 1417, during a festival given by the Guelphs of Arezzo and the Guelphs of Florence, it was again rebuilt by Brunelleschi and Michael Angelo, and finished by Antonio Manetti in 1461. It is constructed in the form of a T, 400 feet long from east to west, and 170 from north to south. The aisles are lofty, and separated from the nave by 14 Corinthian columns. The two pulpits are adorned with subjects from Scripture, in relief, by Donatello and his pupil Bertoldo. The cupola is painted by Meucci. At the north transept is a monument in white marble by Thorwaldsen to Pietro Benvenuto, the painter of the cupola of the mortuary chapel. In the south transept is a monument to the memory of a daughter of General Moltke. A slab at the foot of the high altar bears the title and age of Cosmo I., but his remains repose in a black and white marble tomb in the subterranean church. Those pressed for time should, on arriving at the main or eastern entrance of St. Lorenzo, turn down to the left by that narrow busy street the Via del Canto de’ Nelli, to the large folding-doors under the west end or apse of San Lorenzo, Florence: Underground Chapel—
Mortuary Chapel. which gives access to the burial chapel, “Dei Principi,” of the Medici family, and to the still more famous chapel called the Sagrestia Nuova. Both open on Sundays from 10, on Mondays from 12, and every other day from 9 to 3. Having entered the crypt, ascend the stair to the left, which leads into the mortuary chapel. Guides offer their assistance, but they are of no use, as the sacristan alone can unlock the doors. The Mortuary Chapel is octagonal, and covered with polished marbles and other shining stones, glowing with brilliant harmony of colour, yet chaste and simple. The splendid hues are continued on the ceiling under the dome by the masterly frescoes of P. Benvenuti, painted in 1835. In each of six of the sides is a monument to a member of the Medicean family, from Cosmo I. to Cosmo III. (d. 1723), whose son, G. Gastone (d. 1736), has his memorial slab behind the altar in the crypt or lower church downstairs, where repose the remains of Donatello near those of his patron Cosmo I., as well as those of 35 other members of this once powerful family, which gave three popes to the Church of Rome, two queens to France, and reigned 250 years over the sixteen cities of Tuscany, whose escutcheons in beautiful mosaic are set in panels round the mortuary chapel, below the granite mausoleums of these princes. The Cappella dei Principi was designed by G. de Medici, and built by M. Nigetti in 1604, for Ferdinand I., Duke of Tuscany, to receive the “great stone” which Joseph of Arimathea rolled “to the door of the sepulchre” of our Lord; and which had been promised him by the Emir Focardino, governor of Jerusalem. The Emir not having fulfilled his promise, Ferdinand adopted the intention of his predecessor, Cosmo I., and had it converted into the burial chapel of the Medicean family. Florence: Sagrestia Nuova. From this chapel a short narrow passage leads to the Sagrestia Nuova, or the Cappella dei Depositi, containing the monuments and mortal remains of Giuliano, Duke of Nemours, and brother of Pope Leo X.; and of their nephew Lorenzo, Duke of Urbino, and father of Catherine of Medicis; these two monuments, with the statue of Moses at Rome, are the greatest works of Michael Angelo. The plan of the edifice was conceived by Pope Leo, but the design and execution were entrusted in 1521 to Michael Angelo. The interior is disappointing. A formal square chapel, with walls partly encrusted with whitish marble, supported by two tiers of Corinthian pilasters of that cold grey stone called pietra dura, and pierced with doors and windows arranged in the same tame, flat style. To the right on entering is the grand monument of Giuliano. He is represented in a sitting posture, with his left hand gloved and raised. The bent forefinger touches the upper lip, which seems to yield to the pressure. The helmet throws a deep shade on the countenance. The two statues reclining on the urn represent Day and Night. Day is little more than blocked, yet most magnificent. To have done more would have weakened the striking effect of the whole, which is heightened by what is left to the imagination. Night is finely imagined. The attitude is beautiful, mournful, and full of the most touching expression—the drooping head and the supporting hand are unrivalled in the arts. Opposite is the monument of the nephew. The attitude of Lorenzo is marked by such a cast of deep melancholy brooding as to have acquired for it the title of “il pensiero.” Beneath are the personifications of Evening and Dawn. Twilight is represented by a superb manly figure, reclining and looking down; the breadth of chest and the fine balance of the sunk shoulder are masterly, while the right limb, which is finished, is incomparable. The Aurora is a female figure of exquisite proportions. In its serene countenance a spring of thought, an awakening principle, seems to breathe life into the face of stone, as if preparing it to open its eyes with the rising day. In front of the altar is a striking but unfinished Madonna, by Michael Angelo. On the right is a statue of San Cosmo, by Montorsoli, a pupil of Michael Angelo’s, and on the left Santo Damiano, by Montelupo.

Florence: Bibliotheca Laurentiana.

A door in the middle of the south aisle of the church of S. Lorenzo leads into the cloister, whence ascend the staircase, by Vasari, to the Bibliotheca Mediceo-Laurentiana. The books are kept in desks. Open from 9 to 3. Closed on feast-days. Fee, 1 fr. This library was founded by Cosmo in 1444. Amongst the remarkable manuscripts there is one of Virgil of the 4th cent. in Roman capitals, not very different in form from the letters on ancient Roman marbles; it is on vellum, of the size of a small quarto, with notes; the notes written in the 5th cent. by the Consul Turcius Rufus Apronianus, as his signature attests. This is one of the most ancient legible manuscript books in Europe of which the period is authentic. The manuscript of Virgil, in the Vatican library, with paintings, was said to be of the 4th cent., of the time of Constantine. The manuscripts of the middle ages, instead of being in Roman capitals, are written in letters resembling in some degree the small Roman printed letter now in use; and, at a still later period, they are in a running hand. This library also possesses the celebrated manuscript of the Pandects, supposed to be of the time of Justinian, in the 6th cent., written in capital letters, which vary a little from the capitals on ancient Roman marbles; it is on vellum, of the size of a large folio book; it was brought from Pisa, and Cosmo I. caused an edition to be printed from it by Lelio Torelli. A Tacitus, of the 11th cent. is in a running letter. The library contains 8000 volumes of manuscripts. Many of them are chained to the desks.

Florence: Etruscan Museum.

Between S. Lorenzo and San Maria Novella in the Via Faenza, No. 144, is the Etruscan and Egyptian Museum. Open from 9 to 4. Fee, 1 fr. Free on Sundays.

First Room, The vases stand round the room in glass cases. The earliest are in the first case to the right. Next, case 11, is the entrance to an Etruscan tomb, which in its main features resembles that in which our Lord lay. From the frescoes, which are copies of the original on the tomb near Orvieto, it will be observed that the Etruscans seem to have treated death as a feast, to which the spirits were invited by the gods. Second Room, In the centre is the vase of Peleus, or vase of François, by whom it was discovered in 1845 near Chiusi. It is supposed to have been modelled by Ergatimos, and painted by Clitias. Third Room, Minor objects. First Octagon Room, Beautiful gold ornaments, beads, and glass bowls. Etruscan coins. From this room a corridor extends to a similar room, in which is a beautiful bronze statue of Pallas Athene with the ægis, and some fine Etruscan mirrors. Fourth Room, In the centre stands the Chimæra, one of the celebrated statues of antiquity. Fifth Room right, Armour. Sixth Room, Etruscan sculpture. Both of the gems of the collection are in this room—The Orator, a bronze statue above life size, discovered near Lake Thrasymene; and an Etruscan Sarcophagus, which lay nearly 2000 years buried in the earth, and is supposed to have been made about 300 years B.C. From this we enter, by a passage covered with inscriptions, into the Egyptian Museum. First Room, In the centre, a Scythian war-chariot (the only specimen known), and by the side of it the remains of the Egyptian soldier who probably captured the chariot in battle. Second Room, The most interesting object here is the fresco of the Last Supper, by Raphael, in 1505, when only twenty-two. On the border of St. Thomas’s dress are the date and name. In the last great hall are sarcophagi, reliefs, statues, obelisks, idols, mummies, portraits, and tabernacles.

Florence: Santa Maria Novella—Rucellai Chapel.

Close to the railway station, and a short way west from the cathedral and S. Lorenzo, is the church of Santa Maria Novella, facing the piazza of the same name, adorned with two large obelisks of Serravezza Mischio marble, crowned with Florentine lilies in bronze, by G. Bologna, 1608.

This church, standing south and north, was commenced in 1221 and finished in 1371. The façade was designed by L. Alberti, and erected at the expense of G. Rucellai, whose name is inscribed on the frieze, “Joannes Orcellarius, 1470.” Affixed to it are gnomonic instruments, made by Ignazio Dante in 1573. In the interior, the fresco over the principal door is after the Lippi school. The crucifix is by a pupil of Giotto, Puccio Capanna. On the wall to the right of the door is a remarkable fresco, a Trinity, by Masaccio; opposite is a fresco attributed to Gaddi. But the most interesting objects are all at the northern or apsidial end of the church. At the extremity of the east or right transept, up some steps, is the Rucellai Chapel. On the reredos of the altar is the Madonna painted by Cimabue, considered his masterpiece. Florence: S. Maria Novella—
Ghirlandaio—Brunelleschi. The walls of the chancel, or recess occupied by the high altar, are covered with exquisite paintings in fresco by D. Ghirlandaio, nearly all representing scenes from Scripture. The stalls are by B. d’Agnola, and the windows by G. Fiorentino. In the chapel on the left, or west from this, the Cappella Gondi, is the famous wooden Crucifix by Brunelleschi. A curtain is before it. At the end of the W. transept, up some steps, is the Strozzi chapel, with frescoes by A. Orcagna and his brother Nardo, representing the Day of Judgment, Heaven, and Hell. The open door at the foot of the steps leads into the sacristy, where, immediately on one side of the door, is a beautiful terra-cotta basin, by L. Robbia; and, on the other side, one of marble by G. Fortini. A large door in the west, or left aisle, opens into the cloister called the Chiostro Verde, because the frescoes on the walls, by Paolo Uccello, 1390-1470, and Dello Delli, 1401, are painted in green. Here the keeper, for a few sous, opens the door leading into the Cappella degli Spagnuoli, designated thus from having been used by the attendants of Eleonora de Toledo, wife of Cosmo I. The ceiling and the left wall are covered with admirably conceived and executed frescoes by Taddeo Gaddi, while those on the right wall are by Simone Memmi. Adjoining is the Chiostro Grande, ornamented with 52 frescoes, by Cigoli, Allori, Tito, Poccetti, and other artists of the 15th and 16th cent., illustrative of the history of the Dominicans, with views of Florence in the background. Florence: Spezeria. At No. 16 Via della Scala is the entrance to the Spezeria, or pharmacy of the convent, long noted for its perfumes, as well as for a red liquor called Alkermes, a specialty of Florence, resembling in taste the liqueur made at the Chartreuse, near Grenoble, only sweeter. It is also made and sold at the Certosa (see page 250). The chapel contains some beautiful frescoes, illustrative of the last hours of our Saviour, by Spinello Aretino.

The Santissima Annunziata, 268. San Marco, 270. Picture-Gallery of San Marco, 270. Academy of Fine Arts, 271. Galleria dei Lavori in Pietre Dure, 273. North-east side of Plan.

Florence. The Annunziata—Narthex Frescoes.

From the N.E. end of the Cathedral the street, the Via dei Servi, leads straight to the Piazza and Church of the Santissima Annunziata the only church in Florence open the whole day. All the others close at 12; but most of them re-open about 2 or 3 P.M. On the right side of the Piazza is the Spedale degli Innocenti, a foundling hospital designed by Brunelleschi, and ornamented in 1470, by Andrea della Robbia, with pretty terra-cotta figures over the columns of the arcade. In the centre of the square is an equestrian statue of the Grand Duke Ferdinand I., by Bologna, in 1608, and two bronze fountains by Pietro Tacca. The Church of the Annunziata was built in 1250 by the Order of the Servi di Maria. At the entrance is a narthex or vestibule decorated with admirable frescoes, protected by glass. To the right, on entering, an Assumption by Il Rosso, 1515; then follow a Visitation, by J. Pontormo, 1516, pupil of A. del Sarto; a Marriage of the Virgin, by Franciabigio, 1513; a Birth of the Virgin, by Andrea del Sarto, as also the next picture, an Adoration of the Magi, both among his greatest works; a Nativity by A. Baldovinetti. The next five are by A. del Sarto; Children being Healed by touching the Dress of the Servite Filippo Benizzi; a Dead Child recalled to life by touching the Bier of Filippo; the Cure of a Woman possessed of a Demon; Men destroyed by Lightning who had insulted Filippo. He parts his Cloak with a Beggar. By Rosselli: Filippo assumes the habit of the Order. In the narthex is also the tomb of Andrea del Sarto (died 1606), with bust by Caccini.

The design of the interior of the church is by Ant. da S. Gallo. Gherardo Silvani added the marble decorations. The pictures between the windows are almost all by C. Ulivelli. On each side of the aisle are five chapels, and at the termination of the aisle are two short transepts and a circular tribuna designed by Alberti, covered with a cupola painted by B. Franceschini and Ulivelli. In the right transept is the tomb of Bandinelli, with a Pieta by himself. Immediately behind the high altar, adorned with a ciborium or canopy by B. Agnolo (1543), is the Cappella del Soccorso, with the tomb of Gian Bologna (d. 1608), who constructed this chapel for himself, and ornamented it with some of his best works. Under the organ in the second chapel is an Assumption by Perugino. In the third chapel is a Crucifixion by Stradano, his best work. In the fourth, a copy of Michael Angelo’s “Judgment Day,” by Allori. Next it, and to the left of the main entrance, is the chapel and shrine of the Annunziata, built in 1445, by Michelozzi, and lighted by forty-one silver lamps and one gold lamp glittering among costly polished stones. Over the altar is an Annunciation in fresco by Pietro Cavallini (d. 1364), said to have been done by angels. Florence: The Annunziata—
Sacred Picture. This picture is shown only once a year; but a duplicate of it, also by Cavallini, is in San Marco, on the wall to the right on entering. Over the altar is an “Ecce Homo,” by An. del Sarto, in silver. Adjoining is the cloister built by S. Pollaiolo. Over the door opening into the church is a “Holy Family,” by A. del Sarto, a production in the highest style of excellence, called the Madonna del Saco, as Joseph is seen in the background seated on a sack. The other fresco paintings in the cloister are by Poccetti, A. Mascagni, M. Rosselli, and V. Salimbeni (1542-1650), all displaying rich colouring without gaudiness. In this cloister is also the chapel of St. Luke, with the fresco of “St. Luke painting the Virgin,” over the altar, is by Vasari, while those on the walls are by Bronzino, Pontormo, and Santi di Tito.

Florence: San Marco—Picture-Gallery.

By referring to the plan, it will be observed that near to the Annunziata are the Academy of Fine Arts and the Church of S. Marco (standing from S.W. to N.E.) We shall commence with San Marco, erected in 1290, and enlarged in 1427 by Michelozzi. Interior.—Over central door a “Crucifixion” by Giotto. First altar right, Thomas Aquinas before the Cross by S. di Tito, and an Annunciation by P. Cavallini (covered). Second altar, Madonna and Saints, Fra. Bartolommeo. Third, Madonna. Here a small door opens into the sacristy built by Michelozzi, with statue of Christ by Novelli, and of S. Antonino by Montorsoli. To the left of the high altar is the Chapel of the Sacrament, with paintings by Tito, Empoli, Poccetti, and Passignano. In the left transept is the chapel of S. Antonino, with frescoes by Passignano in his best style, and a painting by Bronzino. Between the second and third altars on this the left side of the church, are the graves of the scholar Pico della Mirandola, d. 1494; the poet Girolano Benivieni, d. 1542; and of Poliziano, d. 1494, tutor to the sons of Lorenzo the Magnificent. To the right of the main entrance is the Convent, now the Picture-Gallery, of St. Mark. Open from 10 to 3. Fee, 1 fr. Sundays free. During the 15th and 16th cent. this convent had for its superiors the good Bishop Antonino (d. 1459), Fra. Angelico Fiesole (d. 1455), Fra. Girolamo Savonarola, the great preacher and martyr (1498), and Fra. Bartolommeo della Porta (d. 1517), the best collection of whose works is in this convent. Among the very fine frescoes are—On the door of the church, left hand wall, “St. Peter, martyr, with his hand on his mouth,” B. Angelico. On the end or S.E. wall, “Crucifixion,” with St. Dominic, B. Angelico. The door in the wall opposite the church opens into the refectory, with a fresco representing Angels bringing food to St. Dominic, by Sogliani (d. 1544), pupil of L. Credi. Above is a “Crucifixion” by Fra. Bartolommeo. The door in the south corner of the east wall opens into the chapter-house, with a large fresco of the Crucifixion by B. Angelico. A very famous work. The crucifix on the left is by B. Montelupo, and the other by his son. The door in the middle of the east wall gives access to the picture-gallery in the upper storey. At the foot of this stair is a grand picture, a Last Supper (Cenacolo) by Ghirlandaio, who has dressed the company in the costume of the brotherhood. From this ascend to the first floor to what were the cells or rooms of the monks, ranged on each side of a narrow passage ornamented with paintings in fresco. At the head of the stair is a very beautiful Annunciation by Fra. Angelico, and also by him, on the opposite wall, a St. Dominic embracing the Cross. Opposite the Crucifixion is the best of the corridors. The cells of the right corridor are ornamented with frescoes, principally by Fra. Benedetto, and those of the left principally by his more famous brother, Fra. Angelico. Next the staircase we have the library. Second room, banners used for Dante’s festival in 1865. Next, two frescoes by Benedetto. In the last two rooms, one a little higher than the other, Cosmo de’ Medici (Pater Patriæ) used frequently to reside. His portrait is by Pontormo, “The Jesus of Nazareth” is by Fra. Bartolommeo, and the beautiful fresco by Angelico. In the cell opposite is a Crucifixion by Angelico. In the third room, painted on wood by Angelico, are an “Adoration” and an “Annunciation.” In the fourth, also by him, other two famous pictures on wood, the Madonna della Stella and the Coronation of Mary. Turning to the right we find all the cells (as far as that of Savonarola), with paintings by Fra. Benedetto or some pupil of Angelico. In the middle of this corridor is the beautiful Madonna enthroned, an admirable work of B. Angelico. At the end, in a kind of chapel, are two Madonnas on the wall by Fra. Bartolomeo: a Virgin in terra invetriata, by L. della Robbia; the bust of Savonarola, full of expression, modelled by Bastianini; and a sketch of the bust of Benivieni by Bastianini. In the two little cells at the side, in which dwelt Savonarola, are preserved some manuscripts, a crucifix, and other objects which belonged to him; as also his portrait painted by Fra. Bartolommeo, and a view of the Piazza della Signoria, with the burning of Savonarola and his companions. Proceeding along the corridor, in which there are no cells on the right for some distance, we come to more frescoes by Benedetto, the best being a “Coronation” in the third cell.

Academy of the Fine Arts.

At the south-west corner of the Piazza San Marco, at No. 34 Via Ricasoli, is the entrance to the Academy of Fine Arts. Open from 9 till 3. Fee, 1 fr. Sundays, free. The principal door is by Paoletti. In the vestibule are reliefs and busts of contemporary artists by L. della Robbia. In the cloister are bas-reliefs by the brother and nephew of Robbia, and Bologna’s models for his statues of Virtue and Vice, and of the Rape of the Sabines. A corridor, containing statues in stucco, to the right of the main entrance, leads to the library. Midway, left hand, a door opens into the principal gallery, the hall of the large pictures, with 124 paintings, by the following artists: M. Albertinelli, A. Allori, B. Angelico, Spinello Aretino, Fra. Bartolommeo, Biliverti, F. Boschi, Botticelli, Brina, Bronzino, Buffalmaccio, Calabrese, A. Castagno, Cigoli, Cimabue, Credi, Curradi, C. Dolci, I. Empoli, Gen. da Fabriano, A. and T. Gaddi, R. del Garbo, Ghirlandaio, Giotto, Ligozzi, Fra. F. Lippi, Aur. Lomi, Masaccio, Giov. da Milano, Monaco, S. P. Nelli, L. di Niccolo, D. Passignani, Perugino, F. Pesellino, Fra. P. da Pistoia, Poccetti, Fr. Poppi, C. Rosselli, A. Sacchi, A. del Sarto, L. Signorelli, G. A. Sogliani, A. Squazelli, Santi di Tito, Vasari, Veracini, Verrochio, Vignali. In No. 43, the Baptism of Christ, by Verrochio, the angel to the right of the spectator was painted by Leonardo da Vinci when he was twenty-three years old. No. 115, by Cigoli, St. Francis. It is said that in order to obtain the unearthly expression of the face the painter kept a poor pilgrim for many hours without food, until he fainted from hunger. This room is followed by a chamber communicating with the Tribune, built in 1875, for the celebrated statue of David, sculptured by Michael Angelo when 28 years of age. It was brought here in 1873 from the Piazza della Signoria, where it had stood 369 years. From the library a door opens into the Hall of Ancient Pictures, containing sixty paintings. The artists of a large number are unknown. The others are by B. Angelico, S. Aretino, M. Arezzo, A. Baldovinetti, B. Berlinghieri, Neri di Bicci, Sim. da Bologna, S. Botticelli, P. di Buonaguida, A. Ceraiolo, D. Ghirlandaio, Bicci di Lorenzo, G. Pacchiarotto, and Signorelli. In the hall of the small pictures there are seventy-one paintings, by artists already named, the most important being Fra. and B. Angelico, who, with Sandro Botticelli, Francesco Granacci, Luca Signorelli, and Lorenzo di Credi, are better represented here than anywhere else. The most remarkable are 41, “The Day of Judgment,” by Fra. Angelico. 13, A “Nativity,” by L. di Credi; and 18, Portraits of two Vallombrosian friars, by Raphael or Perugino. Beyond this is a collection of original designs in a room called the Sala dei Cartoni. 2 and 5 are by Raphael. 6, Correggio. 3 and 12, Ben. Poccetti. 1, 4, 9, 10, 11, 18, and 22, Fra. Bartolommeo. 19, Bronzino. 7, 8, and 20, F. Barroccio. 24, Credi, and 23, Carlo Cignani.

From the vestibule a staircase leads up to the Galleria dei Quadri Moderni, a collection of 160 modern paintings, distributed in six rooms. The custodian of the academy keeps the keys of the Cloister dello Scalzo, No. 69 Via Cavour, adorned with fourteen frescoes by A. del Sarto, and two by his friend Franciabigio, in chiaroscuro, during 1517 to 1526, illustrative of the life of John the Baptist. They are not in a good state of preservation.

Florence: Mosaics. Galleria dei Lavori in Pietre Dure.

Adjoining the Accademia delle belle Arti, at No. 82 Via degli Alfani, is the entrance into the Galleria dei Lavori in Pietre Dure, open from 10 to 3 daily. Entrance free. Rooms 1, 2, and 3 contain, in glass cases, specimens of all the minerals and rocks used in Florence in the manufacture of mosaics. They are numbered, and accompanied with explanatory catalogues. They consist chiefly of varieties of marble and alabaster, agates of different shades, chalcedony, jasper, lapis lazuli, and red porphyry. The large room contains the finished mosaics, all for sale, at prices from £80 upwards. Mosaics are made and sold in numerous establishments throughout the city, but the best and most artistic are sold here.

The Palaces of Florence.

The palaces of Florence are great square edifices of a grand and gloomy aspect, built of dark blue stones (pietra forte) measuring from 3 to 4 feet. The bases, to the height of from 20 to 30 feet, consist of coarsely chiselled rubble work, which lessens the baldness, and contributes character and effect to the from 200 to 300 feet of plain wall. At intervals are strong bronze banner-rings and torch-sockets, while at each corner is a curiously-shaped lamp of wrought-iron. Near the main entrance there is generally a niche, with an opening called a “cantina,” just large enough to allow a quart bottle to pass through, whence various articles of food are transmitted into the house. Those that sell by retail the oil and wine from their estates have painted over this niche “Vino é Olio.” The empty bottle, with the money, having been passed through, it reappears shortly after full. The windows of the first range are generally 10 feet from the ground, and are grated and barred like those of a prison. Under the eaves runs a deep cornice with bold projecting soffits. The roofs of the palaces, as well as those of the smallest houses, are of a low pitch, and covered with tiles of two different forms—a flat tile with ledges on the side, and a tile nearly semi-cylindrical and tapering upwards, which thus covers the interstice between the ledges of the flat tiles. The entrance to the palaces is by a high arched massive gateway, giving access to a court surrounded by an arcade or loggia, whence massive stone staircases lead up to the highest storeys. The lofty ceilings of the principal rooms are decorated, and the beams though displayed, are carved, painted, and gilded, and contribute to the grandeur of the whole. The floors are of thin bricks, either laid flat or edgeways in the herring-bone or spina di pesce fashion. As in Genoa, several of the palaces contain collections of works of art open to the public on certain days. Florence: Palazzo Vecchio. Of these the best are—first, the Palazzo Vecchio, in the Piazza della Signoria, erected in 1218 by Arnolfo di Lapo. It is surmounted by a noble antique tower 305 feet high, commanding an excellent view of Florence. The entrance is through a superb but gloomy court, surrounded by an arcade on massive columns, by Michelozzi, substituted for those of Arnoldo in 1434. They are 8 feet in circumference, and of admirable proportions. In the centre is a neat little fountain by Andrea Verocchio, intended originally for the Villa Careggi. Having traversed this court, ascend first stair left hand, and keep turning to the left the length of the first storey, where take first door right, which opens into the great hall or council chamber, 170 feet long by 77 broad, built in 1495, but altered by Vasari in 1540, who also added the frescoes on the walls and oil-painting on the ceiling illustrative of events in the history of Florence. Now ascend to the second storey, where enter the ante-room to the left, the Sala de’ Gigli, with a grand but injured fresco by Ghirlandaio in 1482. The lintel of the door in this room opening into the next, the Sala d’Udienza, is by Benedetto da Majano. On one of the leaves of the door is a linear drawing of Dante, and on the other one of Petrarch. The Sala d’Udienza is painted in fresco by Salviati, illustrative of Roman history. It communicates with the Cappella S. Bernardo, beautifully painted in imitation of mosaic by R. Ghirlandaio. Near the chapel of St. Bernard (sometimes approached by the four rooms of Eleanora de Toledo, painted by Stradan of Bruges, and at other times by a narrow passage), is a small chapel beautifully painted by Bronzino, and an adjoining chamber painted by Poccetti.

Florence: Dante’s House.

North from the palace, by the Via dei Magazzini, is the Via S. Martino, in which is a house with a marble slab over the door, bearing the following inscription: “In questa casa degli Alighieri nacque il Divino Poeta.” —Dante. He was married to Gemma in S. Martino, a humble little church close by, in the Via dei Magazzini. The Beatrice of Dante (like Petrarch’s Laura) lived in the Palazzo Salviati, in the Via del Proconsolo. She married Giovanni delle Bande Nere, and became the mother of Cosmo I.

Florence. Palazzo Strozzi, Corsini, Riccardi.

In the Via Tornabuoni is the Palazzo Strozzi, open on Wednesdays from 11 to 1. It was built in 1489 from designs by Majano. The ironwork, rings, and lanterns are by Grosso di Ferrara, 1510. The picture-gallery on the first floor is contained in four large rooms elegantly and comfortably furnished. In each room there is a list of the paintings on a card. The two most remarkable are—Portrait of one of the ladies Strozzi by Leonardo da Vinci; and another of one of the children, “La Puttina,” by Tiziano. Between the Strozzi Palace and the Arno is the Piazza S. Trinità. In it, opposite the Hotel du Nord, is a column of Oriental granite from the baths of Antoninus, presented to Cosmo I. by Pius IV. A short way down the Arno (see plan), at No. 10 Lungarno Corsini, is the Palazzo Corsini, built (1618-56) by G. Silvani, staircase by Ferri. The collection of paintings, contained in twelve rooms, may be visited on Tuesdays, Thursdays, and Saturdays from 10 till 2. Entrance by No. 7 Via Parione.

Next to the church S. Giovannino (see p. 264), at No. 1 Via Cavour, is the Prefettura della Provincia di Firenze, formerly the Palazzo Riccardi, 300 feet long by 90 in height. This, the cradle of the Medicean family, was erected in 1431, after the design of Michelozzi, by Cosmo Pater Patriae, and continued to be the residence of the Medici till 1540, when it was abandoned for the Palazzo Vecchio. The first row of large windows was opened by Michael Angelo; for originally the base, rising to 30 feet, presented one unbroken space, varied only by the projection of the vast and rudely chiselled stones of which it is composed. In the court below the corridor are statues and busts, and the sarcophagi which were formerly outside the baptistery, and a curtain beautifully sculptured in stone over one of the arches. Upstairs are the Biblioteca Riccardi, a picture-gallery, and a small chapel covered with most charming frescoes by Benozzo Gozzoli 1400-1478, painted by lamplight, as the chapel at that time had no window. Palace open from 12.30 till 2.

Down the Arno, beyond the Ponte alla Carraia (see plan), is the Church of Ognissanti. In the chapel next the door of the sacristy repose the remains of Amerigo Vespucci, who gave his name to America. In the centre of the nave are frescoes by Ghirlandaio and Botticelli. The frescoes in the cloisters illustrating the life of St. Francis are by Giovanni and Ligozzi. The Last Supper, in the refectory, is by Ghirlandaio. A little way up the street called the Borgo Ognissanti is the Hospital S. Giovanni di Dio, founded by Amerigo Vespucci; while the house in which he lived and died stood on the site of the present No. 21 Borgo Ognissanti.

Park of Florence. Villa Careggi. Palazzo Torrigiani.

At the west end of the town, near the Porta Prato, is the Cascine or Park of Florence, on the right or north hank of the Arno, much frequented in the afternoon. An omnibus runs every 10 minutes between the Porta Prato and the Piazza della Signoria. Opposite the Cascine is the hill Monte Oliveto, page 251. Nearly two miles north from the railway station by the Romito road is the Villa Careggi, built by Michelozzi for Cosmo Pater Patriae, in which he died on August 1, 1464, as also Lorenzo the Magnificent, on the 8th of April 1492. At the Ponte alle Grazie, the first bridge above the Ponte Vecchio, is the Palazzo Torrigiani, built by Baccio d’Agnolo, containing a valuable collection of paintings, accompanied with catalogues. Open daily excepting Saturdays and Sundays.

Fiesole.

At the east side of the town, by the Via Alfieri or Pinti, is the Protestant cemetery, between the Boulevards Eugenio and Amedeo, the latter leading northwards to the Piazza Cavour with the Porta S. Gallo. From this Porta commences the road to the Etrurian city of Faesula, the modern Fiesole, 3 miles from Florence, and about 600 feet above it, on the summit of a ridge composed of a dark-coloured sandstone. Rail to Fiesole. Carriage there and back, 8 to 10 fr. From the Porta S. Gallo it is an easy walk of about 2½ miles. See the excellent map of the environs (Dintorni) of Florence, published by the “Istituto Topografico Militare,” 1 fr. Beyond the Porta S. Gallo take the road leading up the left or east bank of the Mugnone for about 1 mile, as far as the Villa Palmieri, where, in 1348, Boccaccio wrote his Decameron. From this the road ascends between walls about 1 mile more to the Church and Convent of S. Domenico, in which Beato Angelico was one of the monks. The church contains an Annunciation by Empoli; a Baptism of Christ by Credi; a St. Francis by Cigoli; and in the choir a Virgin with Saints by B. Angelico. Near S. Domenico is the Villa Landore, which was occupied for many years by Walter Savage Landor. The road striking off to the left or towards the Mugnone, leads to the venerable abbey of La Badia di Fiesole, rebuilt in 1462 by Brunelleschi. The road from St. Domenico to Fiesole is rather steep, and passes, at about two-thirds of the way, the beautiful old mansion with terraced gardens called the Villa Mozzi or Spence, once a favourite residence of Lorenzo il Magnifico, and the place in which the Pazzi conspiracy was formed in 1478. A short way beyond, the road enters the Piazza of Fiesole (pop. 11,500. Inns: Locanda Firenze; Trattoria l’Aurora), famous for views and stone-quarries. One side of the Piazza is occupied by the Cathedral, dedicated to St. Romulus, commenced in 1028, and in form resembling S Miniato. To the right of the high altar is the mausoleum of Bishop Salutati, and a marble tabernacle by Mino da Fiesole in 1465. The frescoes on the ceiling of the chancel are by Ferrucci; and the statue of St. Romulus in a sitting posture by Luca della Robbia or his nephew. In a garden behind the church are the remains of a Roman theatre. The road passing this garden leads to the ruins of the ancient walls, formed of huge uncemented blocks, not parallel, but of different sizes, and some of them indented into each other. Fronting the Cathedral is the commencement of a little stony road leading up to the terrace of a Franciscan convent, commanding a glorious view, and to the church of S. Alessandro, with columns of Cipollino marble.

S. Salvi—Vencigliato—Settignano.

S. Salvi. Vencigliato. Settignano.—1¼ mile east from the Porta S. Croce, by the road following the railway, is S. Salvi, containing a Last Supper, by A. del Sarto, in the refectory. From S. Salvi northwards to the Via Settignano, which follow for 1½ mile eastwards, then take the road to the left going northwards, and crossing the Mensola above its union with the Frassinaia, is the Castle of Vencigliato, founded in the 10th cent., 5 miles north-east from the Porta S. Croce, and situated on the summit of a hill commanding a splendid view. In 1860 it was restored at the expense of an Englishman, Temple Leader. 1¼ mile east from the part of Settignano road, whence the Vencigliato road ramifies, is Settignano, the birthplace of Michael Angelo.

Straw-plaiting gives employment to numerous females around Florence. The wheat used is sown in March, and is cut before the grain is ripe. The straw is then divided into pieces from 6 to 8 inches long, and exposed for sale in the markets in small bunches. In this state it is bought by the plaiters, who in their turn expose for sale yards of plaited straw to the hatters.

The vin ordinaire given at the restaurants of Florence is principally the Vino Monteferrata, which, when two or three years old, resembles an inferior dry claret. In Savoy and Tuscany large flat cakes are made of ground chestnuts. They are sold hot, have a sweetish taste, and are very nourishing to those who can digest them.

Excursion to Vallombrosa, Camaldoli, and Alvernia to the east of Florence. (See Map on page 199.)

To Vallombrosa. Take rail to Pontassieve, 13 miles east from Florence, pop. 11,000. Inn: Italia; where hire coach for Pelago, 6 miles east. Fare, 6 fr. Pelago (pop. 2000). Inn: Buon Cuore; whence mule, 5 fr., guide, 2 fr., to Vallombrosa, 8 miles south. Or coach as far as Tosi, about 5½ miles from Pelago, and the rest by mule or on foot. At Pontassieve a carriage for two at 12 fr. per day, or for four at 20 fr. per day, may be hired for visiting the three sanctuaries. Having visited Vallombrosa, return to Pelago, and proceed to Bibbiena, 15 miles east, by the Consuma, Borgo alla Collina, and Poppi, 4 miles from Bibbiena. From Bibbiena mules or horses must be hired for Alvernia, 2 hours distant. From Alvernia a fatiguing path leads to Camaldoli, in about 6 hours. The better plan is to go to Camaldoli from Bibbiena, distant 4 miles northwards from Bibbiena.

Vallombrosa.

A little beyond Pelago the road to Vallombrosa begins to ascend the Apennines, disclosing in the ascent many charming views of hills crowned with villas, and mountains covered with evergreen oaks, intermingled with bare perpendicular cliffs, and roaring torrents tumbling from the crags. Vallombrosa is situated 2980 feet above the sea, on the side of Mt. Protomagno, which rises 2340 feet higher. Although the scenery does not agree altogether with Milton’s description in Paradise Lost, book iv. lines 131-159, it possesses that charming loveliness which inspired the divine poet with the ideas conveyed in these lines. The steep acclivity is clothed with a “woody theatre” of stateliest chestnuts, oaks, firs, and beeches, which in ranks ascend, waving one above the other, shade above shade; or hang from the very brows of precipices, whose verdant sides are with thicket overgrown, grotesque, and wild. “Higher than their tops” an occasional glade breaks the uniformity of the sylvan scene, while on the summit expands a wide grassy down with enamelled colours mixed, from which there is a “prospect large” over foliaged hills, and the wild, bleak, sterile mountains of Camaldoli and Alvernia. The church and convent were erected in 1637. The latter is now occupied partly by a forestry school and partly by an inn. Nearly 300 feet higher, by a winding path, is Il Paradisino, a little hermitage romantically situated on a projecting rock commanding a grand view. The scagliola decorations in the chapel were by an Englishman, Father Hugford, who excelled in various branches of natural philosophy, and in the art of imitating marble by that composition called scagliola. He died in the last century. The ascent to the summit of the Protomagno occupies 1 hour; guide 2 fr. The road to Camaldoli winds round the mountain that shelters Vallombrosa on the north side, and then descends into the Val d’Arno Inferiore. On a knoll, encircled with trees in the middle of the plain, is the noble now ruined castle of Romena, and behind it the villages of Poppi and Bibbiena.

Camaldoli. Sacro Eremo. Alvernia.

The abbey of Camaldoli, founded by S. Romualdo, a Calabrian anchorite, in 1046, is situated on the torrent Giogana, in a valley surrounded by high mountains. About 2 miles above the monastery, on a hill to the north, by a zig-zag path through the forest, is Il Sacro Eremo, the hermitage of the convent. The church is neat, and possesses an Annunciation in relief by Robbia. From the culminating point of the ridge, the Prato al Soglio, is one of the finest views in this part of Italy. About 14 miles from Camaldoli, on Mons Alvernus, a lofty rock towering above the neighbouring eminences, and split into numberless pinnacles of fantastic forms, full of grottoes and galleries hollowed out by nature, is situated the convent of Alvernia, founded by St. Francis in 1213, and inhabited by about 110 monks. From the church a covered gallery leads to the cave with the chapel of the Stemmate, in which St. Francis is said to have received, imprinted on his body, marks similar to those produced on Jesus Christ by the crucifixion. From Camaldoli and from Alvernia return to Bibbiena, where the diligence may be taken to Arezzo, pop. 12,000, whence rail either to Rome, 141 miles south, or to Florence, 54 miles north-west. The drive from Pontassieve to Florence, by the Arno, is very beautiful.

Florence is 291 m. S.E. from Turin by Pistoja, Bologna, Modena, Parma, Piacenza, and Alessandria. Time by quick trains, 13 hrs. 1st class, 52 frs. 95 c.; 2d class, 37 frs. 5 c. See Black’s South France, East half, page 233.

(Paragraph shown as printed.)

Florence is 196½ m. N. from Rome by Arezzo, Terontola, Chiusi, Orvieto, and Orte. 8 hrs. by quick train. 1st class, 34 frs. 30 c.; 2d class, 23 frs. 55 c. Florence is 60¼ m. E. from Leghorn by Empoli, Pontedera, and Pisa. 2 hrs. 20 min. by quick train. 1st class, 10 frs. 45 c.; 2d class, 7 frs. 15 c. See the “Indicatore Ufficiale.” To the price given in the Indicatore the amount of the tax has to be added.

Busalla. Novi.

Genoa to Turin by Alessandria and Asti.

Distance, 103½ m. N.W. Time by quick trains, 4¼ hrs. Map, page 199.

Genoa.—The train after traversing the first tunnel emerges at the busy populous suburb of Sampierdarena, 1¼ m. W. from Genoa and 2½ m. E. from Sestri-Ponente. The rail now turns northward and ascends the valley of the impetuous torrent of the Polcevera, traversing six tunnels. Having passed Rivarolo, Bolzaneto, and Pontedecimo, the train arrives at Busalla, 14¼ m. N. from Genoa and 89¼ m. S. from Turin. Busalla is situated on the culminating part of the line (1192 ft.), on the crest which divides the basin of the Adriatic from the Gulf of Genoa. Here also the gradients of the line are highest, being about 1 in 28½ or 35 in 1000. The longest tunnel on the line, the Galleria dei Giovi, 3390 yards, is just before arriving at Busalla. It perforates calcareous schists, and is ventilated by 14 shafts. The scenery, which has been hitherto very picturesque, becomes tame after traversing the last tunnel at Arquata, 26 m. N. from Genoa, in the narrow valley of the Scrivia. 33½ m. N. from Genoa, and 70 m. S. from Turin, is Novi, H. La Sirena, a town of 11,000 inhabitants, situated among hills; where, in August 15, 1799, a great battle took place between the French under Joubert and the Austrians and Russians under Suwarrow, when the former were defeated and their general killed. Novi is 60 m. S.W. from Milan by Tortana, Voghera, and Pavia.

Alessandria.

47¼ m. N. from Genoa and 56¼ m. S.E. from Turin is Alessandria, pop. 30,000, 234¼ m. N.W. from Florence by Piacenza, Parma, Modena, Bologna, and Pistoja. See Black’s South France, East half. See map, page 199.

At the Alessandria station hot coffee and chocolate are always ready. Hotels: L’Universo; Italia; Europa. Alessandria received its name in compliment to Pope Alexander III. The citadel, capable of holding 50,000 men, was built in 1728. The cathedral has a façade in the modern taste, with granite columns; in the interior is a colossal statue of St. Joseph by Parodi. The other churches are the Madonna di Loreto and S. Lorenzo. The Ghilino palace, now belonging to the crown, was designed by the elder Alfieri. Two great fairs are held annually at Alessandria—one in April, the other in October. In the neighbourhood is the village of Marengo, near which took place (June 1800) the battle between the French and the Austrians that was first lost by Bonaparte and afterwards won by Desaix and Kellermann. From Alessandria the train ascends the valley of the Tanaro, passing the minor stations of Solero, Felizzano, Cerro, and Annone; then at 34¾ m. E. from Turin, and 68¾ m. N.W. from Genoa, arrives at

Asti.

Asti (the Hasta Pampeia, or Pompey’s Market, of the Latins), a place of 18,000 inhabitants. H. Leone d’Oro. Celebrated for its sparking wines, both red and white. The cathedral is a large and fine Gothic structure (1348). The adjacent church of S. Giovanni is built upon a basilica, of which the existing part is borne by monolithic columns with capitals bearing Christian symbols, 6th cent. Near Porta Alessandria is the small Baptistery of San Pietro, 11th cent., resting on short columns with square capitals. Alfieri, the poet, was born here, in a palace built by his uncle, who was a count and an architect. He died in 1803. The tertiary strata of the neighbourhood are very rich in fossils. Loop-line from Asti to Milan in 3½ hrs.

From Asti the train descends by Villafranca, where there is a viaduct over the Standvasso, about 100 ft. above the stream. Farther W., at Trofarello, is the junction with the loop-lines to Savona, 82½ m. S. (page 183), and to Cuneo, 46½ m. S.W. (page 183).

Five miles S. from Turin is Moncalieri. On the hill-side, overlooking the town, is the large royal palace in which Victor Emmanuel I. died in 1823.

For Turin, see Black’s South France, East half. Loop-line to Pinerolo, 23½ m. S.W., and to Torre-Pellice, 10½ m. farther west, in the Waldensian valleys. See Black’s South France, East half.

Paragraph shown as printed.

Italy and the Alps: Itineraries
Italy and the Alps: Maps
Italy and the Alps: Text

General Index

Paris to Turin and the Italian Riviera.

By Fontainebleau, Joigny, Dijon, Macon, Bourg, Ambérieux, Culoz, Aix-les-Bains, Chambery, Modane, and Mont Cenis. The continuation of this line southwards from Turin extends to Genoa by Alessandria (page 279).

Part First.—Paris to Modane, 431 miles. Time by the Rapide, 13 hrs. 36 min. Part Second.—Modane to Turin, 58½ miles. Time by Express, 3 hrs. 27 min.

Time-tables.—In England, see under “London to Turin” in the Continental Time-tables of the London, Chatham, and Dover Railway, which Company give through tickets. In Paris, start from the station of the Chemins de Fer de Paris à Lyon. At the bookstall buy one of their Time-tables, 40 c. The best resting-places are Dijon, Macon, and Chambery. For the whole route consult the Sketch Map on the fly-leaf. For the northern part, between Paris and Macon, see map, page 1; and from Macon to Turin, map, page 26.

Part I.—Paris to Modane.

431 PARIS. In front of the departure side of the Chemins de Fer de Lyon Station is the Grand Hôtel de l’Univers, and under it a Café Restaurant. A little farther off is Hôtel Jules César. Good restaurant also in the station. For the first 274 m. between Paris and Macon, see pages 1 to 26. At Morel junction the Vichy line separates from this one. At Montereau, 49½ m. from Paris (p. 10), the Express halts 4 min.; but not the Rapide. At La Roche (p. 14) both the Rapide and the Express halt 5 min. At Tonnerre (p. 17) they halt again 5 min. At Les Laumes (p. 19) the Express halts 5 min. At Dijon (p. 20) both halt 6 min. At Macon (p. 26) they halt 5 min. At Macon the Turin line separates from the Marseilles line, and goes 23 m. E. to Bourg, 297 m. from Paris. At Bourg, in the church of Brou, are sumptuous mausoleums. From Bourg a loop-line traverses a picturesque country by Nantua to Geneva, 97 m. W. (See map, p. 27; and for description, Black’s France, North half.) 5½ m. S.E. from Bourg the line crosses the Ain at the village of Pont-Ain, and afterwards arrives at Ambérieu, 316¼ m. S.E. from Paris, and 114¾ m. N.W. from Modane. At Ambérieu the Rapide halts 10 min., and the Express 15 min. Ambérieu, pop. 4000, is a pleasant town on the Albarine at the base of the Jura mountains, and connected by rail with Lyon, 32½ m. west. From Ambérieu another loop-line extends 11 m. S. through a mountainous country to Montallieu, pop. 2000, with important quarries, on the Fouron near its junction with the Rhône. Between Ambérieu and Culoz the rail passes through the last ramifications of the Jura mountains. In approaching Culoz it winds round the S. base of Mt. Colombier, 4733 ft., ascended in 4 hrs. either from Culoz or Artemart. The view is admirable—on one side the Savoy Alps, with the lakes of Bourget, Annecy, and Geneva; while on the side of France it extends to Lyons and the mountains of Ardêche.

Lagnieu. Virieu le Grand. Culoz.

8 m. S. from Ambérieu and 3 m. N. from Montallieu is Lagnieu, pop. 3500, station for La Balme, pop. 1000, 3 m. S.W., on south side of Rhône. There is a cave here with great galleries and stalactites, and a lake 130 yards long, 8 yards wide, and 13 ft. deep. It is easily approached from Aix-les-Bains by the Lyons steamboats. Alight at the Salette station, 20 min. walk from the entrance into the grotto.

From Ambérieu the train ascends the valley of the Albarine, which, after St. Rambert-de-Joux, 7 m. S.E. from Ambérieu, becomes wild and imposing. At Tenay, Inn: Pittion, 4¼ m. farther, the train quits the Albarine and traverses a sequestered valley to

Virieu le Grand, 340 m. S.E. from Paris, pop. 1100. Junction with loop-line to Belley, 9½ m. S., pop. 5000; Inns: Rey; Camus, with important quarries of lithographic stones. 442½ m. from Paris and 19¼ m. N. from Aix-les-Bains is Artemart, with the falls of Cerveyrieu.

347½ m. S.E. from Paris, 14½ m. N. from Aix-les-Bains, and 83½ m. N. from Modane, is Culoz, on the Rhône, about ¾ m. E. from the station, 771 ft. above the sea, pop. 1200. Near the station are the inns *H. Folliet; H. Mémon. A great deal of carriage-changing takes place here. 41 m. N.E. is Geneva; see Black’s North France, and map p. 26. 4½ m. S. from Culoz and 10 m. N. from Aix-les-Bains is Châtillon, 700 ft. above the sea, on the N.E. extremity of Lake Bourget, 2 hrs. distant by row-boat from Aix. In the castle, 13th cent., commanding a charming view of the lake, Pope Celestin was born.

Lake Bourget is 700 ft. above the sea, 10 m. long, from 2 to 3 m. wide, and from 200 to 300 ft. deep. The W. side is bounded by the steep ridge of Mont Chat. Opposite to Aix is a depression, the Col du Mont Chat, 2070 ft., and immediately to the S. a bold craggy peak, La Dent du Chat, 5302 ft., ascended from the little village of Bordeaux in about 4 hrs., after a very fatiguing climb. One of the best points for a view over the lake and the surrounding country is the Revard, 5112 ft., one of the summits of the ridge Mont d’Azy, which bounds the E. side of the plain of Aix (see page 285). It is ascended from the village of Mouxy in about 4 hrs.

The best of the fish caught in the lake is the ombre-chevalier. The lavaret is peculiar to it. There are also trout, perch, pike, shad, carp, gudgeon, tench, and barbel.

Aix-les-Bains. Hotels.

362 69 AIX-LES-BAINS, 850 ft. above the sea, 1½ m. from Lake Bourget, pop. 6000. The Casino is a handsome building, with park of its own extending to the railway station. First-class hotels—their pension is from 12 to 20 frs., but it is necessary to arrange the price at the commencement. On each side of the Casino are the *H. Aix, with garden, and the Univers. Opposite are the H. de la Galerie and the Nord. Then follow the Hotels: *Europe; *Venat, with large garden; and opposite, at the end of R. du Casino, the H. Genève. Second-class houses: in the parallel street, the R. Genève, behind the R. du Casino, are the H. Durand; *Gaillard; in the Place Centrale the H. Poste. Opposite the H. Poste is the office whence the omnibuses start for the lake and the Lyons steamboats, and for Marlioz. Up by the side of the Bath-house is the H. de l’Etablissement. In front, the H. de l’Arc Romain. To the left, in the Rue des Écoles, is a small clean family house, the H. Germain. A little beyond is the H. Châteaux-Durrieux. Below the last, the H. Folliet and Italie. The pension price in the above second-class houses varies from 7 to 11 frs. On road to station, the H. des Bergues.

On an eminence overlooking the park is the *Splendide Hôtel, a really splendid first-class house. Below it is the H. Beau-Site, also a new but a smaller first-class house.

The Port is nearly 2 m. from Aix by the R. de Genève, and then to the left. At the pier is the inn Beau-Rivage, “Poissons frais.”

Abundance of furnished lodgings. English chapel, Rue du Temple, behind the H. Venat. Presbyterian chapel in the park.

Aix-les-Bains: Cabs.

Cabs or Fiacres.—One-horse cab—3 frs. for the first hour; every succeeding hour, 2 frs.; per day, 20 frs. Two-horse cab—for first hour, 4 frs.; every succeeding hour, 3½ frs.; per day, 20 frs. Riding horses—two hours, 4 frs. Donkeys—one hour, 1 fr.; half-day, 4 frs.

The bathing establishment is a very large edifice, especially fitted up for the external application of the water, very little being drunk. Mineral water flows from the fountain in front of the building. Behind the establishment are the caverns whence the springs issue. To visit, ½ fr. There are three different springs, their temperatures being 112°, 114°, and 115° Fahrenheit, and their contents carbonates of lime, magnesia, and iron, sulphate of soda, and some phosphates. Ordinary bath with linen, 1½ fr. Opposite the establishment is a Roman arch, 3d cent., with the inscription “Lucius Pompeius, Campanus, Vius fecit.” Behind the arch is the chateau of the Marquis of Aix, now occupied by the Hôtel de Ville and the post and telegraph offices. A handsome stone stair of fifty-eight steps, under a quadripartite roof on round columns, leads up to the various offices. At the top is the museum. On the ground-floor, just beyond the foot of the stair, a door opens into what is called the Temple of Diana, a large rectangular hall of coarse masonry, recently restored. Adjoining are the Hotel de l’Arc Romain, 9-12 frs., the parish church, and the park. The waters used for drinking are the cold sulphur springs, situated a little way out of town.

Aix-les-Bains: Springs. Excursions.

The most powerful and peculiar is the spring at Challes, 900 ft. above the sea, and 45 min. distant by omnibus from Chambery. Hotels: Château de Challes; Terrason; Ferret. It, like the others, is used for indigestion and liver complaints, but especially for laryngeal affections.

Nearly a mile from Aix by the Chambery road is the Marlioz mineral water establishment, with hotel, furnished apartments, and villas, all within a large park. The water is cold, sulphurous, and alkaline, with bromine and iodine, and costs 10 c. the glass. About 20 min. walk from the town by the Geneva road, near the village of St. Simon, is the Raphy spring, frequently taken at meal-time and prescribed in certain gastric diseases, dyspepsia, and nervous disorders of the stomach.

Excursions from Aix-les-Bains.—The steamer on certain days makes the tour of the lake, stopping at the principal places, of which the chief is the Abbey of Hautecombe; fare there and back, with small boat and two men, 9 frs. To Bordeaux and back, 5 frs.; Bonport, 4 frs.; Châtillon, 14 frs. Arrange price beforehand. No boat permitted to carry more than six passengers. An hour on shore allowed. Drive round the lake—one horse, 11 frs.; two horses, 15 frs.

The Abbey of Hautecombe was founded in the 12th cent., but rebuilt in 1745. The church, containing 300 statues and many frescoes, is 215 ft. long, the transept 85 ft., and the height of the roof 34 ft. The interior, as well as most of the mausoleums, is of a soft white fine-grained magnesian limestone, from the quarries of Seyssel, near Culoz. The best of the statues are those of Charles Felix, King of Sardinia (died 1821), and of Marie Christine, his spouse (died 1849), on the right and left hands of the nave at the entrance. They are of Carrara marble. In the chapel of Notre Dame de Compassion, in the right-hand transept, is another beautiful group in Carrara marble; in the left transept is a wood figure of St. Joseph, well executed.

About half a mile from the convent by a road following the shore of the lake is an intermittent fountain, very irregular in its action. To reach it continue the road till arriving at a clump of chestnut and horse-chestnut trees, some having stone seats round the trunks. The fountain is in the corner under the fourth tree. Near Hautecombe are the village and castle of Bordeaux, founded in the 9th cent., over which rises the Dent du Mont Chat (see p. 282).

Other Excursions.—To the S.W. the Colline de Tresserve, 1109 ft., good views, chestnut trees, and the castle of Bonport. To the S.E. the Roche du Roi, with quarries, which were worked by the Romans. The Rocher de St. Victor, by the chestnut forest of Mouxy; there and back, 5 hours. The mountains of the Grand-Revard and the Cluse, 5154 ft., by mule-path; there and back, 6 hours. To the N. the cascade of Gresy, 45 minutes, 3 m. Gresy, with its keep, 12th cent. 5 m., the defile of the Combes and the Prime rocks. To the N.N.W. the Montagne de Gigot, 2680 and 2762 ft.

Grotto of Banges. Le Châtelard.

Aix to the Grotto of Banges, by Gresy and Cusy.— Seat in car there and back, 5 frs. About 3 m. from Aix is Gresy, with its pretty waterfall. Beyond the village the road ascends by the stream Sierroz to an undulating plain, on which is Cusy, 3½ hours from Aix. To the N., on a rock rising from the Chéran, are the extensive ruins of a castle. On the opposite bank are seen the hamlet of Aiguebellette and the castle of St. Jacques, and, rising abruptly from the valley, three singular obelisks of rock. 2 hours from Cusy the Chéran is crossed by the Pont de Banges, and not far from this bridge, where the road is hemmed in between the rocks and the stream, is the entrance to the Grotte de Banges, containing a lake, 216 ft. below the level of the entrance, approached by a gallery 270 yards long, hung with stalactites.

This road may be continued to Le Châtelard, 1¾ hour from the bridge, 2500 ft. above the sea; Inns: Des Beauges; De la Poste; pop. 950. This is the capital of the “Pays des Beauges,” occupying a plateau 13 m. long and 8 m. wide, traversed from S.E. to N.W. by the Chéran, and surrounded by steep rocks. Cheese-making, the rearing of cattle, and the manufacture of articles in wood form the industries of the inhabitants, of whom there are 10,000. Châtelard, in its social and geographical position, resembles Le Beage (p. 84).

The road from Aix to Chambery is through the broad valley which separates the mountains of the Grande Chartreuse from those of the Beauges. Belonging to the former are Mont Grelle, 4649 ft., to the S.W., and Mont Granier, 6348 ft, due S.; while to the N.E. is the Dent de Nivolet, 4597 ft, an advanced bastion of the Beauges.

At Aix-les-Bains, junction with branch to Annecy, 26 m. N., whence a diligence starts daily for Geneva, 27½ m. farther N. by Brogny, Cruseilles, and St. Julien (see map, p. 27).

Aix-les-Bains to Geneva by Annecy and Annemasse, by rail.

21½ m. by rail N. from Aix-les-Bains, and 3½ m. from Annecy, is Lovagny, the station to alight at to visit the “Galeries des Gorges” of the torrent Fier, about 10 minutes distant. From the station take the road to the left, cross a bridge, and walk on to the châlet, where refreshments are sold, and tickets, 1 fr. each, to visit the gorge, which is of the same nature, though much superior, to the galleries of Pfäffers. The gallery, or rather balcony, is 1162 ft. long, and on an average 72 ft. above the torrent. It rests on iron brackets driven into the face of vertical cliffs 310 ft. high, and on an average 8 ft. apart.

3½ m. farther by rail is

Annecy, pop. 11,000. Hotels: Angleterre, opposite the post office; Verdun, at the head of the town, near the public gardens and the lake, and not far from the steamboat-pier; Aigle; Savoie.

The steamboat sails from the side of the public gardens opposite the Convent of St. Joseph. It makes the tour of the lake three times daily. Diligence daily to Bonneville, 23 m. N., passing the villages of Plot and La Roche; also to Albertville, 28 m. N., on the road to Italy by the Little St. Bernard (see page 320).

This ancient town, with narrow arcaded streets, is situated on the north-west end of Lake Annecy. The two most prominent buildings in Annecy, as seen from the lake, are the Barracks, and the Castle of Tresun, in which St. François de Sales, the founder of the Order of the Visitation, was born August 21, 1567. Opposite the steamboat-pier is another prominent edifice, the Church and Convent of St. Joseph, both modern, but containing, in the garden behind, the first chapel erected by St. Francis, dating from 1610. The house Madame Chantale, his friend, inhabited adjoins this chapel.

The mortal remains of St. Francis are in a shrine above the high altar in the Church of the Visitation, at the western side of the Rue Royale. The house in which he resided is in No. 18 Rue St. Claire, entrance at the left-hand corner within the court. The house in which Madame de Warrens first received Rousseau stood in the parallel street, behind the Rue de l’Évêché, on the site of that house next the Episcopal palace, with railings in front. The best promenade is the garden around the Hôtel de Ville at the head of the lake. It contains a statue by Marochetti of the great French chemist, Claude Louis Berthollet, born at Talloires in 1748.

The Lake of Annecy is 9 m. long, 2 broad, and 1455 ft. above the sea-level. It is surrounded by vine-clad and wooded mountains, of which the highest is La Tournette, on the eastern shore, 6260 ft. above the lake. To ascend it land at the village of Talloires, where there are a comfortable inn, the Hôtel de l’Abbaye, and guides.

Near the shore of the lake, on the side of a hill about 2 m. east from Annecy, is the house in which Eugene Sué spent the last years of his life. It is one-storied, with garret-windows, and behind a small square tower. On the morning of August 1, 1857, he took his last walk on the hill, returning from which fatigued he went to bed, and died two days afterwards. The remains of Rousseau’s house are seen a little farther south, above the village of Veyrier.

Leschaux. Cruseilles

South from Veyrier, also on the lake, is the village of Menthon, the birthplace of St. Bernard, the founder, in the 10th cent., of the hospices of the Great and the Little St. Bernard. He is buried on the right-hand side of the choir in the cathedral of Lausanne. At the south extremity of the lake is the village of Doussard, at the entrance into the dark gorge of the Combe Noire. Here a coach awaits passengers for Faverges and Albertville, 18 miles south from Doussard. In this neighbourhood the best mountain to ascend for the view is Semnoz, 4148 ft. above the lake. The ascent is made from the straggling village of Leschaux, 1590 ft. above the lake, 10 m. S. from Annecy, and 14 m. N.E. from Aix-les-Bains. Donkeys can be hired at the village. The ascent takes about 2 hrs. On the top is a comfortable inn. Duingt, at the S.W. end, is the most picturesquely situated village on the lake. (See map of Mt. Cenis, p. 291.)

3 m. N. from Annecy and 24 m. S. from Geneva is the village of Brogny, where, in 1342, Jean Allarmet the swineherd was born, who became successively Bishop of Geneva, Viviers, and Ostia, Archbishop of Arles, and then a Cardinal. From Brogny the road passes the Pont de la Caille, 18 m. from Geneva, a small village near the suspension bridge, 212 yds. long, across Les Usses, and 665 ft. above the bed of the torrent. Higher up, in a ravine, are the baths of Caille.

16½ m. from Geneva is Cruseilles, pop. 2000, and 2576 ft. above the sea. The road from Cruseilles passes over the top of Mont Zion, 2586 ft., and then descends to Chable. 10 m. farther is St. Julien, 1535 ft., pop. 2500. French custom-house station, 6½ m. from Geneva.

Chambery.

370¾ 60¼ CHAMBERY, pop. 20,000, and 815 ft. above the sea. Passengers arriving late should spend the night at Chambery, and next morning proceed to Turin. Hotels.—Princes, in the Rue de Boigne, near the fountain. France, on the Quai Nezin. In the Rue d’Italie, the Poste and Europe, near the theatre. In the Rue de la Banque is the Banque; and opposite it is the Temple Protestant.

Chambery is situated in a plain surrounded by high mountains. The first object that strikes the stranger on arriving from the station is the monumental fountain to General Boigne in the Boulevard du Theatre, opposite the termination of the principal street, the Rue de Boigne. It consists of four bronze elephants supporting a column crowned with a statue of the General. At the other extremity of the Rue de Boigne is the Château, formerly the residence of the Dukes of Savoy, built in 1230. The entrance is either by the stair in front or by the road round from behind, which leads also to the Botanic Gardens. Within the precincts of the château is the Préfecture, having attached to it one of the old massive round towers, ascended by a most handsome staircase of 160 low broad steps to within a short distance of the top, attained by 36 more steps in two short flights. In the stair is the entrance to the Museum, chiefly archæological. The Natural History Museum is in the Botanic Garden. The view from the top of the tower is very pleasing, and overlooks the whole of the town. Fee, ½ fr. Opposite the tower is the Chapel of the Dukes of Savoy, 14th cent. Fee, ½ fr. The three tall windows are filled with beautiful old glass. The roof is covered with stone groining, with cleverly-executed arabesque painting between the nervures. The roof of the cathedral is similarly painted, but on a blue ground. It is situated near the Rue de Boigne, and was built in the 14th, 15th, and 16th cents.

Chambery: Church of Lemenc. J. J. Rousseau.

The Rue de Bourgogne, the second street to the right up the Rue de Boigne, leads past the Hôtel de Ville and the post office to the Palais de Justice, with the Jardin Public behind. In front of the Palais is a bronze statue of the jurist, Antoine Favre, who died 1624. On a hill on the other or eastern side of the railway are the Convent de la Visitation and the Church of Lemenc. The upper church of Lemenc is of the 13th or 14th cent., but the under church or crypt is of the 7th cent. In the centre of the crypt is a curious baptistery, six feet in diameter, under a peristyle. Beside it is an Entombment. In the upper Church are the mausoleum of General Boigne and the relics of Saint Concors, an Irish archbishop from Armagh, who died here 600 years ago. His relics are said to have the power of working miracles on children. In the adjoining cemetery, close to a small chapel, is the grave of Madame de Warrens.

Excursions.—The house which Jean Jacques Rousseau inhabited is on the height called the Charmettes, 395 ft. above and 2 m. from Chambery by a pleasant road shaded with walnut and plane trees. It is a mere cottage. The room to the right on entering was the dining-room. It contains in a drawer his watch, opposite the window his bookcase, and hanging on the walls, facing each other, the portraits of himself and of Madame de Warrens. The next room was their sitting-room; here are his card-table and mirror. The room above was madame’s bedroom, and the one over the dining-room Rousseau’s. From the garden the view extends to the Dent de Nivolet, 4597 ft., ascended from Chambery in between 5 and 6 hrs.; guide advisable. View not equal to that from the Dent du Chat (p. 282). The pretty walk to the Bout du Monde, at the foot of the Dent de Nivolet, by the bank of the Laisse and the gorge of the Doria may be made in little more than an hour. Omnibus in 45 min. to the cold sulphurous iodo-bromuride springs of Challes (p. 284).

376 55 LES MARCHES, a straggling village at the foot of a hill crowned by the chapel and image of Notre Dame de Myans. To the S.W., 4 hrs. there and back, are the Abimes de Myans, lakes between conical hillocks, formed by a partial landslip of Mt. Granier.

378 53 MONTMÉLIAN, pop. 1200. Inn: Voyageurs. Junction with line to Grenoble, for which change carriages (p. 338).

St. Pierre d’Albigny. Aiguebelle.

358¼ 45¾ ST. PIERRE D’ALBIGNY, 971 ft. (map, p. 291), pop. 3300, 1½ m. from its station. Inns: At station: H. des Voyageurs. In town: Croix-Blanche; Soleil. Junction with line to Albertville, 14 m. N.E., whence diligences to Annecy, 28 m. N., passing close by Ugine, 1755 ft., and through Faverges; Inn: Poste. Diligence also to Moutiers and Bourg St. Maurice on the road to the Little St. Bernard, one of the easiest of the Alpine passes (see p. 321). From St. Pierre take the N. window of the carriage to have a proper view of the immense cones and pinnacles of calcareous rocks, which tower in many places almost vertically above each other. These lofty walls afford protection from the chilling blasts to the pretty villages, vineyards, orchards, and maize fields; which places only at a little distance from these mountains do not enjoy. Vineyards cease a little above St. Michel, 2400 ft., but patches with vines may be seen within 3 m. of La Praz. Up to La Praz the mountains are cultivated more or less in terraces. Higher up the valley of the Arc they are too steep and arid.

332 39 AIGUEBELLE, pop. 1100. H. de la Poste. Village close to station. Arch to Charles Felix. The valley now begins to widen.

409 22 LA CHAMBRE, pop. 800, on the confluence of the Bugion and the Arc. Afterwards, to the right, is the valley of the Glandon.

414½ 16½ SAINT-JEAN DE MAURIENNE, pop. 3200. Inns: Europe; Cheval Blanc; Voyageurs. The cathedral, founded in the 15th cent., contains the mausoleum of Count Humbert, and some beautifully carved stalls. The arcades of the cloister are of alabaster, and were constructed in 1452. In the neighbourhood are the argentiferous mines of Rocheray and the saline thermal springs of Echaillon.

421 10 ST. MICHEL, pop. 3000. A village on the Arc, 2323 ft. above the sea-level, in a hollow at the foot of high mountains. Inn: Poste, near the post office. From St. Michel the Alpine region commences. The next station is La Praz, 6 m. from St. Michel, 3140 ft. above the sea.

Modane.

431 MODANE STATION, 3445 ft. above the sea, and 727 m. from London, is really part of the village of Fourneaux. Modane is a little farther up, and the train passes through it on the way to the tunnel. Large refreshment-room at station. Opposite station—Inn: Hôtel International, where comfortable lodgings can be had, as well as carriages to visit the neighbourhood. The river Arc runs by the back of the house. There are also several restaurants. Luggage from France and Italy is examined here. In Italy every pound of registered luggage is charged. The scenery on both the French and Italian sides is beautiful, and the traveller ought to endeavour to pass through it during the day. The passage through the tunnel is done in 30 minutes. The air is at no part disagreeable. The entrance is 492 ft. above the station, and is reached by a winding railroad of 3-1/10 m., with a gradient of 2½ per cent. The highest part of the tunnel is 4380 ft. above the sea, and 5250 ft. below the summit of the ridge perforated.

From Modane the ascent is made of Mont Thabor, 7100 ft. higher than Modane, in 7½ hrs., by the Col de la Saume. Descent in 6 hrs., or a little over 5, by Bardonnecchia.

Lans-le-Bourg. Les Tavernettes.

Modane to Susa by Mont Cenis.

From Modane a carriage-road leads over the Pass of Mont Cenis to Susa, 40 m. distant by Villarodin, pop. 220. On the right bank of the Arc up the valley is Avrieux, where Charles the Bold was poisoned by his doctor. Near this are passed the forts Esseillon or Bramans, connected with the road by a steep winding path. 8¾ m. from Modane is Le Verney, where the road crosses the Arc; 10¾ m. Solliers; to the left, the valley of the Laisse or Doron; 16¾, Termignon, pop. 1080, and 4251 ft. above the sea, at the confluence of the Laisse with the Arc, church with frescoes and a curious belfry; 18 m. Lans-le-Bourg, pop. 1500, consisting principally of inns, situated on the Arc, 4560 ft. above the sea, at the base of Mont Cenis. After crossing the Arc the ascent of the Pass is commenced. From Lans-le-Bourg to Susa are twenty-three houses of refuge. At the culminating point, 6882 ft. above the sea, is the inn Ramasse. The road now descends. 13 m. from Susa and 27 from Modane is Les Tavernettes, on a terrace 200 ft. above the lake, which is 1¼ m. long and 6234 ft. high, and contains good trout. This is one of the best headquarters in the Alps for a naturalist. 10 m. from Susa and 29½ m. from Modane is the Hospice of Mont Cenis, on the great plateau. 2 m. farther is the hamlet of La Grande Croix, 6069 ft., on the edge of the plateau, and whence the descent becomes more rapid. 4½ m. from Susa is the post-house of Molaret, and about 3 m. more, or 1¼ from Susa, the hamlet of Giaglione, with splendid views and rich vegetation (Susa, see page 291).

Part II.—Modane to Turin.

See Map of Mont Cenis Railway.

58½ MODANE. At Modane passengers enter the carriages of the Alta Italia Railway Company. The Italian time is 47 minutes in advance of the Paris time. The best time-table for Italy is the “Indicatore Ufficiale delle Strade Ferrate,” 1 fr.; also a smaller edition, 20 c., sold at all the railway stations. Waiting-room is Sala d’Aspetto. W.-C’s., Cessi, or Latrine, or Retirate. For ladies, Cessi per le donne. Smoking carriages, Pei fumatori. Non-smoking carriages, E vietato il fumare. Way out, Uscita. Way in, Entrata. Station, Stazione or Fermata.

5 53½ BARDONNECCHIA, 4127 ft., pop. 1600. At the station the Albergo della Stazione, and in the town the Hôtel de France. Situated near the Italian end of the tunnel, but in a more fertile country than that above Modane.

12 46½ OULX, pop. 2000, and 3514 ft. high. Inn: Dell’ Alpi Cozzié, at the station. At this pretty little village the road from Briançon, 17 m. S.W. by Mont Genèvre, joins the rail. The mountains, which extend from Monte Viso to Mont Cenis, were called the Alpes Cottiae, from King Cottius, who, according to Pliny, reigned over this region some years before the beginning of the Christian era (Pliny, Hist. Nat., lib. iii. cap. 20). Cottius erected the arch of Susa, and also constructed the road from that town over the Cottian Alps, by Oulx to Ebrodunum, now Embrun, on the Durance (see page 343).

21¾ 36¾ CHIOMONTE, 2526 ft. Beyond are some charming views.

25½ 33 MEANA, 1 m. from Susa, and 325 ft. above it. The train, having traversed beautiful chestnut woods, crosses the Dora and arrives at Bussoleno, 30½ m. from Modane, whence a loop-line of 5 m. extends to Susa, 1625 ft., pop. 5000. Hotels: France; Soleil. This, the ancient Segusium, the chief city of the Segusiani, who inhabited what is now called Savoy, is situated on the Dora, 1625 ft. above the sea. On the W. side of the town is the Roman Triumphal Arch erected about 8 B.C. in honour of Augustus. It is adorned with Corinthian columns and sculptured friezes on the entablature, but all are in a decayed condition. The cathedral, San Giusto, dates from the llth cent.

12 m. from Bussoleno and 16 from Turin is San Ambrogio station, at the foot of Monte Pirchiriano, 3150 ft. above the sea and 1500 above the plain. On the summit is the convent of S. Michele della Chiusa, founded by Ugone Marino in 966, and finished in 1000. It was partially repaired by Carlo Alberto and Vittorio Emanuele II. The government intend to establish a meteorological station here. A good mule-path leads to the top in about an hour, passing the village of S. Pietro, with a good inn, 2617 ft. above the sea.

Turin,

pop. 264,000, on the Po and the Dora Riparia, 785 ft. above the sea, and 490 m. S.E. from Paris. The city derives its name from the tribe Taurini, who were first the opponents and then the allies of the Romans. When Hannibal descended from the Alps he destroyed the city, that he might have nothing to dread from its hostility. Having risen speedily from its ruins, it received within its walls the army of reserve of Julius Cæsar when he marched against the Gauls. Under the Lombards it was made the capital of a duchy, and became the favourite residence of Queen Theodolinda, who, in 602, built the church of S. Giovanni Battista, now the cathedral of Turin, reconstructed in 1498. Francis I. so damaged Turin in 1536 that its entire reconstruction became necessary. The streets are wide, clean, and well paved, and pass through spacious squares ornamented with statues and bordered by handsome arcades. The most aristocratic part of Turin is the western end of the Corso Vittorio Emanuele II. and the streets ramifying southwards from this.

Hotels.—The *Europa, 19 Piazza Castello. In the same square, and less expensive, is the H. di Londra. This piazza is in the neighbourhood of the principal sights, and is the terminus of the most important trams. The other first-class houses are: the *Torino, opposite the arrival side of the station. The *Liguria, 14 Piazza Bodoni, with one end to the Via Carlo Alberto. Their new house is at 9 Via Madama Cristina, near the English chapel and the Vaudois church. The Liguria is patronised by Messrs. Cook. The H. Feder, 8 Via S. Francesco di Paolo. At 31 and 29 Via Roma, the Angleterre; and the Trombetta. The Albergo Centrale, Via delle Finanze; Bonne Femme (Buona Fama), Via Barbaroux. Less expensive: H. *Suisse; H. Bologna, both opposite arrival side of station; *France et Concorde, Via dell’ Accademia Albertina, with one side to the Via di Po; Albergo del Campo di Marte, 40 Via della Providencia; the Dogana Vecchia, 4 Via Corte d’Appello; Albergo del Gran Mogol, 41 Via Lagrange.

Cabs.—One horse, from 6 A.M. till midnight, the course, 1 fr. First half-hour, 1 fr. First hour, 1½ fr. Each successive half-hour, 75 c. The course from midnight to 6 A.M., 1¼ fr. From the central station to any part of the town, 1¼ fr. Trunks, 20 c. each. Cabs with 2 horses, ½ fr. additional. Porters, for carrying each portmanteau from the station to a cab, 2 sous. Each small article, either to cab or to the railway carriage, 1 sou.

Horse-trams traverse Turin in every direction; while the steam-trams run from the city to the towns and villages not only within but beyond the suburbs. The fare of the horse-trams is universally 2 sous; that of the steam-trams from 12 sous to 3 frs. 18 sous. In the horse-trams no more than four may occupy one seat.

Turin: Stations.

Stations.—The most important is the Central Station, a well-situated and well-arranged and spacious edifice. On a tablet on the departure side is an inscription to the honour of George and Robert Stephenson. Parallel to the station is the wide and handsome Corso Vittorio Emanuele, which traverses the city from east to west, having at the eastern end the Po and the Giardino Pubblico, and at the western the model prison, the Carcere giudiziario, the artillery barracks, and the cattle-market. In front of the station is a bronze statue of Massimo d’Azeglio, a poet and painter, who died in 1866, one of those who helped to throw off the yoke of Rome. Behind the statue is the garden or Piazza Carlo Felice, and the straight street, the Via Roma, extending to the Piazza Castello, by the Piazza S. Carlo, with, in the centre, a bronze equestrian statue, modelled by Marochetti in 1838, of Emanuele Filiberto, Duke of Savoy, and son of Carlo III. il Buono. He died in 1580. The attitude is rather theatrical. The station for Rivoli, at the west end of the Piazza dello Statuto, communicates with the P. Castello by the Via Garibaldi. The Cirié Lanzo station is on the Dora, N. side of plan, at the Ponte-Mosca. Opposite the Rivoli station, in the Piazza dello Statuto, is a monument to the engineers of Mt. Cenis tunnel, in the shape of a pyramid, 60 ft. high, composed of huge blocks of unhewn granite, up which scramble discomfited, colossal, naked Titans in white marble. On the pinnacle stands the Genius of Science, of a slighter make, and on a tablet the names of the engineers, Sommeiller, Gratoni, and Grandi.

Turin: Post Office. Booksellers.

Post and telegraph offices are in the Piazza Carlo Alberto, by the side of the Palazzo Carignano (p. 297). Stamps are sold at all the tobacco shops. This piazza is close to the P. Castello, and connected with the Via di Po by a lofty arcade, covered with glass, and bordered on both sides with well-stocked shops.

Booksellers.—For maps of Italy, Carlo Crespi, 2 Via Lagrange. For guide-books, Loescher and Brero, both in the Via di Po.

Money-changers in the central railway station and in the principal streets. In the main streets are also elegant Cafés, where the charge in all of them for a good cup of coffee with a piece of ice is 6 sous. The same price for an excellent ice cream heaped up in a glass.

Theatres.—See list on plan. A short way east from the central station, in the Corso Vittorio Emanuele, is the Vaudois church, built in 1853. Adjoining are the Vaudois schools, and behind, at 15 Via Pio Quinto, the Anglican chapel. Near the chapel is the synagogue, a handsome edifice with square towers crowned with balloon-like cupolas.

Turin: Sights.

Sights.—The museums and picture gallery (Pinacoteca) in the “Accademia delle Scienze,” with one side to the Piazza Carignano and another to the Via dell’ Accademia delle Scienze. Nearly opposite is the Palazzo Carignano, containing the zoological and mineralogical collections. The white marble statue in front represents the philosopher, Vincenzo Gioberti, born 5th April 1801 in the house opposite, 5 Via Lagrange, where a white marble tablet states: “II Conte Camillo di Cavour naque in questa casa, addi 10 Agosto 1810. E vi mori il 6 Giugno 1861.” The armoury, enter by door headed “Reale Armeria Antica” under corridor, 13 Piazza Castello; adjoining is the Royal Palace. On the other side of the palace is the cathedral, San Giovanni. A walk down the Via di Po. Several drives in the horsetrams. All the above places are near each other, around the Piazza Castello. The only one that is at a little distance is the Museo Civico, up the side street, V. Rossini, from the Via di Po. The Superga, by steam tram from the Piazza Castello.

Turin: Palazzo dell’ Accademia. Museum of Antiquities.

The Museum of Antiquities and the Picture Gallery.

The Palazzo dell’ Accademia delle Scienze, designed by Guarini, was built in 1678 as a college for the sons of noblemen. It is a vast earthy-coloured brick edifice, of which the ornaments, mouldings, and cornices are also of dingy brick. On the ground-floor are the more massive, and in the first story the smaller antiquities. In the second story is the picture gallery, containing about 800 paintings in fifteen rooms. Open daily from 9 to 4, 1 fr. On Sundays and feast-days free, when it is open from 12 to 4. The large antiquities are contained in two halls. Hall 1. Left. In the centre, against the wall, under an inscription in honour of the Egyptologist Champollion, is the gem of the collection, a black basalt statue of Sesostris, Rameses II., 1388 B.C. On his right, in rose-coloured granite, is the colossal statue of Amenophis II., 1565 B.C., and on his left a small black basalt statue of Amenophis II., the god Ptah. Opposite are three figures in a sitting posture, representing the Egyptian Trinity, Osiris, Horus, and Isis. At the head of this hall is the colossal red sandstone statue of Seti II., in whose reign the exodus of the Israelites took place. From this a room ramifies at right angles, containing Greek and Roman statues, busts, friezes, vases, etc.

Parallel to Hall 1 is Hall 2. At the head of this hall, in a sitting posture, is the black basalt statue of Thothmes III., 1591 B.C., who was one of the most powerful of the Pharaohs.

Upstairs, first floor, are the smaller antiquities, contained in three large halls and several rooms. Near the centre of the first hall, left, is the oldest of all the articles in the museum, the pedestal of a table covered with hieroglyphics, supposed to have been made about 2654 B.C. A little farther down, in the centre of the hall, under a glass case, No. 13, is the Tabula Isiaca, a bronze tablet, 4 ft. long by 2 ft. 2 in. wide, inlaid with hieroglyphics in silver, made at Rome in the reign of Hadrian. Exactly opposite this tablet commences the passage that leads to the smaller rooms. In the first room, left, in the corner, is a colossal bust of Juno, hollowed, that the priest might the more easily work the oracle. In the first room, right, is a mosaic pavement, found at Stampacci in Sardinia. The rooms contain besides Phoenician terracotta figures, Etruscan vases, statuettes, urns, reliefs, ancient iron ornaments, lamps, etc.

The Centre Hall contains idols, jewellery, amulets, sarcophagi, mummies, Egyptian heads with the hair on, and bricks made by the Israelites.

In the Third Hall are the Papyri, of which the most important are: No. 4, near centre, against left wall, in second row, The Book of the Dead, 35 ft. long and 8 in. wide, illustrated with plain vignettes. Opposite, in centre of hall, is 126, fragments of the famous annals of Manetho, which contained a list of more than 300 kings of Egypt down to the 19th dynasty.

Turin: Picture Gallery.

In the second story is the Picture Gallery. All the paintings are labelled. In Room 1 are portraits of princes of the house of Savoy, and battles in which they were engaged. Room 2. In this room are excellent specimens of the Turin painter, Gaudenzio Ferrari, No. 49, St. Peter and Donor; 52, Madonna and St. Elizabeth; 53, God; 54, Descent from Cross; 57, Joachim driven from the Temple. Rooms 3 and 4. Italian pictures, Massimo d’Azeglio, another Turin painter, 90, a Landscape. Room 5. Italian paintings of the 14th, 15th, and 16th cents.: Clovio, 127 bis, an Entombment, painted on silk; Bronzino, 127 and 128, Portraits of Eleonora da Toledo and her husband, Cosimo I. de Medici. Room 6. J. da Ponte (II Bassano), 148, Portrait; P. Caliari (Paolo Veronese), 157, Queen of Sheba presenting gifts to Solomon; A. Carracci, 158, St. Peter; Caravaggio, 161, Musician; J. Robusti (Il Tintoretto), 162, The Trinity. Room 7. Guido Reni, 163, S. Giovanni; Spagnoletto, 174, St. Jerome. Room 8. Enamels and paintings on porcelain by Constantin of Geneva. Room 9. A small room entirely filled with fruit and flower pieces by Dutch artists. Between rooms 9 and 10 is a dark lobby, hung also with pictures. Room 10. Continuation of the Italian school, 16th, 17th, and 18th cents.: B. Strozzi, 232, Portrait of Prelate; 251, Homer singing his own Songs; Paolo Veronese, 234, Mary Magdalene at our Lord’s Feet; Guido Reni, 235, Apollo; 236, Cupids; G. Dughet (Poussin), 237, 238, Tivoli Waterfalls; G. F. Barbieri (Il Guercino), 239, 262, *S. Francesca Romana, and in next room, Return of Prodigal Son. Room 11. A. Canale (Il Canaletto), 257 bis, Ducal Palace, Venice; F. Albani, 260, 264, 271, and 274, The Four Elements; S. Ricci, 272, Hagar sent away; 275, Solomon burns the Idols; C. Dolce, 276, Head of Madonna; B. Bellotto, 283, 288, Royal Palace, Turin; Old Bridge across the Po. Room 12. Flemish and German school: Acken (Bosch), 309, an Adoration; G. Van Eyck, 313, St. Francis; Rogier Van des Weyden, 312, *Madonna; F. Franck, 335, Room with Ladies and Gentlemen; Van Dyck, 338, 351, The three Children of Charles I. of England; *The Princess Clara Eugenia of Spain; Rubens, 340, Sketch of his apotheosis of Henri IV. in the Uffici of Florence. Room 13. Containing the gems of the collection: A. Mantegna, 355, Virgin, Child, and Saints; L. Credi, 356, *Virgin and Child; G. F. Barbieri (Guercino), 357, *Virgin and Child; Hans Memling, 358, *The Seven Sorrows of the Woman Mary; Saenredam, 361, *Interior of a Protestant Church, the figures by A. Ostade; Van Dyck, 363, *Large equestrian portrait of the Principe Tommaso di Savoia; his finest work is **384, Holy Family; D. Teniers, 364, Tavern; G. Ferrari, 371, Jesus giving up the Ghost; Raphael, 373, *La Madonna della Tenda; Donatello, 375, Virgin and child in relief on marble; Sodoma, 376, *Death of Lucretia; P. Potter, 377, *Cattle grazing in a meadow; H. Holbein, 386, Portrait of Erasmus. Room 14. Dutch and German school: Picture by Jordaens; Sallaert, 398, Procession in Brussels; Floris, 410, Adoration; P. P. Rubens, 416, Resurrection of Lazarus; C. Vos, 417, Portraits of Snyders and his wife; Teniers (the younger), 423, Card Players; Schalcken, 458, Old Woman. Room 15. French school: C. Gélée (Claude Lorrain), 478, 483, Landscapes; I. Courtois (Bourguignon), 481, Cavalry Charge. Catalogues sold of the contents of the museums and picture gallery.

Palazzo Carignano. Royal Armoury.

Museum of Zoology and Mineralogy.

Opposite the Palazzo dell’ Accademia, but a little to the left, is the Palazzo Carignano, also by Guarini, and also of earthy-coloured brick; but the decorations are superior, more varied, and more pleasing than those of the Palazzo dell’ Accademia. In large gilt letters, on the façade fronting the Piazza Carignano and the statue of Gioberti, are the words, “Qui nacque Vittorio Emanuele II.” Within is a high and spacious court, surrounded by lofty halls, and at the east end, fronting the Piazza Carlo Alberto, with the beautiful bronze monument to him by Marochetti, cast in London, is the more pretentious stone façade, built in 1871, but not in harmony with the rest of the building. (See also p. 293.) In this palace, magnificently housed, are the zoological and mineralogical collections. Open daily, 1 fr. Sundays and feast-days free.

Royal Armoury.

No. 13 Palazzo Castello, open on feast-days from 11 to 3 free. On other days procure admission from the secretary. This collection is of great interest only to the inhabitants of northern Italy, as it is filled chiefly with relics of their kings, dukes, and wars. In the first room is “Favorito,” the favourite horse of the magnanimous Ré, Carlo Alberto. Above it, near the roof, are numerous tattered flags taken in battle. In the large hall are two rows of armed knights and foot-soldiers. At the head of this hall, in a glass case, numbered 301, is an embossed oval shield, inlaid with gilding, and surrounded by a fringe of massive gold thread. On five medallions are represented, in alto-relievo, scenes from the war of Marius against Jugurtha. It belongs to the school of Giulio Romano, was executed probably in the latter half of the 16th cent., and was presented to the university of Turin by the Princess Vittoria di Sassonia Hilburghausen. Among the relics are the sword worn by Napoleon at the battle of Marengo, the saddle of Charles V., and some beautifully inlaid body-armour of the Dukes of Savoy. The large door at the end of this hall opens into the “Medagliere del Ré,” containing 30,000 Greek, Roman and ancient coins and medals, including a complete series of those struck in the State of Sardinia; and also 5000 medallions, seals and stamps. In this same part is the Biblioteca del Ré, with 40,000 vols., 1800 MSS., numerous autographs, engravings and drawings by the great masters. To visit these special permission must be obtained. From the windows of the armoury is a view of the palace-gardens. At the N.E. angle of the Piazza Castello is the Teatro Regio, considered the finest work of Benedetto Alfieri. It is seated for 2500, and is open only during carnival and on extraordinary occasions. Turin: Royal Palace. In the absence of the royal family the palace may be visited. It is a plain brick building, commenced in 1646, with the front to the Piazza Castello, plastered to imitate stone. Having passed the main entrance, turn to the left. At the end of this corridor is seen, through a glass door, the equestrian statue of Vittorio Amadeo I. (died 1675) in a niche at the foot of the grand staircase. The rider is in bronze, the horse in marble. Ascend the marble steps, then, to the right, two flights of narrow steps lead to the hall of the palace, where the servants will be found who show the palace. Fee, 1 fr.; party, 2 frs. After the guardroom succeeds a series of rooms with much gilding, inlaid floors, and rich furniture. The pictures are all modern, and of no great merit. The room called Maria Theresa’s contains some fine china vases.

Turin: The Cathedral.

The Cathedral.

Adjoining the western end of the palace is the Cathedral San Giovanni Battista. To the left of the altar is the pew of the royal family. Behind the altar, and approached by two staircases of 37 steps each, is the Cappella del Sudario (open till 9 A.M.), a circular chapel, separated from the church by a glass screen. It was built by Guarini in 1694, and is encrusted with the dark grayish-blue marble from Fabrosa, near Mondovi, which brings out in striking relief the pure white of the statues and the rich gilding of the ornaments, cornices, capitals, and eight-limbed stars which spangle the interior. Double monolith columns of the same dark marble, with bronze pedestals and capitals, support six arches ornamented with diaper-work on the soffits. Above them rise six smaller arches containing the windows, while the dome or cupola is composed of an intricate series of interlacing zigzag arched ribs rising from the second tier, and intermingled with loopholes, which throw light in such a manner upon the star at the summit as to give it the appearance of being suspended. The beautiful altar, lighted with gold and silver lamps, has two faces, so that two masses are said before it at the same time. The shrine on this altar is said to contain the shroud (Sudario) in which Joseph of Arimathea wrapped the body of our Lord when he laid Him in the tomb. Round the chapel are the beautiful white marble monuments of three kings of the house of Savoy—Em. Filiberto (ob. 1580), by Marchesi; Carlo Emanuele II. (ob. 1675), by Fraccaroli; and Amedeo VIII., first Duke of Savoy (ob. 1451), by Cacciatori. One prince, the Principe Tommaso (ob. 1656), by Gaggini. In a sitting posture is the lovely statue of Queen Maria Adelaide, consort of Vit. Em. II. (ob. 1855), by Revelli. The door behind the altar communicates with the upper corridors of the palace. Outside the palace gates is San Lorenzo, designed by Guarini, and finished in 1687. The interior is gorgeous, but it is chiefly distinguished for the boldness of its arches.

Turin: The Castello. Museo Civico.

The Castello.

The large brick building in the centre of the Piazza Castello was erected in the 13th century, and called the Castello till 1718, when it became the favourite residence of the widow of Carlo Emanuele II., Madama M. G. Battista, who built the stone façade, and in honour of whom it has ever since been called the Palazzo Madama. Before the seat of government was removed to Florence the senators assembled in the great hall of this palace. One of the towers is used as an observatory, and another part of the palace by the “Accademia reale di Medicina,” who here hold their meetings, and have also a museum of craniology.

Museo Civico.

Via Gaudenzio Ferrari, No. 1, near the Via di Po. Open from 12 to 3, 1 fr. Sundays and feast-days free. First room, autographs and MSS. of celebrated Piedmontese. 2. Water-colours, representing landscapes and historical scenes in Piedmont. Under glass frame is a solid oblong chased silver vase, 3 ft. and some inches in its greater diameter, and 2 ft. 8 inches in its smaller. At each of the two long ends is a lion’s head with a ring in his mouth. Near this vase, and also under a glass frame, and also in solid silver, are two candelabra, a vase, and two flower-holders adorned with figures in relief. The first was presented in 1871 by the English Government, and the other by that of the United States to the Count Frederic Sclopis, President of the Geneva arbitration in the Alabama question, and given to this institution by his widow. None of them display much art; as for the English vase, it needs only a lid to turn it into a respectable soup-tureen.

The rooms from 4 to 11 contain modern oil-paintings, some very good, and all labelled. Down the centre are white marble statues; among the best are Eve and the Serpent by Fantacchiotti, and the Crucifixion of Eulalia by E. Franceschi. Second story.—Room 12, Embroidery; 13, Miniatures and illustrated MSS.; 14, Iron work; 15, Carving in wood and ivory—notice 947, Judgment of Solomon; 16, Glass and majolica; 17, Italian porcelain; 18, Busts; 19, Small oil-paintings and uniform of Azeglio; *20, Italian painted glass from 1300; 21, Egyptian pottery; 22, Pottery and stone age.

Turin: Via di Po. University. Madre di Dio.

The Via di Po.

The finest of the streets is the Via di Po, which extends from the Piazza Castello to the great rectangular square, the Piazza Vittorio Emanuele, on the bank of the Po; and as both of these spacious squares, as well as this magnificent street, are lined throughout with wide and lofty arcades, they form together an excellent and interesting walk in all weathers. The Via di Po is 768 yards long and 19½ wide, and the pavement within the arcade 6½ yards wide. Good shops are ranged on both sides of the street under the arcades. In the Via di Po is also the University, built in 1713 by Vittorio Amedeo II., but founded in 1404 by the Prince Lodovico di Acaia. It is attended by 2500 students, and directed by 70 professors. The Library, open every day from 9 to 4, contains 200,000 volumes and 3000 MSS. In the court are Roman bas-reliefs, inscriptions, and statues, ancient and modern. Between the Via di Po and the Piazza Carlo Emanuele ramifies the Via dell’ Accademia Albertina, containing at No. 6 the Accademia Albertina delle Belle Arti. Open daily. Apply to the custodi.

The Piazza Vittorio Emanuele is 394 yards long and 121½ wide. In front, on the other side of the Po, is a conspicuous church, the Gran Madre di Dio, built in 1818, in the style of the Pantheon at Rome, by Bansignori, to commemorate the return of Vittorio Emanuele I. to Turin after the fall of Napoleon. A little to the right on a hill (Il Monte) is a Capuchin convent, built towards the end of the 16th cent. The road up is very easy, and the view from the terrace admirable. Immediately above the Madre di Dio church is the palace, La Vigna della Regina, built by Prince Maurice of Savoy, which after his time was inhabited by one of the queens of Sardinia, from whom it acquired its present name, “The Queen’s Vineyard.” It is now a government school for the education of children of military men. Up the river, beyond the suspension bridge, is the Castello del Valentino, distinguished from a distance by its four pavilions with high-pitched roofs. It was built by the widow of Victor Amadeus I., daughter of Henri IV. of France, and is now used as a government school of civil engineering. It contains a good collection of minerals, the larger part of which, obtained from Sardinian provinces, are topographically arranged. The Botanical Garden belonging to the university is also here.

Turin: Monument to Cavour.

Monuments.

In the Piazza Carlo Emanuele II., a short way S. from Piazza Castello, is the monument to Camillo Cavour, by Dupré of Florence, for which he received £1200, contributed by the inhabitants of every part of Italy in 1872. The statues are in white marble, the tablets and friezes in bronze, and the pedestal in granite. The monument is tame and mystic. Cavour, in an upright position, holds in his hand a scroll bearing the words, “libera chiesa in libero stato.” (See p. 294.) The climate of Turin is more suitable for bronze than for marble statues. To the west is the Piazza S. Carlo, with a bronze monument to Emanuele Filiberto (see p. 293). Farther west, in the Piazza Solferino, is the remarkable, almost painful, bronze group representing Ferdinando di Savoia (brother of V. Emanuele II.) at the battle of Novara in 1848. When about to lead the charge on the Bicocca his horse fell, mortally wounded. The poor animal, on bended knees, with gaping mouth and outstretched neck, seems about to breathe its last in an agony of suffering.

A short way west from the Piazza Castello by the Via Palazzo di Citta is the Piazza del Palazzo di Citta, having on one side the Palazzo di Citta, or the Municipality buildings, designed by Lanfrachi, and erected in 1659. At the entrance to the Palazzo are the marble statues of the celebrated Prince Eugene and the Duke of Genoa, brother of King Victor Emanuel, and under the portico statues of Prince Thomas di Carignano and Victor Emanuel. In the centre of the square is a bronze group representing Count Verde (Amadeus VI.) over a fallen Saracen. Close to this square is the church of Corpus Domini, with the interior encrusted with beautiful marble, and ornamented with frescoes and gilding. From this the Via Milano leads towards the Piazza Em. Filiberto, passing by on the left S. Domenico, and on the right the Basilica. In S. Domenico, in the first chapel to the right of the altar, is a picture of the Virgin by Guercino.

Turin: La Consolata. Cemetery.

Near the Piazza Em. Filiberto, by the Via Giulio, is the church La Consolata, with an ugly square brick tower. It consists of three churches built at different periods. On the principal altar is a miracle-working image of the Virgin; while a great part of the adjoining walls is hung with pictures illustrating the cures and deliverances effected by it. Two lovely kneeling figures, in the most precious Carrara marble, looking towards the altar, represent respectively Maria Theresa, queen of Carlo Alberto, and Maria Adelaide, queen of Vit. Emanuele, dressed in the same way as they used to be when they attended worship every Sunday in this chapel. They both died in 1855. In the square outside, on a granite column, is a statue of the Virgin, erected in fulfilment of a vow when the cholera raged in 1835.

In the Piazza Savoia, near the Piazza dello Statuto, is an obelisk 72 ft. high, erected in 1854 to commemorate the abolition of the ecclesiastical courts. On the four sides are the names of the towns which contributed to the monument.

Less than a mile from the Ponte delle Benne is the cemetery or Campo Santo of Turin. (See N.E. corner of plan.) It is badly kept and not worth visiting. The inner or new part is a little better.

A little to the W. of the P. Solferino, and parallel to it, is the citadel and the barracks of the Cernaia. In front of the entrance is the monument to Pietro Mico, who, to save the citadel from the enemy, sprang a mine at the cost of his own life.

Turin: La Superga.

La Superga.

Leave by the steam tram starting from the Piazza Castello; the time-table is in the waiting-room, where the tickets are also sold half an hour before starting. As the train can take only a limited number, the tickets are generally all taken in the first 10 minutes. The tram runs down the Via Po, crosses the Ponte Vit. Emanuele I., passes by the western end of the church, the “Great Mother of God,” and descends by the left side of the Po to the Cassale station, whence the ascent commences by the rope and locomotive railway constructed by Agudio, and opened in 1884. The ascent takes 20 minutes, the length is 3500 yards, the average inclination 13%, and the greatest 20%. At the Superga station are waiting-rooms, and a few feet below them a commodious restaurant. On arriving at the station ascend by the road, right hand, for the Superga. The walk down the mountain is very pleasant, and it is probable that the pedestrian will fall in with some tram when on the main road to Turin.

The Superga is situated 4½ m. N.E. from Turin, on a mountain 1420 ft. above the Po, or 2146 ft. above the sea, and cost £100,000. It was commenced by Vittorio Amedeo II. in 1717, and finished in 1731, to fulfil a vow made by him on 7th September 1706, for the victory over the French at the battle of Turin, when the house of Savoy regained the duchy. The architect was Filippo Juvara.

Enter by door at the north side of the building, where the men will be found who conduct visitors over the church. Gratuity optional. The first hall shown contains small and indifferent portraits of all the popes. Then down 27 large marble steps to the crypt. At the foot is a white marble group, St. Michael overcoming Satan. None of the monuments are worthy the name of royal mausoleums. The best are: in centre, Carlo Alberto, 1779-1849; at right hand end, Carlo Emanuele III., 1701-1773; towards left, Duke Ferdinando de Genova, a colossal white marble statue; at left end, Vittorio Amedeo II., the founder, 1666-1732. In an adjoining vault children under seven are buried.

From this ascend by 357 steps from floor of church to the gallery outside the lantern. A door about 80 steps up opens into the gallery round the interior of the octagonal dome, whence the church is well seen. The top of the lantern is 229½ ft. above the pavement of the church.

Turin: Views. Lamprede. Wines.

The chief object for visiting the Superga is the splendid view from the outside gallery of the lantern. In one direction is the plain of Piedmont with the Po wandering across it; everywhere else the horizon is bounded by a vast chain of snowy Alps, with Monte Rosa on one side and Mont Blanc on the other.

Among the delicacies of Turin are the lamprede, thin eels from 5 to 8 inches long, caught in the Po. They are killed by being plunged into milk. The white truffles are also celebrated, and when cooked “à la Piedmontese” or “à la fonduta,” and taken with a bottle of Asti wine, make most enjoyable dishes. The vermouth of Turin is an agreeable aperitive, and is taken before sitting down to table. The best wines of Piedmont are the Caluzo, a white wine; the Barolo, a dryish red wine with a taste of the soil; the Barbera, a strong red wine; and the Nebrolo. The Gressini are double baked bread in strips 18 inches long and a quarter of an inch thick. In the Italian houses a handful of them is put down to each cover at the dinner-table. They are made at very many places besides Turin; even at Cannes on the Riviera. A great deal of maccheroni (macaroni) is consumed in Italy. In Turin are important silk mills.

Turin to Cuneo, 54¾ m. S., by Cavallermaggiore (see p. 153). Turin to Genoa, 103¼ m. S.E., by Asti, Alessandria, and Novi (see p. 279). Turin to Savona, 91¼ m. S.E., by Carmagnola, Bra, Carru, and Ceva (see p. 183, and map p. 27). Turin to Florence, 291 m. S.E., by Asti, Alessandria, Piacenza, Parma, Modena, Bologna, and Pistoja (see p. 309, and map p. 199).

The Vallees Vaudoises, or the Valleys of the Waldenses.

(See accompanying Map.)

The Waldensian valleys are very beautiful, are drained by splendid trout-streams, and possess a rich variety of rare plants.

The chief town, Torre-Pèllice (formerly called Torre-Luserna) is 34¼ miles S.W. from Turin by rail, passing by Pinerolo, 23½ m. S.W. from Turin, and 10¾ m. N.E. from Torre-Pèllice. From Pinerolo a steam tram runs 12 m. N.W. up the valley of the Chisone to Perosa, the second Waldensian town in importance. Time, 1 hr. 30 min. The tram station is near the railway station.

Pinerolo is connected with Saluzzo by steam tram, 2 hrs. 20 min. S., 2 frs. 15 c. and 1 fr. 55 c., passing Osasco and Cavour. This tram station is at some distance from the Pinerolo railway station.

The Italian steam trams run on single lines laid on one side only of the highroads. Some towns they traverse, while others they merely skirt. They afford excellent opportunities for seeing the country, but run neither so quickly nor so smoothly as the railway trains.

Rail between Cuneo and Mondoví, 11½ m. E. and 58 m. S. by rail from Turin. Mondoví, pop. 17,000, on the Ellero; Inn: Tré Limoni d’Oro. On one side of the Ellero is the railway station, and on the other are the inn and town, built on the lower slopes of a wooded hill rising from the river. The Via San Agostino contains the best shops. On the top of the hill is another town nearly as large as Mondoví (see p. 184).

The country of the Italian Waldenses consists of parts of the valleys of Pèllice, San Martino, and Perosa or Chisone, is about 20 m. long from W. to E. by 13 broad, is divided into 15 parishes, exclusive of the isolated parish of Turin, and contains a population of about 25,000. They have besides a thriving colony in Uruguay. Till Cavour in 1848 procured for Italy civil and religious liberty, the Waldenses were confined by law to their valleys; now, however, they have spread themselves over the best parts of Italy, while many emigrate every year to the United States and to Uruguay. Of late mills and manufactories have been established on their rivers, which has caused a large influx of Piedmontese workmen, so that many Waldensian towns and villages which up to 1848 were inhabited almost exclusively by Protestants have now a larger population of Romanists.

These valleys are very fertile, bearing luxuriant crops of maize, wheat, barley, potatoes, French beans, etc., intersected by long rows of vines on high trelliswork, and studded with mulberry, apricot, peach, apple, pear, and cherry trees, while at the base of the densely-wooded mountains which enclose them are walnut and chestnut trees. The only high mountain in the territory is Monte Meidassa, 10,185 ft., between the valleys of the Pèllice and the Po, which river has its source 6625 ft. above the sea among the snowy summits of Monte Viso, 12,607 ft., a short way south from Monte Meidassa by either the Col dell’ Agnello or the Col Traversette, 9680 ft.

Waldensian Doctrines and Persecutions.

The Vaudois inhabited originally not only the valleys on the E. side of the Alps but also those of Louise, Embrun, and Barcelonnette on the French side (pp. 344, 345), and, as there was constant communication between them, French became the common language, as it is still in a great measure. They consider themselves a part of the Apostolic Church, which by its isolated position in the then almost inaccessible ravines had escaped the early innovations introduced by the church of Rome; albeit not altogether, for they admitted confession by contrite prayer to God and the mention aloud of their sins to a priest, the power of priests to bind and to loose, that sins were of two classes, mortal and venial, and the efficacy of fasts and penance. At the Reformation all these were swept away, and the doctrines and church polity of Calvin adopted. The independent church of the Waldenses, or valley-people, existed about a century before the arrival of Pierre Valdo from Lyons in 1180. Their name is supposed to be derived from “valle densa,” contracted into Vallenses, Valdenses, and finally Vaudois. The first serious persecution of the Italian Vaudois was begun at the instigation of Yolande, sister of Louis XI and wife of Amadée IX., Duke of Savoy. By her representation Innocent VIII. in 1487 fulminated against the Waldenses a bull of extermination. Whoever killed any of these heretics were to be absolved from promises they had made, property wrongly obtained by them was to be rendered legal, and they were to have a complete remission of all their sins. Persecution among the French Vaudois commenced in the 13th cent.

Torre-Pèllice.

Torre-Pèllice, pop. 5200, Inn: H. de l’Ours, good and comfortable, is situated on the Pèllice and its affluent the Angrogna, 34¼ m. S.W. by rail from Turin, 10½ m. from Pinerolo, and 1¼ m. from the station of Luserna-San Giovanni, pop. of both places together, 4200. Luserna is a considerable town to the N. of the station. Inn: Albergo del Belvédère. Opposite is San Giovanni, a large unfinished-looking village, with barracks, a “Tempio Evangelico,” and several elementary Protestant schools.

Torre-Pèllice is a thriving town in the midst of a fertile valley enclosed within most picturesque mountains. At the west end are the Waldensian church, the manse, the college, and the higher school for girls. At the other end of the town are the inn, the post and telegraph office, the Romanist church and schools, and up by the Angrogna the Baptist chapel and manse. On the rivers are cotton and flour mills, and dye and calico-printing works. These establishments have attracted many Piedmontese to the town, which, from this and other causes, have made the Romanist population more numerous than the Protestant.

The wine made in the valley of Pèllice is principally red, and is drunk in the second year. A beautiful walk extends up the valley of the Angrogna to Perosa, about 6 hrs. N. by the defile of Pra de Tor, 4360 ft., and the village of Pramollo with Waldensian chapel and schools. Pop. of the district of Pramollo, 1350.

Bobbio. Mirabouc. Col de la Croix.

Torre-Pèllice to Mont Dauphin by Bobbio, Mirabouc, Les Granges des Pras, the Col de la Croix, La Monta, and Abriés, 47 m. W., 16 to 17 hrs. walking. Up to Bobbio, 2838 ft, 7½ m. and 2½ hrs. walking, pop. 1520, Tempio Evangelico, Inns: Camoscio, etc., there is nothing particular. Afterwards the valley gradually contracts till it becomes a mere gorge, having at the entrance the ruins of Fort Mirabouc. At Mirabouc, 4718 ft., the valley turns southward to the inn and custom-house station, 5683 ft., about 3½ hrs. from Bobbio, where provisions and accommodation may be had for the night. From this commences the ascent of the Col, 7576 ft., 17 m. from Torre-Pèllice and 30 from Mont Dauphin, commanding a splendid view of Monte Viso. The top (with an Hospice) is nearly level, and the descent by the French side easy. At La Chalp the track joins the char-à-banc road leading to Mont Dauphin by La Monta, Ristolas, Abriés, and Guillestre. (For Mont Dauphin and Guillestre, see p. 344, and map p. 304.)

Pinerolo.

Pinerolo.

23½ m. S.W. from Turin by rail and 10¾ m. NE. from Torre-Pèllice is Pinerolo, 1237 ft., pop. 19,000. Inns: *Couronne d’Or; Campana; Cannon d’Oro. A handsome but rather a straggling town, with a large Piazza d’Armi, a good promenade, several hospitals, and representatives of the chief Italian banks. It contains besides a public library, various colleges and schools, including one for cavalry and another for music. The Waldenses have a chapel near the public garden, and a school for girls and another for boys. In the Via Sommeiller is a large seminary. The Cathedral is a handsome building, served by a large staff of dignitaries. In the Piazzetta Santa Croce is the Italian Alpine Club. Cabs—the course, 1 fr.; the hour, 1 fr. 75 c.; each successive half-hour, 1 fr.

Perosa. Col d’Abriés.

Near the centre of the town is the terminus of the steam tram to Saluzzo, 2¼ hrs. Near the railway station is the terminus of the steam tram to Perosa, 12 m. N.W. from Pinerolo. Perosa, 2015 ft., pop. 2400, Inn: H. National, agreeably situated on the Chisone near its junction with the Germanasca. On the other side of the Chisone is Pomaretto, pop. 760, with a Waldensian chapel and school.

Perosa to Mont Dauphin.—There is a post-road up the Germanasca and down the Guil, an affluent of the Durance, to Mont Dauphin, passing by Perrero and Abriés. Abriés is 24 m. S.W. from Perosa and on the S. side of the Col d’Abriés, and 21 m. N.E. from Mont Dauphin. (For Mont Dauphin, see p. 344.) About 7 m. W. from Perosa is Perrero, 931 ft, pop. 560, on the Germanasca at its junction with the Germanasca di Massello. From this the road, still ascending the Germanasca, turns southward, and passing by the hamlets of Pomeifre, Fontana, Gardiola, and Bonous on the Germanasca at its junction with the Rodoretto, arrives at Prali on the Gormanasca, 4502 ft., pop. of district 1370, about 4½ hrs. walk from Perosa. The road from Prali passes Cugno, Ghigo, Orgiere, and Pomé to Giordano, whence it becomes a mule-path, which at the hamlet of Ribba separates from the path to the Pass Giuliano, 8358 ft. to the S.E., and continues in a S.W. direction by the Germanasca to the Col d’Abriés, 8677 ft., frequented even in winter. The summit is 3 hrs. from Prali, and the descent to the village of Abriés by the hamlet of Roux, 2½ hrs. (For Abriés and Mont Dauphin, see p. 344, and map, p. 304.)

Fenestrelle. Col de Sestrières.

Perosa to Cesanne, 28½ m. N.W. by the river Chisone, Fenestrelle, Pragelas, and Sestrières. 9 m. above Perosa is Fenestrelle, pop. 1120, Inns: Croce Bianca; Scudo di Francia, one of the strongest Italian fortresses on the frontier. 7 m. from Fenestrelle is Pragelas, where the valley becomes more Alpine in character. Other 4½ m. is Sestrières, “whence the road mounts in zigzags to the Col de Sestrières, a nearly level plain 2 m. long, commanding a good view of Mont Albergian. The descent is by long windings to the level of the Dora, which is crossed to reach Cesanne, 8 m. from Sestrières” (Ball’s Alps, p. 36). (For Cesanne to Briançon by Mont Genèvre, see under Briançon, p. 333, and map p. 304.)

Saluzzo.

Saluzzo is 42¼ m. S. by rail from Turin, and 4 hrs. by steam tram from the same city. Saluzzo is 2¼ hrs. N. from Cuneo by steam tram, passing Cavour, pop. of district 7220. Coach daily to Paesana on the Po, 14 m. W., fare 1½ fr.; also to Sampeyre, Albergo della Posta, 6 hrs. S.W., on the Vraita; and to Barge, 1½ fr., Inn: Lion d’Or.

The termini of the Cuneo and Saluzzo, the Pinerolo and Saluzzo, and the Turin and Saluzzo steam trams are just within the town. The tram to Pinerolo leaves Saluzzo near the railway station, passing by the marble statue to the poet Silvio Pellico, born at Saluzzo in 1788, d. 1854. Saluzzo, pop. 18,000, Inns: Corona Grossa; Gallo, is a town of considerable size, possessing great facilities for visiting various places in the neighbourhood, either by tram, rail, or coach.

Paesana. Crissolo. Col de la Traversette.

Saluzzo to Mont Dauphin, 65½ m. W. by Paesana, Crissolo, Col de la Traversette, Abriés, and Queyras. Take the coach which starts in the evening for Paesana on the Po, 1778 ft., with two fair inns, passing Martiniana and Sanfront. Above Paesana the valley becomes very picturesque and the view of Monte Viso gradually more and more imposing. After having passed Ostana, 4266 ft., the road reaches the sanctuary of San Chiaffredo, and a little farther on is Crissolo, 8 m. from Paesana, 4374 ft. Next is the Borgo, 4954 ft., the highest village in the valley of the Po, consisting of three hamlets, the lowest having a small inn. On the opposite side of the valley and about 1 m. farther up is the cave, Balma Rio Martino, 5020 ft., in strata of dolomite. The valley shortly after becomes wild and Alpine, yet enclosing two small oases—the Pian Fiorenza, 6034 ft., and the Pian del Ré, 6625 ft., containing in summer a rich variety of rare Alpine plants. A little to the S.W. of the Pian del Ré is the source of the Po. The road to the Col de la Traversette leads N.W. from the Pian del Ré through a hollow covered with snow the greater part of the year, whence the real ascent commences. About 300 ft. below the crest and 9564 ft. above the sea is the tunnel, generally closed with snow, pierced in 1480 by Ludovico II. The summit of the pass is 9680 ft. and about 4 hrs. ascending from Crissolo. The descent into the valley of the Guil is by the Buco di Viso. On the French side, 1897 ft. below the summit, is La Bergerie du Grand Vallon. (See Mont Dauphin to Saluzzo, p. 344, and map p. 304; also Ball’s Alps, p. 22.)

Cuneo.

Cuneo.

54½ m. S. from Turin by rail, and 2½ hrs. S. from Saluzzo by rail, is Cuneo, 1500 ft., pop. 1200, Inns: H. Barra di Ferro; Albergo di Superga. Steam tram to Borgo-San-Dalmazzo, pop. 4600, 45 min. S.W.; also to Dronero on the Maira, 1¼ hr. W. (See also pp. and .)

Cuneo to Barcelonnette, 61¼ m. W., by Borgo-San-Dalmazzo, Demonte, Vinadio, Bersezio, the Col de Largentière and l’Arche, the frontier village of France, with two inns. (See under Barcelonnette; Cuneo to Nice by the Col di Tenda, see p. 182.)

Turin to Florence.

291 miles southwards by Alessandria, Piacenza, Parma, Modena, and Bologna. Time by quick trains, 13 hours. For London to Florence, and through tickets, see the Continental Time-tables of the London, Chatham, and Dover Railway, 3d.

291 TURIN. (For Asti, and the route as far as Alessandria, see p. 280, and map p. 199.)

81 210 VOGHERA, pop. 10,000, on the Staffora. Hotel: H. Italia. Branch to Pavia, 17 m. N., and Milan. Between Voghera and the next station, Casteggio, is on the right Montebello, where the battle took place, 9th June 1800, which preceded that of Marengo by five days.

Piacenza. Cathedral.

117 174 PIACENZA, pop. 36,000, on the Po. Hotels: S. Marco; Italia; Croce Bianca. Cabs—the course, 1 horse, 70 c.; 2 horses, 1 fr. For the first hour, 1 horse, 1 fr. 50 c.; 2 horses, 1 fr. 80 c.

In the middle of the town is the square called the Piazza de’ Cavalli, from the two bronze equestrian statues of Duke Alexander Farnese and his son Duke Ranuccio. On one side is the church of S. Francesco, and on the other the Palazzo del Governo, and opposite it the picturesque Palazzo del Comune, begun in 1281. The portico underneath is used as a market. The upper part of the building is of red brick with handsome windows. The principal street, the Strada Diritta, leads to the Cathedral (1122-1233), containing some admirable paintings. In the interior the arches are round, but the ribs of the roof meet at an angle. At the 3d altar is a picture, by A. Sirani, of the Ten Thousand Martyrs; at the 4th a painting of the Death of a Saint. In the right transept is an altar-piece, Three Saints, by Calisto di Lodi, and on the ceiling frescoes by Agostino and Lodovico Carracci, in Correggio’s style. The Coronation of the Virgin is by Procaccini. The Cupola is divided into eight compartments; six of them were painted by Guercino, with figures of prophets and sybils; the other two figures were by Morazzone. Below are four allegorical paintings by Franceschini. The roof of the crypt under the church rests on 100 columns. S. Antonino (the former cathedral) was commenced in the 10th cent., and restored in 1562. The curious vestibule and the massive columns bearing the tower are relics of the earlier edifice. At the W. end of the town is Sa. Maria di Campagna, famous for paintings by Pordenone. On the left of the chief entrance is a fresco by him of St. Augustine and five Angels; in the 1st chapel left are two large frescoes, the Nativity of the Virgin and the Adoration of the Magi. Crossing the transept we have on the left the “Marriage of St. Catharine,” the faces being portraits of the Pordenone family, and a fine fresco also by him, representing the dispute of St. Catharine. By him are likewise the frescoes in the eight compartments of the cupola; those in the pendentives are by B. Gatti. The most highly decorated church is S. Sisto (built in the 16th cent.), with an Ionic atrium. Raphael’s Madonna, now at Dresden, was taken from S. Sisto.

The Palazzo Farnese is a great, unfinished, building, begun in 1558 by Margaret of Austria, now used as barracks. The Mandelli palace, now the Prefettura, has a handsome façade. 24 miles to the south of Piacenza is the site of Velleia, a town which was overwhelmed by a landslip in the 3d cent. Many interesting objects have been obtained there; which have been deposited in the museum of Parma. In the vicinity are emanations from the ground of carburetted hydrogen gas, which takes fire on the application of a flame.

Parma. Museum.

153 138 PARMA, pop. 46,000, on the Parma. Hotels: Albergo Centrale; Croce Bianca; Leone d’Oro. Parma, although founded by the Boii, and conquered by the Romans 183 B.C., is a neat clean town of modern appearance, surrounded by bastioned walls. The most important of the edifices is the Palazzo Ducale, forming, with the Palazzo Farnese, a large unsymmetrical assemblage of buildings in the Piazza del Corte behind the Piazza Grande. In the Ducal Palace is a collection of paintings belonging to the French school. In the Farnese are the Museum of Antiquities, the Picture-Gallery, the Library, and the Farnese Theatre, now in a ruinous condition. It was built in 1620, in the time of Duke Ranuccio, and for many years was the scene of splendid spectacles and grand public entertainments.

The Museum of Antiquities embraces a small collection, in four rooms, of Roman altars, bronzes, busts, and mosaics, principally from Velleia and Rome. Among the most remarkable, are “The Theft of the Tripoid,” in 1st room. In the 2d room, a statuette of Hercules intoxicated, and the “Tabula alimentaria,” a rescript of the Emperor Trajan, relating to the support of certain poor children. In 4th room, a bust of Maria Louisa, the first Napoleon’s second wife, by Canova. Higher up on the same staircase is the Library, with 150,000 volumes, and some thousands of MSS., in several large galleries and halls, at the end of one of which is Correggio’s fresco of the Coronation of the Virgin.

Parma: Picture-Gallery—Correggio.

The Pinacoteca is on the same floor of the palace as the library, and is open daily during the same hours. The collection is not large, but is remarkable for the number and value of Correggio’s pictures. In selecting the best pictures, we shall arrange the names of the painters alphabetically to facilitate reference.

Annibal Caracci.—Pietá. Lodovico Caracci.—Funeral of the Virgin; the Apostles at the tomb of the Virgin (two large pictures). Cima da Conegliano.—Two very good pictures. (Correggio.)—1. The Madonna della Scala, a fresco. 2. The Flight into Egypt, known as the Madonna della Scodella, from the dish in the Virgin’s hand. 3. The Madonna with St. Jerome, sometimes called Il Giorno, from its bright daylight effect and in contrast with La Notte at Dresden—this is Correggio’s best picture here, perhaps it is the best picture he ever painted on canvas, and it is universally considered one of the marvels of art. The letters A. A. (Antonio Allegri) are worked into the silk that covers the walls of the cabinet. 4. The Martyrdom of St. Placidus and St. Flavia (such subjects are not agreeable, however skilfully treated). 5. The Entombment. 6. Christ carrying his Cross (some critics think this to be a work of Anselmi, others that it is an early production of Correggio). 7. A Portrait attributed to him. (On the walls of some of the rooms are the drawings that were made for Toschi the engraver from Correggio’s frescoes at Parma.) Albert Durer.—Man with a Skull. Francesco Francia.—Descent from the Cross; the Virgin enthroned with Saints; the Virgin with the Infant and St. John (most charming). Garofalo.—Virgin and Child in the clouds, with a landscape below. Giovanni di San Giovanni.—A Singing party. Murillo.—St. Jerome. Parmegianino.—The Marriage of St. Catharine (an exquisite picture); Marriage of the Virgin; Portrait of a Man with a music book (marked “incerto” on the frame). Fra Paola da Pistoia.—Adoration of Magi. Pordenone.—Portrait of a Man with an open book. Raffaello(?).—Christ in the clouds with the Virgin and St. John, and Saints below (it is by no means certain that this is a work of Raffaello). Giuseppe Rosa.—Landscape with Cattle. Lionello Spada.—Fortune-telling, three figures; Marriage of St. Catharine. Spagnoletto.—Twelve pictures of Saints. B. Schidone.—The Entombment; the Maries at the Sepulchre; Virgin, Child, and St. John. Vandyck.—Virgin and Child; Portrait of an Old Lady. Velasquez.—Portrait of a Man in a black dress (there are other portraits ascribed to him). L. da Vinci.—Sketch of a Female Head. Zuccarelli.—River Scene.