Italy - Forgotten Books

M ONE Y - TAB LE .

(Comp . xi .)

Il ian . orican. English. German.

ITALY

ANDBOOKFOR TRAVELLERS

KAN -rgAE DfiK E R

F IR S T PART

NORTHERN ITALYIN CLUDIN G

LEGHORN FLORENCE, RAVENNA,

AN D

ROUTES THROUGH SWITZERLAND AND AUSTRIA

W ITH 25 MAPS AND 35 PLANS

ELEVENTfi 113 110113 1.L EDITION

LEIPSIC : KARL BAEDEKER,PUBLISHER

All raw/e reeerved

LIBRARYOF THE

STANFORDJR.Will

(1 . 5 114- 83

MAY 10 1901‘Go, little book , God send thee good passage,And specially let this be thy pt ayereUnto them all that thee wi ll read or hear,Where than art wrong, after their help to call,

Thee to correct in any part or all.’

PREFACE

The objects of the Handbook for Italy , which consists of

three volumes, each complete in itself, are to supply the trav

ellerwith some information regarding the culture and art of

the people he is about to visit, as well as regarding the nat

ural features of the country , to render him as independent as

possible of the services of guides andvalets- de- place, to pro

tect him against extortion, and in every way to aid him in

deriving enjoyment and instruction from his tour in one of

the most fascinating countries in the world. The Handbookwill also ,

it is hoped, be the means of saving the traveller

many a trial of temper ; for there are few countries where

thepatience is more severely taxedthan in someparts ofItaly .

The Handbook is founded on the Editor’

s personal se

quaintance with the places described,most of which he has

repeatedly and carefully explored. As , however ,changes

are constantly taking place , he will highly appreciate any

communications with which travellers may kindly favour

him ,if the result of their own observation. The information

already received from correSpondents , which he gratefully

acknowledges , has in many cases provedmost serviceable.

The present volume, corresponding to the fifteenth Ger

man edition, has , like its predecessor, been thoroughly revisedand considerably augmented. Its contents have been divided

into groups of routes arrangedhistorically andgeographically

(Piedmont , Liguria , Lombardy , Venetia , The Emilia , and

Tuscany), eachgroup being providedwith a prefatory outline

of the history of the district . Each section is also prefaced

with a list of the routes it contains, and may be removed

from the volume andused separately if desired.

The introductory article on Art , which has special re

ference to Northern Italy andFlorence, and theart-historical

notices p refixed to tbe descrip tions of the larger towns and

pfineflya/p ietare-

gallefies are due to the late Prof essor Antor

11 PREFACE .

Springer, ofLeipzig . In the descriptions of individual p io

fi rcs theworks ofM on t h}Crows andCavalcaselle, andB arebM fdt have been laidextensively under contribution, andalso

occasionally those of Ruskin and others .

The Mars andPLANS upon which special care has been

” owed,will abundantly suffice for the use of the ordinary

W eller.

Harem are given in English feet (1 Eng] . ft.s ure), andDISTANCES in English miles (comp. p. ii). ThePoem -mos s are given from themost recent official sourca .

~Hora (comp . p. xix). Besides the modern palatial ai l

expensive establishments the Handbook also mentions a cab

indicate those hotels wh ich the Editor has reason to belie“hm his own experience, as well as from information supplied

by numerous travellers , to be respectable, clean, and reasoi -b

afl e. The value of theseasterisks , it need hardly be observed,varies according to circumstances ,

those prefixed to town

hotels and village inns signifying respectively that ill.

m blishments are good of their kind. At the same time the

Editordoes not doubt that comfortablequarters may occasiobd iy be obtained at inns which he has not recommendedWcm mentioned.

n ae with the Editor’

s own experience ,

M ished to him by travellers . Although changes frequenqm place , and prices generally have an

M approximate statement of these i tems which isunifiedwill at least enable the traveller to form an esti

“his probable expenditure.

T o hotel-proprietors ,tradesmen , and others the E

ha s to intimate that a character for fair dealing and

eluded fiom his Handbooks . Hotel-keepers are also wanrsons representing themselves as agents

Handbooks.

CONTENTS.

Introduction.

I. Travelling Expenses. MoneyII. Period andPlan of Tour

III. Language

IV . Passports. Custom House. Luggage

V . Publi c Safety . Beggars

VI. Gratui ties. Guides

Railways. Steam Tramways. Steamboats

Hotels

IX. Restaurants,Cafes

,Osterie

X. Sights , Theatres, Shops, etc.

XI. Post Office. TelegraphClimate. Winter Stations. Seaside Resorts. Health

XIII. History of Art , by Prof. A. Springer

M “I. Routes to Italy.

1 . From Paris (Geneva) to Turin by Mont Ceni s2. From Bri g over the Simplon to Domodossola .

3. From Lucerne to Como (Mi lan). St. GotthardRailway .

4. From Thusis to Coli co over the Splugen5. From Innsbruck to Verona by the Brenner6. From Vi enna to Venice viaPontebba

II. Piedm0nt

Turin

The Alpine Valleys totheWest ofTurinFrom Turin to Ventimiglia via Cuneo and

From Cuneo to Bastia (Turin , Savona)From Turin to Genoa

From Turin to Aosta and Courmayeur

From Aosta to the Graian Alps

From Santhia(Turin) to BiellaFrom Turin to Milan viaNovara

16. Genoa17. From Genoa to Ventimiglia. Riviera di Ponente

18. From Genoa to Pisa. Riviera di Levante

IV. Lombardy19 . Mi lan .

20. From Milan to Como and Lecco

21. From Milan to Bellagio. The Brianza

22. Lake of Como23. From Menagg io, on the Lake of Como

,to Lu

o

gano and

.

toL ui s a, on the LargeMagg iore

vi i i CONTENTS.

Route‘24 . From Milan to Porto Oeresio

,on the Lake of Lu

gano

,vi a

Gallarate andVarese

25 . From Milan to Laveno vi i Saronno andVarese

26 . From Milan to Arena vi i Gallan te27. From Bellinzona to Genoa

28 Logo Magglore .

29 . From Domodossola to Novara. Lake of Orta. From Ortato Varallo

30. From Milan to Genoa viaPavia and Voghera31. From Milan to Mantua vi i Oremona

82. From Milan to Bergamo

33. From Mi lan to Verona34 . Brescia

sbs The Brennan Alps38. The Lago di Garda

Verona

From Verona to Mantua andModena

From Verona to Veni ce. Vicenza

Padua .

From Vi cenza to Trevi so. From Padua to En sure

Venice

From Venice to Tries te

VI. The l milia

From Turin to Pisecna vi i Alessandria

From Milan to Bologna vi i Piacenza andReggio .

Parma .

From Parma (Milan) to Ban ana (Spezia, Pisa

).

Modenah em Padna to Bologna .

Ferrara

Bologna

From Bologna to Florence vi i PistojaFrom Bologna to Ravenna

From Ravenna (orBologna) to Florence via Faenza.

55. From (Genoa) Leghorn to Florence via Pisa and Em

poli

56 . Pin .

57. From Plea to Florence vi i Lucca andPi stoja58. Florence59 . Environs of Florence .

List of Artists

MAPS AND PLANS.

Maps.

1. General Map of Northern Italy (1 Western Halfbefore the ti tle- page.

2 . General Map of Northern Italy , Eastern Half : after the Index.

3 . The Environs of Lugano 10.

4 . The Eastern Env irons of Turin (1 p. 27.

5 . The Graian Alps (1 p . 56 .

6 . The Env irons of Genoa (1 : p . 82.7, 8. TheRiv iera diPonentefrom Genoa toVentimiglia (1pp . 84

,88.

9 . The Environs

10. TheRiv iera di p . 94 .

11 . The Env irons p . 96.

12 . The Environs of13. The Env irons of14 . Railway Map of the Environs of Milan 1 : p. 137.

15 . The Environs of Como (1 p . 40.

16 . The Lakes of Como and Lugano (1 p. 144 .

17 . Lago Magg iore and Logo d’

Orta (1 p. 162.

18. The Environs of Pallanza (1 p . 166.19 . The Environs of Stresa p. 167.20. Lago di Garda (1 197.

21. The Env irons of B ologna p. 362.

22. The Env irons of Ravenna p . 363.

23. The Env irons of Florence (1 p . 4 95.

21. En virons of Vallombrosa and Camaldoli (1 p. 506.25 . Key Map of Italy (1 at the end of the Handbook.

Plans of Towns.

1. Bergamo (1 2. Bologna (1 3. B or

dighera (1 4 . B rescia (1 5. Cremona

(1 6. Ferrara (1 : 20, 7. Florence(18. Genoa (1 9 . Leghorn (1 10. Lucca

(1 11. Lugano (1 — 12 . Mantua (113 . M ilan (1 14 . Modena (1 15.

Novara (1 16. Padua (1 17. Parma

(1 18. Pav ia (1 19 . P iacenza (120. Pisa (1 21. P istoj a 1 22. Ravenna

( 1 23. Reggio with Environs. 24 .

San Remo (1 25. Treviso 26 . Turin

(1 27. Udine (1 28. Ven ice (1wi th Envi rons.— 29 . Verona (1 — 30. Vicenza (1

GroundPlans of Buildings.

The Church of St. Mark and the Palace of the Doges at

Ven ice. 3. TheAcademy at Venice. 4. TheAcademy at Bologna .

6. Tba U/fi'

fl'

Gallery a t Florence.

INTRODUCTION.

‘ Thon art the garden of the world, the home

Of all Art yields, and Nature can decree ;F an in thy desert , what is like to thee ?Thy very weeds are beauti ful, thy wasteMore ri ch than other climes

’

ferti li ty ,Thy wreck a glory , and thy ruin gracedW i th an imm aculate charm which cannot be defaced.

’

Braon.

I. Travelling Expenses. Money .

Expenses. The cost of a tour in Italy depends, of course, on the

traveller’s resources and habi ts

,but , as a rule

,i t need not exceed

that incurred in othermuch- frequentedparts of the continent . Theaverage expendi ture of a single traveller, when in Italy , may be

estimated at 20-30 francs per day , or at 10- 15 francs when a pro

longed stay is made at one place ; but persons acquaintedwi th thelanguage and habi ts of the country may easily restrict their ex

penses to still narrower limits . Those who travel as members of a

party eflect a considerable saving by sharing the expense of guides,carriages , and other i tems. When ladies are of the party , the ex

penses are generally greater.

Money . The French monetary system i s now in use throughoutthe whole of Italy . The franc (lira orfranco} contains 100centesim i ,1 fr. 25 c. 1 s . 1 German mark (comp. p. In copper (bronzo

or f am e) there are coins of 1 , 2, 5, and 10 centesim i , whi le a piece

of 20 c . in nickel was introduced in 1894 . In si lver there are piecesof 172 , 1, 2 , and 5 fr. , and in gold pieces of 10 and 20 fr. In con

sequence of the present financial stringency, however, the gold and

si lver coins havedi sappearedalmost entirely from circulation. Their

place i s taken by Buom‘

di Cassa of 1 and 2 fr.,B iglietti di S ta to

(treasury - notes) of 5 , 10, and 25 fr.,and the banknotes of the

Ban ca Nazionalc m l Reyna d’

Italia,the Banca Nat ionals Toscana ,

and the Banca Toscana di Credits . These last are being gradually

replaced by the notes of the B anca d’

Italia. The banknotes of

Nap les and Sicily are seldom met wi th in N . Italy . All other banknotes should be refused. The francs and copper coins of France

and the other countries of the Latin Monetary League are usually

refused. A piece of 5 c. is called a soldo,or sou , and as the

lower classes often keep their accounts in soldi , the traveller will

find i t u seful to accustom himself to this mode of reckoning (diccitoldi 50 c .

,dodici soldi 60 c .

,

B s sr MONEY s on run To va . Circular Notes or Letters of Credit , ohtainab le at the p rin cip al Engli sh or Ameri can banks

,form the proper

medi um for the transp ort Of large sum s and reali se the most fav ourab le” chu g “ E ng/”b ” 4 Germ an bankn

’

o tes also reali se their n om inal

xfl SEASON.

value. Sovereigns (3 -77 i f .) and the gold coins of the Latin HonetaryLeague are received at their full value, but should be exchan ed for no tes

at a mone o changer‘

s, as the premium (ea. 5 per cent) is ost in ho tels

and shape. remark also applies to the ItalianImilvep franc pieces (M ) .

It may rove convenient to procure a small supply of ItalianPi

papers moneybefore s

Excnas ox. Foreign m oney is most advantageously changed in the

the Engli sh bankers or at a respec tableAs a rule, those money - changers are

ly exhibi t a list of the current rates of

at any head Most-office but an exhi bThe cha e for money

-orders

“

granted in Italy and payable

lOc. per 1.

11. Period andPlan of Tour.

Season. As a general rule, the spring and autumn

the best season 10

pair the physical and mental energies .

Plan. The following short itinerary ,beginning

Milan , though very far from exhausting the beautiesincludes most of the places usually visited, with thefor a glimpse at each .

Haas (R. and excursion to Porto (the M ore p i8”To the Lay e r“ Como, Low d n M a

nd Logo lfm m emR.

28,128) aud on t

oTurin

.

From Turin to Genoa Gt. 11)Genoa (R. 16),

Pi8

and excursi on to Peg“ (V illao

Pallavicin l p. 84)Vi i Sp ecies to 006 3 . as t ron a uts)V i i Lucas and P530 0 to Florence, see R. 57n os-sacs (R. 58)From Florence to Ram a andRavenna (R: 51)Rassnaa (R.

From Revenue to Bolognaholom (R. 51)Prom Bologna vii [m m to Padua (R.

m l odena va l /mm to Verona (M R. and v ii

PLAN OF TOUR. xi i i

Padua (R. d thence to Venice

Venice (B .

From Veni t '

ceaza).

to Verona (R. see R. 89

[Ex cursi on to Haama (p. when the way from Modena to Veronavi i Mantua is not adopted . 1]

Lago di Garda (R. 1l/zFrom Desenzano v i i Brescia (R.84) andBergamo toMilan (RR. 1

To those who wi sh to visit only a part of North Italy (whetherthe eastern or western), the following i tinerari es may be recom

mended .

11. Eastern Part, starting from the Brenner Railway .

From Trent or Mori to Rica (p. Lago di Garcia (R.

Verona (R.

Excursion to Monica.

(p. 221)From Verona v i i Vicm za m. 227) to PaduaPadua (R. and thence to Veni ce

Venice (R. 42)From Veni ce v i i Fer-ram (R. 60) to BolognaBologna (R. 61)Excursion to B an ana (R. 68)From Bologna to Modena m 48

1and

.

Parma (R. see R. 46 .

b orn Parma vi i Piaeenza (p . 8 6) to Mi lanW an (R. and excursion to Pavia (the Certosa , {2

184)Logo Haggiorc, Lago di Lugano, Lago di Como (RR. 28,from Lecco v i i Bergamo and Bra cia (R. 82) to Verona

6. Western Part, starting from the St. Gotthard, Splugen , or Simplcgr.

ays

Lago di Como, Lago di Lagaao, Lago Maggiore 22, 28, 2

Milan (R . 19) 2From Mi lan to Turin (R. 16) 1Tun a (R. and thence to Genoa (R.

0

11) 1

Genoa (R. and excursion to Pegu (Vi lla Pallav i cini , p .

Excu rsion to S an Remo and B ordighera (R.

From Genoa vi i Voghera and Pavia (Certosa , p . 184) to Mi lan

The traveller entering Italy for the first time should do so , i f

the season be favourable, not by rail, but by one of theAlpinepasses

(Splugen, Simplon, etc. as only thus wi ll he obtain an adequateidea of the full ethnographi cal sign ificance of the Alps, which

conceal so new and so strange a world from northern Europe. Theluxuri ous character of the Italian climate

,vegetati on, and scenery,

the soft richness of the language, and the courtly manners of the

up per classes all present a stri king contrast to the harsher androu gher characteri stics of German Swi tzerland or Tyrol. On no

acc oun t , however, should he traverse these passes at night , and hesh ould always inform himself beforehand of the condi tion of the

di l i gence, and raise an energeti c protest against broken windowsan d simi lar inconveniences. In spring i t i s advi sable to wear cc

lo u red spectacles as a precaution against the dazzling reflectionfrom the extensive snow-delds (p. xxvi ii).

xiv CUSTOM HOUfiE.

III. u nguage.

It is qui te possible for persons entirely ignorant of Italian and

French to travel through Italy wi th tolerable comfort ; but such travellers cannot conveniently deviate from the ordinary track and

are moreover invariably made to pay‘aua Inglcsc

’by hotel- keepers

andothers, i . e. considerably more than the ordinary charges. Frenchis very useful, as the Italians are very partial to that language, and

i t may suffice forRome and some of the main routes ; but for thosewho desire the utmost possible freedom, andwho dislike being imposed upon, a slight acquaintance with the language of the countryis indispensable. Those who know a li ttle Italian andwho takethe usual precaution of ascertaining charges beforehand (contro ttare bargain) in the smaller hotels ,

in dealings wi th driven ,

gondoliers, guides , etc., andin shops,will rarely meet wi th attempts

at extorti on in Northern Italy.t

IV . Passports. Custom House. Luggage.

Passports, though not required in Italy, are occasionally useful .Registered letters, for example, wi ll not be delivered to strangers ,unless they exhibit a passport to prove their identi ty. The count

enance andhelp of the English andAmerican consuls can, of course,

be extended to those persons only who can prove their nationality .

The Italian police authori ties are generally civi l and obliging.

Forei Office passports ma be obtained through 0. Smi th a Son,63 Charini

n

Oross, Leo and Carter! “OWest Stran E . Stanfo m000kspur Street, Ohm

-inc Gross, or W’. J. Adams , 69 P set Street srge 2s

agent‘

s fee is . M ).

Custom House. The examination of luggage at the Italian

frontier railway- stat ions is generally lenient , but complaints are

sometimes made as to a deficiency of official courtesy at diligenceand steamer stations. Tobacco andcigars (only six pass free), playingcards, and matches are the art icles chi efly sought for. A duty of

wheel is not for sale, but thi s sum is refundedwhen they leave thecountry (members of the Touring Club do France are exempt). Thecustom- house receipts shouldbe preserved, as travellers are some

times challengedby the exciseofficials in the interior. At thegates off A few words on the pm mwtc ta

’

on may

xvi RAILWAYS .

public collections where an admission- fee is charged are forbidden

In hotels and restaurants about 6-10 per cent of the reckoningshould be given in gratui ties, or less if service is chargedfor. When‘service’ and ‘

couvert’appear on the bill, especially i f i t is for a

single meal , no fees should be gi ven.

Vsleta dePlace Guide, sing. to Guide)may be hired at 6- 10 fr.

per day. The most trustworthy are those attached to the chi ef

hotels. In some towns the better guides have formed societies as

‘Guide patentate’. Their services may generally well be di spensed

wi th by thosewho arenot pressed for time. Purchases should neverbe made , nor contracts with vetturini or other persons drawn up ,in presence or wi th the aid of a commissicnnaire, as any such intervention tends considerably to increase the prices .

VII. Ra ilways. Steam Tramways. Steamboata.

Railways. For visi tors to Northern Italy the mom importantrailways are the Rate Mediterrm e

,the B ets Adriatica

,

often preferable to their company .

per cent higher than the ordinary.

ca tion early. The ticket-office at

M stsflons f/‘J /g in . before the

RAILWAYS . xvii

holders alone have the right of admi ssion to the waiting-rooms.

At the end of the journey tickets are given up at the m enu.

Passengers by ni ght- trains from the larger stations may hire pillows

(m etri c, guanciale ; 1 Thesemust not be removedfrom the compartm ent.

The traveller should, i f possible, know the wei ght Of his lug

gage approximately , in order to guard against imposi tion (1 kilogramm e about NO luggage is allowed free

,except

small articles taken by the passenger into hi s carriage ; the rate of

charge is 0. for 100 kilogrammes per kilometre. The luggage

tibket is called to scentrine. Porters (facchim'

) who convey luggage to

and from the carriages are sufficiently paid wi th a few sous,where

there is no fixed tariff ; and their impudent attempts at extortion

should be firmly resi sted. Travellers who can confine their impediments to articles which they can carry themselves and take intothe carriages with them will be sparedmuch expense andannoyance.

Those who intend to make only a short stay at a place, especiallywhen the town or v i llage lies at some di stance from the railway ,had better leave their heavierluggage at the station till their return(dare in dcp osito or depositors 5 o. per day for each piece, m inimum 10 Luggage, however ,

may be sent on to the final des

t inati on,though the traveller him self break the journey . At small

s tati ons the traveller should at once look afterhi s luggage in person.

D uring the last few years an extraordinary number of robberies Of pass

engers‘

luggage have been perpetrated in Italy wi thout detection , and ar

ti cles of great value should no t be entrusted to the safe-keep ing of anyt ru th or portm anteau, however strong and secure i t may seem (com p .xv).

The enorm ous weight Of the large trunk s used by som e trave ers not

i n freq uently causes serious inj ury to the porters who have to handle them .

H eavy arti cles should therefore always be placed in the smaller packages .

The best collections of t ime- tables are the Indicators Ufficialcd olls S tradc Ferrets

,etc. (publishedmonthly by the Fratelli Pozzo

a t Turin ; price 1 fr.) and the Orario del Movimcn to Treni c Pim

s cafi (published by Arnabcldi at Florence ; 1 Smaller editions,

s ervi ng for ordinary purposes , are i ssued at 50 c. and 20 c.

The COMBINATION THROUGH Troxn'rs (biglietti di v iaggio ad iti

n erar io combinable) , i ssued by the Italian rai lways , are avai lable

for 16-46 days and Offer a saving Of 20- 30 per cent . Regular Orn

C ULAB TICKETS (v iaggi circolari) are new seldom used except for

t he Italian lakes. Tickets of both these kinds m ay be procured in

L ondon (at the principal stat ions Of the southern rai lways ; from

M essrs. Cook Son,Ludgate Circus

,Messrs. Gaze Sons

,142

S trand, in Pari s, and at the chief towns of Germany and

S wi tzerland. If the tickets are bought in Italy , with paper money ,t he travellerhas the advantage Of the prem ium on gold. Thosewith

whom economy is an Object may also save a good deal by taking

return- tickets to the Swiss frontier,travelling third class in Switzer

land, and then taking circular- tour ti ckets in Italy.T hese ti ckets have to be signed by the traveller and requ i re to b e

s tam ped at each fresh s ki rting-

p oin t wi th the name of the next, stati ona t wh i ch the tra veller In tends to hal t. Th is may be done ei ther at, ihe.

3 4 3 0 3 173 11. Italy 1. 11 th E di t.b

xvii i Breann e.

ci ty-Office or at the railway-station. If the traveller makes up his mind

en route to s li ght before the station for which his ti cket has been stamped,he mus t at once apply to the capostasioas for recogniti on of the breakin the j ourney (

‘acrm are a M onsanto da

'

When the trayeller qui ts the prescribed route, intending to rejo in it at a point fartheron, he has also to procure an

‘amnotarioue

‘

at the station when he ali ghts ,enabl ing him to resume his circular tour after hi s digress ion (

‘salc per

riprsadere alto stat ions ti “agate tutu-ratio a i f this ceremony

be neglected the holder of the ticket is requi red to y full fare fur theom it ted port ion o f the route for which the ti cket is sued.

Rea-nan Troxxrs (B iglietti d‘

andata e ritom o) may Often be

advantageously used for short excursions . They are generally avail

able for one day only, but those issued on Saturdays and the eves

of festivals are available for three,those issued on Sm idays and fes

t ivals for two days. It should also be Observed that i f the travelleralights at a station short of his destinat ion he forfei ts the part ofthe ticket between thi s point and the station to whi ch the ticket isissued; hemay, however, use hi s ticket forreturning from the station

at which he alighted.

N. i taly i s coveredwi th an extensive network Of Steam Tramways (Tramvia a Vapors) andElectric Bailways , whi ch are on

the whole of little importance for the tourist , but facili tate a visi t

to several interesting li ttle towns at some distance from the great

railway- routes. The rate of speed at tained on them is about halfthat of the ordinary railways, and the fares are considerably lower.

Detai ls are given in the Orario Generate di tutte le Ferronie dewAl ta Italic

, published at Mi lan (10 c. ; for Tuscany, see p.Steamers . The time- tables of the steamer- routes are given in

the larger rai lway- guides ment ioned at p. xvi i.On the Italian Lakes the ti ckets are distributed On board. Passengers

embarking at intermediate stations recei ve cheeks which the show on

purchasing their tickets . There is no extra charge for em rking at

sm all~boat sta tions . Return-ti ckets , unless otherwise marked, are go odfor the day of issue only .

In the proper season a steam er trip on the l editsrransan, especiallybetween Genoa , Speci a , and Leghorn, or on the Adri atic, between Veniceand Trieste, is a v charming experience. Tickets should be taken in

person at the steam oat-agencies. Ladies shou ld travel first- class , bu t

gflemen of modest req uiremen ts wi ll find the second cab in v ery fai r.e inadequate arrangements for embarking and disembarki ng gi ve great

annoyance and are a disti nct re roach to the steamboab com m iss . The

passengers are generally left at e m ercy o f the boattnen, w 0 m ake themost extortionate demands in spi te of the tariff. The traveller shouldnot enter the boat unti l a clear bar

gai n has been m ade for the transport

o f himself and his im ediment an should no t pay until everythin has

been deposited on decfior on :hora Small arti cles of in e she bekept in one

‘s own hands. The steward expects a gratui of about 1 fr.

per day , or more if the traveller has given him extra trouble.

VIII. Hotels.

Fi ner On es Horu s , comfortably ti tted up, are to be found at

4 11 the p rincipal resorts of travellers inNorthern Italy, most of themb a ring fixed charges : room 2l/3-b ir. , boogie76 e tc“fain , attend

HOTELS. xix

ance (exclusive of the ‘facchino’ and portier) 1 fr. , table- d’hote

4- 6 fr. The charge for dinner does not include wine, which i susually dear and often poor. For a prolonged stay an agreement may

generally be made wi th the landlord for pension at a more moder

ate rate. Visitors are expected to dine at the table-d’hote ; other

wi se the charge for rooms i s apt to beraised. The charges formeals

furn i shed in private rooms or at unusual times are much higher.Other ‘

extras’ are.

also dear. The cui sine is a mixture of Frenchand

Italian . During the season and at the more frequented resorts i t

is adv i sable to engage rooms in advance ,especially if arriving in

the evening. Luggage may be left at the station until rooms havebeen secured. The charge for the use of the hotel- omnibus from the

station to the hotel i s so high (1 that it is often cheaper totake a cab . It i s also easier for those who use a cab to proceed toanother hotel, should they not like the rooms offered them .

The SECOND CLASS Ho '

rBLs are thoroughly Italian in their arrangem ents , and are rarely very clean or com fortable. The chargesare li ttle more than one- half of the above : room 1- 3 , attendance

omn ibus -1 fr. They have no table- d’hote, but there is generally a trattoria connectedwith the house, where refreshments a la

carte, or a dinner (1 prezzo fisso , may be procured at any hour. Fair

nati ve wines,usually on draught, are furnished in these houses at

moderate prices. Morning coffee is usually taken at a cafeand not

at the i nn . It i s customary to make enquiries beforehand as to

the charges for rooms,not forgetting the serv izio e candela ; and

the price of thedi nner (if not a la carte) should also be agreedupon(2 - 4 fr.

,with wine These inns will often be found con

ven ien t and economi cal by the voyageur en garcon, and the better

hou ses of this class may even be vi si ted by ladies, when at home in

Itali an ; the new- comer should frequent hotels of the first class only.

As m atches are rarely found in these hotels, the guest should

pro vi de himself wi th a supply of the wax-matches (cerini) sold inthe streets (1- 2 boxes 6 Soap is also a high- priced ‘

extra’

.

Money or objects of value should either be carried on the trav

elle r’s person or left with the landlord in exchange for a receipt .

The PBNsmN s of the larger towns andresorts also receive passingtra v ellers. The charge is about the same as that of the second- class

inn s and usually includes table-w ine. As, however, the pri ce of

déj euner i s usually (though not uni versally) included in the fixedda i ly charge, the travellerhas ei ther to sacrifice some of thebest hoursfor vi si t ing the galleries or to pay for a meal he does not consume.

H 6TBLs Gu m s are to be found in most of the larger towns ,wi t h charges for rooms similar to those in the second- class hotels.

For a prolonged stay in one place families will find it much

cheaper to bi t ePRIVATE APAB TMBN TS anddo their own housek eeping , A di stinct agreement as to rent should be made beforeh and .

i . ‘

xx RESTAURANTS.

When a whole sui te of apartments is hired, a written contract on

stamped paper should be drawn up wi th the aid of someone ac

quaintedwi th the language andcustoms of the place (my. a banker),in order that tmisunderstandings

'may be prevented. For single

travellers a verbal agreementwi th regard to attendance,linen

,stoves

and carpets in winter , a receptacle for coal and other detai ls wi llgenerally suffice. A rent lower than that first asked for is oftentaken. Comp. p. xxvi ii.

The popular idea of cleanl iness in Italy is behind the age, di rt befitgperhaps neu tralised in the o

pinion of the nati ves the brillianey o f

thei r climate. The traveller n N . Italy wi ll rare s er from this short

com ing even ln ho tels of the second class ; but those who ui t the beatentrack mus t be prepared for rivs tlons. Iron bedsteads sh i f possible beselected, as they are less l kely to harbour the enem ies of repose. Insectpowder (p owers insecticides or contra a“w e) or camphor som ewhat repelstheir advances. The zanu

‘

irc. ormosquitoes, are a source of great annoyance,and often of suffering, during the autumn m onths. W indows should al

ways be carefully closed before a light is introduced in to the room . Lightmuslin curtai ns ( t am er-fer” round the beds , masks for the face , and

gloves are employed to ward cd‘

the attacks of these pertinaci ons intruders. The burning of insect powder over a sp iri t lamp is also recom

mended, and pastilles (fldfbes W e ls swam ) m ay be purchased at the

principal chem is ts’

fer the same purpose (see p. A weak solut ion

of carbolic ac id in water is efficaci ous in allaying the discomftn'ts 0c

casioned by the b i tes.

A lis t of the Italian names of the ordinary art icles of underclofli ing( la blu shes-in) will be useful in dealing wi th the washerwom an : Shirt

(linen, cotton, woollen la M aia at h is , at cotons, at lane ) ; collar,

s’

l saline,i l collate ; cu ii ponie s . veers , Is mutands ; woollen under

shirt , mua flaasua or M at w as ; pet ticoat, to scam ; sto cki ng ,in sales : sock, la caustic : handkerchief (sllk), iffasolslto (ddsets ). To g ir oout to wash, dare a bo som (dt becato newly washed) ; washi ng li st, la note ;washerwoman, laundrs ss, la stir-atria ,

la lam daj a ; buttons , 0’

hottes t.

IX. Restaurants, Cafes.Osterie.

Restaurants of the first class (Ristorantl) in the larger towns resemble those of France orGermany

,andhave similarly high charges.

The more strictly national Trattorie are chiefly frequented byItalians and gentlemen travelling alone , but those of the better

class may be vi sited by ladies also. They are frequented chieflybetween 5 and8. Breakfast or a light luncheon before 1 o’clock maybe more conveniently obtained at a cafe(p . xxi i). Dinner (prom o)may be obtainedand cuf fs for fr.

,and somet imes a prm o fine

for2- 6 fr. Thewai ters expect a gratui ty of 2-5 soldi (comp . p . xvi).The diner who wishes to confine his expenses wi thin reasonable

limi ts should refrain from ordering dishes not mentioned in the billof fare. Thewaiter is called camsrii rc (orbottega), but the approvedway of attracting hi s attenti on is by knocking on the table. If tooimp ortuna te in his recommendations or suggestions he may beche cked wi th the word ‘basta’. The diner calls for his bill (which

should be ca refully scruti nized) wi th the words ‘ i’.watt?

RESTAURANTS. u i

List of the ordinary dishes atAatipasu, M p“,

relishes taken aswhets (su ch as sardines, olives , Orradishes).man tra o r Zapp a, soup .

Br

iodo or 00am

, broth or bouilon .

Zapp a a lla S aute, soup wi th green

vegetables and bread.

Gnocchi,sm all dumplings.

E lm ira da‘

rise con p iazza, rice-soup

wi th peas .

Risotto (a lla M i lanese), a kind of ricepuddi ng (rich).Paste ascissue, m accaroni , a l woo e

at burro ,w i th sauce and butter ;

al p oma'

doro, wi th tomatoes.

Sala

zar

;sausage (usually wi th garlic,

up a

Polio, or p o llastro, fowl.

Potagga'

o da’

p olio, chi cken- fricassée.M ira , du ck .

Gallinaccio , turk ey .Stufats

'

no,C's

'

brso, ragout .

Crocheted, c roquettes .

Portico-fa, p fité patty.Erbe

,vegetab es.

Cantor-so ,Guam izi om , garnishing,

vegetab les , usually not chargedfor.Asparagi , asparagus.Spinaci , spi nach.

arm s lessa , bonito , boiled meat ; in

unsi do,

a lla genovese, w i th sauce ;be» co tto , well

-done ; at sangue,all

”

ing lese , underdone ; at ferri ,cooked on the gridiron .

Alonzo , bo i led beef.Fritto

,una Fri ttm '

a,fried meat.

Fri llo m isto , a m ix ture of fried liver,bra in s

,artichokes , etc.

Fritta ta,om elette.

Arros to,roas ted m eat .

Arros to di vi tello, or dz“

mongana ,roas t- v eal.

Bistecca , beefsteak .

Maj a le, p ork .

”on ions , m utton.

Agnello , lamb .

Capretto, k id.

Cosca’

s tto , loin.

Tsata ds'

v i tello , calf’s head.

Fégd'

to ds‘

o ilello, calf’s liver.

Braccio letta dr’

oi tello , veal-outlet .

Rognons’

, kidneys.Costo letta a lla minuta

,veal - outlet

The W ine Shops (Osterie) are almost exclusively frequentedby the lower ranks , except in Tuscany . Bread

,cheese , and eggs

are u su ally the only v iands prov ided.

W ine (vino da pasta , table-w ine ; nero ,red; bianco , whi te ; doles ,

pastoso , sweet ; asciutto, dry ; del p aese, nostramo, wine of the country) i susually supp li ed in bo ttles one-half

,one-fourth

,Or one-fifth of a li tre (up

the Italian restaurants.

wi th calves”ears and truffles ; alla

Milanese, baked in dough.

Esgalopp e , veal -outlet with breadcrumbs.

Pa ta te,potatoes .

Quaglia uail .

Tordo, fie d-fare.

Lodola , lark .

Peace, fish.

Sfogls‘

a,a kind of sole.

Funghs‘

,mushroom s (often too rich).

Presciutto, ham .

Uooa , eggs ; da bere, soft-boiled; dare,hard-bo iled ; al p tatto, poached.

Paloma , boiled maize.

Insalata,salad.

Cardofl , artichokes.

Pisella‘

, peas.Lenticchie, lentils.

Cavolt flors'

, cauliflower.

Gobbs'

, Carat, arti choke stalks (w i thsauce).

Zucchtno , marrow , squash.

Fave, beans.

Fag iolini , Cornetti , French beans .

M ostarda , simple m ustard.

Mos tarda inglese or

Senc‘

ip e, hot mustard.

S ale, salt .

Pep e, pepper.

Ostriche. oysters (good in winter

only).Dolce, sweet dish .

Zapp a ing lese, a favourite sweet dish .

Budino (in Florence), pudding .

Frutta,Gs

’

ards‘

netto,frui t-desert .

Crosta ta di frutti , frui t - tart .

Crostata dt‘

p asta sfoglia ,a k ind uf

pas try.Fragole, s trawberries .

Pera , pear.

Pomc‘

, Mele, apples.

Persici , I’esche

, peaches.

Uva , bunch of grapes.

Fichi , figs.

N oel, nuts.

L imone,lemon.

Aranci o or p ortoga llo, orange.

Finocchz’

o,root of fennel.

Panefrancese, bread m ade w i th yeas t

(the Italian is m ade w i thou t).

Formaggz‘

o, cacz

'

o,cheese (Gorgonzola ,

Stracchs‘

no)

xxi i ou t s.

nam e litre : am quark ; mt quit-w or m s). The prlces are often in

scribed ou the outside of the shop CB‘

, meaning that half-a-li trecosts 6 , 7, or 8 so ldi ). W ines of a better quali ty are sold in ordinaryquarts and pi nts.

In the Hom e or lu s t the follow ing are the best wi nes : the care

fully manufactured Piedm ontese brands. Hurdle, Nebtolo, Grim m , Bar

bara, and the sparkling Astt momen ts . VM M , known also in E . Swi tzer

land ; the Vincen tius ”un w ise and Brogam (a whi te sweet wi ne) ; the

Paduan Boone“; the Veronese Vatp olicella , in the pro vince o f Trev i so,

Corrections ,Babese dl

’

Place , M u m , and Verdtso lpin Udine , Befoseo :the wine of Bologna , partly from French v ineyards ; Lambrasoo , etc .

In Tosem the best wines (almos t all red) are : Chianti (best m otto),Regina (bes t Pomm o), I tp ou aee, Alien a te, and Com te-one, and arm(sweet). Ora cle and Nes tspa leiane are produced farther to the south.

In Tuscany a ‘ iiaseo‘

, or straw-covered flask ho lding three ordinary bo tt les ,i s generally bro ht, bu t only the quanti ty consumed i s d for. Smallerbottles may be 0 tained : w ere fiasco quorto flasee A), arteriole o’s).

Beer Houses (Birreri’

e) are now found in all the larger townsand chief resorts of visitors. Muni ch, Pilsen, or Grate beer may

generally be procured at these. A small glass (terse) costs 30- 40c.,

a large glass (generally holding an met-se litre) {50- 60 c.Oates are frequented fior breakfast and luncheon , and in the

evening by numerous consumers of ices, cofi'

ee,beer

,vermouth (usu

ally wi th Seltzer water), etc. The tobacco smoke is often very dense.Cam were, or codes wi thout mi lk , is usually drunk i h-fi c. per

cup .) Gal e latte is cofi’

ee m ixed wi th mi lk before served c . or

cal l e la tte, Le. wi th them ilk served separately , may be preferred. Chocolate (oieccolata) cos ts 30-60 0 . B ell (pm ) 6 , w i th butter (pane at barre)so c. (lakes or biscui ts (pas“) 6 46 c.

i ces (potato) of every poss ible variety are supplied at the cafes at

30—90 c. per portion ; or half a port ion (mu se) may be ordered. Sorbet“or half-from ice, is much in vogue in the forenoon. Grani te is water

ice (timeouts , lemon ; an nota te , orange di ooze, eoii'

ee). Gassesa, ab atedlemonade, is also frequentl

of, ordered. he waiters expect a son or more,

according to the amount the paym ent.

The princi pal Parisian and V iennese newspapers (M ) are to be

found a t all the larger cafes , Eng lish less o ften . i tali an papers (IS- to c.

are everywhere o ti’

ered by newsvendors. The Corriera delta Sara (p,

g ives most o f the foreign dcspatches.

Cigars (Stylis t) in ltaly are a monopoly ofGovernment, and bad.

The pri ces of the home-made ci gars (SeemRomani,Virginia , Cc

oours,Napoletaa i, Mingheti i, Trabucos, etc.) vary from 7'la to 20 0.

Good imported cigars may be bought at the better shops in the largetowns for 25- 60 c. each, and also foreign cigarettes .

X. Si ghts , Theatres , Shops, etc.The largerChurches areopen in themorning till i 2, andgenerally

again from 2 , 3, or 4 to 7 p .m .,while the most important are often

open the whole day . Many of the smaller churches are Open onlytill 8 or 9 e.m . Visitors m ay im pact the works of art even duringdi vine service ,

provided they move about noiselessly ,and keep

aloof from the altarwhere the clergy are officiating. On the occasion

of festi vals and for a week or two before Easter the works of artare often en tirely concealed by the temporary decorations. Those

POST OFFICE . TELEGRAPH.

Letters (whether ‘post

'

e restantc’

, Italian‘

ferma in pa id , or to

the traveller’s hotel) should be addressed very di stinctly, and the

name of the place should be in Itali an. The surname(cognorne ;Christian name

,name) should be underlined. When asking for let

tore the traveller, shouldshowhis visiting- card insteadof pronouncing his name. Postage

- stamps (francobolli) are sold at the pos tofiflces andtobacco- shops. The mail-boxes (buca or cassette) are lab

elled ‘

pcr ls kum’

,for letters , and

‘

pcr k stampe'

, forprintedmatter.

Lm ans of 15 grammes (V2 pm,about the weight of three sons) by

town-

post 6 c., to the rest of Italy ma ,abroad (p er ra ters) to m Of

the states included in the postal union (now compri si ng the whole o f

Europe as well as the Uni ted S ta tes , Canada ,etc.) 2b c. The penalty

( sem ina rs) for insufficientlyfro d letters is double the defici eu

Pos‘

r Genus (eartclina p ortals) or oth Italy and abroad (per I‘

estero c.,

reply-cards ( eon rirposfam eta ) inland to c., abroadwe. Post-ca w ithvi ews on them pay letter

’ rates if sent abroad. Larras Gu ns (Maximo

p ortals ) for the city 5 c., for Italy M e, for foreign countries 2b c.

Bo on Pacu rs ( stamps solto fascia ) , 2 c. per 00 grammes (or abroad6 c . Rs orsru rroa Fan (raccomandasione) for letters for the same townand rinted matter 10 c.

,o therwise we. The packet or letter must he

insc bed ‘W ’

, and the stamps must be affixed in front at thedi ti

‘

erent corners. Posr Om en Ow n s , see p . xi i . Sum s no t exceed

log 26 fr. may be sent w i thi n Ital by the so callcd carfouna vague (fee20 c . for tr. and 6 c. fo r each fr. m ore). Money may also be transw i tted by telegraph. To secure regis tered letters or the pa t of moneyorders. the stranger must show his sport or be ideati d by two witnesses known to the postal authori t es . It is therefore often convenientto arrange to have the money sent to one

‘

s landlord.

A Pancar. Po sr exi sts between Italy andGreat Britain,the rates and

condi tions o f which may be ascertained at any post-office. Articles, suchas flowers, etc., no t liable to duty are best sent as earn les of no value

( sc orp ions aw e enters) in Italy 2 o. per OOgr., abroad 1 c.

Telegram . For telegrams to foreign countries the followingrate per word is charged in addition to an ini tial payment of 1 fr

Great Brimin ‘26 , France14, Germany 14 , SwitzerlandB- ld

,Austria

(3- 14 ,Belgium 19 , Holland 23, Denmark 23 , Russia 42, Sweden

26 , Norway 34 c. To Ameri ca from fr. perword upwards, according to the state. Within the kingdom of Italy , 16 words

1 ir.,each additional word 5 0. Telegrams wi th special haste (tele

pramm i urgenti), wh ich take precedence of all others, may be sentat thrice the above rates.

XII. Climate. Winter Stations. Seasi deResorts. Health .By Dr. Hermann Reimer.

It is a common error on the part of those who visi t Italy for the

first time to believe that beyond theAlps the skies are always blue

and the breezes always balmy. It is true that the traveller whohas crossed the Splugen , the Brenner, or the St .Gotthard in winter,and finds himself in the district of the N . Itali an lakes, cannot failto remark what an admirable barrier against the wind is affordedby the 0m m ] chain of the Alps. The average w inter-temperature(P ecan) bet

, Janvary , and February)here is 37-W ? ahr. as compared

CLIMATE. xxv

wi th 28- 32° on the N. side of the mountains. Places nestling close

to the S . base of the Alps , such as Locam o (winter- temperature37° Pallanza Arco and Gardens-Riv iera

thus form an excellent intermediate stage between the bleakwinter ofN.Europe and the semi - tropical climate of theRiviera or S.Italy . A peculiari ty of the climate here is afforded by the torrents ofrain whi ch may be expected about the equinoctial period. Themasses

of warm andmoisture- laden clouds drivennorthwards by theS. wind

break against the Alpine chain , and discharge themselves in heavyshow ers, which fill the rivers and occasion the inundations from

whi ch Lombardy not unfrequently suffers. If,however, the trav

eller continues his journey towards the S. through the plain of Lom

bardy he again enters a colder and windy region . The whole plainof the Po, enclosedby snow- capped mountains, exhibi ts a climate

of a thoroughly continental character ; the summer is as hot as that

of S i ci ly , whi le the winter is extremely cold, themean temperaturebeing below 35° Fahr. or about equal to that of the lower Rhine.In M ilan the thermometer sometimes sinks below zero . Changesof w eather , dependent upon the direction of the wind, are fre

quent ; and the humidity of the atmosphere, occasioned in part bythe numerous canals and rice- marshes, is also very considerable.

A prolongedresidence in Turin orMilan should therefore be avoidedby i nvalids, while even robust travellers should be on their guardagai nst the trying climate. As we approach the Adriatic Sea the

clim ate of the Lombard plain loses i ts continental character and

approximates m ore closely to that of the rest of the peninsula. The

clim atic peculiarities of Venice are described at p . 24 7.

As soon as we cross the mountains which bound the S. margin

of the Lombardplain and reach the Medi terranean coast , we find a

rem arkable change in the climatic conditions. Here an almost nu

interrupted series of winter- resorts extends along the Ligurian

Ri v i era as far S. as Leghorn and these are rapidly increasing

both in number and populari ty. The cause of the m ild andpleas

an t climate at these places is not far to seek . The Mari t ime

Alp s and the Ligurian Apennines form such an adm irable screen

on the N., that the cold N. winds whi ch pass these mountains donot touch the district immediately at their feet, but are first per

cept ible on the sea 6 - 10 M. from the coast . It i s of no unfrequentoccurrence in the Riviera that the harbours are perfectly smoothwhile the Open sea is agi tatedby a brisk tempest. Most of the townsand v illages on the coast lie in crescent - shaped bays , opening

towards the S. ,whi le on the landward side they are protected by

an amphi theatre of hills. These hills are exposed to the full force

of the sun’s rays, and the limestone of which they are composed

ab sorbs an immehse amount of heat. It i s therefore not to be

wondered at that these hothouses of theRiviera show ahigher tem

p era ture in Win ter than many places much farther to the S . Thus ,

xxvi CLIMATE .

whi le the mean temperature of Rome in the three coldest months is46° Fahr that of the Riviera is 48- 60° (Nev-vi San Rcmo

Pisa , on the other hand, onlyIt would

,however

,be a mi stake to suppose that this stri p of

coast is entirely free from wi nd. The rapid heating and cooling of

the strand produces numerous light breezes , while the rarefacti onof the masses of air by the strength of the sun gives rise to strongcurrents rushing in from the E . and W. to supply the vacuum .

The most not ori ous of these coast-winds i s the Mis tral,wh ich is

at i ts worst at Avignon and other places in the Rhone Valley (seeB acdckcr

’

s South- Eastern France). The N.E. wind on the con

trary is much stronger in Alassio and San Remo than on the coast

of Provence. The Scirocco as known on the Ligurian coast is by no

means the dry and pu shi ng wind experienced in Si cily and even

at Rome ; passing as i t does over immense tracts of sea,i t i s gener

ally charged wi th moi sture and is often followed by rain.

The prevalent belief that the Riv iera has a moist climate,on

account of i ts proximity to the sea, i s natural but erroneous. The

atmosphere, on the contrary , is rather dry, especially in theW .

half of it,while the humidi ty rapidly increases as we approach

the Ri viera di Levante. The same holds good of the rainfall.

Wh ile San Remo has 46 rainy days between November andApril,

Nev-v i has 64 , and Pisa 63 . The - average number of rainy daysduring the three. winter mon ths in the Riviera i s 16 . Snow is

rarely seen ; i t falls perhaps once or twice in the course of the

wi nter,but generally lies only for a few hours , whi le many years

pass without the appearance of a single snow- flake. Fogs are veryrare on the Ligurian coast ; but a heavy dew- fall in the evening is

the rule. In comparison wi th the Cisalpine districts, the Riv ieraenjoys a very high proportion of bright, sunny weather.

The above considerati ons will show that i t i s often necessary to

discount the unpropit ious opinions of those who happen to havevi si ted the Riv iera under peculiarly unfavourable climati c con

di tions. Not only do the ordinary four seasons di ffer from each otheron the Rivi era

,but the di fferent parts of winter are also sharply

di scriminated. A short rainy season may be counted on wi th almostcomplete certainty between the beginni ng ofOctober and themiddle

of November, which restri cts , but by no means aboli shes, Open-airexerci se. Then follows from December to February usually an nu

interrup ted series of warm and sunshiny days , but i nvalids havesometimes to be on their guard against wind. March here

,as else

where in the south, i s the windi est month of all, but is much less

boisterous in the Italian part of the Riviera than in Provence.

April andMay aredelightful months forthosewho require ou t-doorl ife fa a warm climate.

Tb s w ildness of the clim ate of theRiviera requires , perk-ma, we

CLIMATE . xxvii

better proof than i ts rich southern vegetation. The Olive, whi ch isalready found in the neighbourhood of the N. Italian lakes, hereattains i ts full growth , whi le the Eucalyptus globulus (which growsrap idly and to an astonishi ng height), the Orange, the Lemon ,

and

several varieties of Palms also flourish .

The geological character of the Riviera is also of sanitary sigui

fican ce. The prevailing formation i s limestone, whi ch absorbs the

sun’

s rays wi th remarkable rapidity andradiates i t with equal speed,thus forming an important factor in making the most of the wintersunshine. On account of its softness i t is also extensively used

for road-making, and causes the notorious dust of theRiviera, whi chform s the chief objection to a region frequented by so many per

sons with weak lungs. The authorities of the various health- resorts,

however, take great pains to m itigate thi s evi l as far as practicable.

After heavy rain the roads are apt to be very muddy .

The advantages that awinter- residence in theRiviera, in contra

dist i nction to the climate of northern Europe, offers to invalids and

deli cate persons, are a considerably warmer and generally dry at

m osphere, seldom disturbed by storms, yet fresh and pure, a more

cheerful sky, and comparative immuni ty from rain. The ‘invalid’

s

day’

, or the time during whi ch invalids may remain in the openair wi th impuni ty , lasts here from 10 e.m . to 4 p .m . The general

efl‘

eet of a prolonged course of Open- air life in the Riviera may be

described as a gentle stimulation of the entire physical organism .

It i s found particularly beneficial for convalescents , the debili tated,and the aged ; for children of scrofulous tendency ; and for themar

tyrs of gout and rheumati sm . The climati c cure of the Riv iera i s

also often prescribed to patients with weak chests,to assi st in the

removal of the after- effects of inflammati on of the lungs or pleurisy ,

or to obviate the danger of the formation of a chronic pulmonarydischarge. The dry and frequently - agi tated air of the Riv iera i s ,

how ever, by no means sui table for every patient of this kind, and

the immediate vi cini ty of the sea i s particularly unfavourable to

cases of a feveri sh or nervous character. The stimulating effects of

the climate are then often too powerful , producing sleeplessness

and unwholesome irri tation . The dry air of the Riviera di Ponente

is also prejudi cial to many forms of inflammation of the wind-

pipe

and bronchial tubes, whi ch derive benefit from the air of Nerv i ,

Pi sa , or Ajaccio. Cases of protracted nephritis or di abetes , on the

contrary , often obtain considerable relief from a residence here.

The season on the Ligurian coast lasts from about the begin

ning of October to the m iddle of May . In September i t is sti ll too

hot , and in March i t is so windy that many patients are obliged to

retire farther inland. Many invalids make the m istake of leavingthe Rivi era too soon ,

and thus lose all the progress they have m ade

duri ng the Win ter; through reaching home in the unfavourable tran s

xxvi i i HEALTH.

i tiou period between winter and spring. It i s better to spendApriland May at some intermediate station ,

such as Pullam a, Casanova,Locam o

,Lugan o , or Gardens Riviera .

Good Opportuni ties for sea- bathing are ofl’

ercd at many points

on the Medi terranean coast Of N. Italy , such as Alassio,Susana,

c li,Speaia, Viareggio, Leghorn, and Venice. TheMedi terranean is

almost tideless ; i t contains about 41 per cent Of common salt,a con

siderably higher proporti on than the Atlanti c ; i ts average tempera

ture during the bathing- season is 71° Fahr. The bathing- season

on tho Ligurian coast begi ns in April , or at latest in May, and lasts

tillNovember,being thus much longer than the season at any English

seaside- resort .

Most travellers must in some degree alter their mode of living

whilst in Italy, wi thout however implicitly adopting the Italian style.

Inhabi tants of more northern countries generally become unusuallysusceptible to cold in Italy, and therefore should not omit to be wellsuppli edwi th warm clothing for thewinter. Woollen underclothing i sespecially to be recommended. A cloak orshawl shouldbe carried to

neutralise theoften considerable di fferenceoftemperaturebetween the

sunshine and the shade. In visiting picture-

galleries or churches onwarm days i t i s advi sable to drive thi ther and walk back

,as other

wise the vi sitor enters the cool building in a heated state and has

afterwards no Opportuni ty of regaining the desirable temperaturethrough exercise. Exposure to the summer- sun should be avoided

as much as possible. According to a Roman proverb,dogs and for

eigners (Inglesi) alonewalk in the sun, Chri stians in the shade. Umbrellas

,or spectacles of coloured glass (grey, concave glasses to pro

tect the whole eye are best), may be usedwi th advantage. Blue veils

are recommended to ladies. Repose during the hottest hours is advisable

,and a moderate si esta is often refreshing.

Great care should also be taken in the selecti on of an apartment.Carpets and stoves are indispensable in winter. A southern aspect in

winter is an absolute essential fordeli cate persons,and highly desir

able for the robust . The visi tor should see that all the doors and

windows close sati sfactorily. Windows should be closed at night.Health . English and German medi cal men are to be met wi th

in the larger ci ties, and in most of the wintering- stations of the Ri

vi era. English and German chemists, where available

,are resem

mended tu preference to the Italian, whose drugs are at once de arer

and of poorer quality . Foreigners frequently suffer from diarrheaa inItaly , which is generally occasioned by the unwonted heat. The

home opathic tincture of camphor may be mentioned as a remedy ,but regulated diet and thorough repose are the chief deciderata. Asmall portablemedicine

- case,such as those preparedandstockedwi th

tabloid drugs by Messrs. Burroughs, Wellcome, anHolborn Via

duct,London

, will often be founduseful.

Italian Art.A Hi storical Sketch by Professor Anton Springer.

One of the primary objects of the enlightened traveller in Italyi s u sually to form some acquaintancewi th i ts treasures of art .Even those whose usual avocations are of the most prosai c

nature unconsciously become adm irers of poetry and art in

Italy . The traveller here finds them so interwoven wi th scenes of

everyday life, that he encounters their influence at every step, and

involuntarily become‘

s susceptible to their power. A single v isit

can hardly suffice to enable any one justly to appreci ate the

num erous works of art he meets wi th in the course of hi s tour, nor

can a guide- book teach him to fathom the mysterious depths of

Itali an creative genius, the past hi story of which is parti cularly at

tract ive ; but the perusal of a few remarks on this subject will befoundmaterially to enhance thepleasure andfacilitate the researchesof even themost unpretending lover of art . Works of the highest class,the most perfect creations of genius, lose nothing of their charm by

being pointed out as specimens of the best period of art ; whi le

those of inferior merit are invested wi th far higher interest when

they are shown to be necessary links in the chain of development,

and when, on comparison wi th earlier or later works, their relat ivedefects or superiority are recognised. The following observat ions

,

therefore, will hardly be deemed out of place in a work designed toaid the traveller in deriving the greatest possible amount of enjoyment and instruction from hi s sojourn in Italy .

The two great epochs in the history of art whi ch principally

arrest the attention are those of ClassicAntiqu ity. and of theCLAS S IC Am,

l 6 th century, the culm inating periodof theso- calledRena is REM ”

san ce. The intervening space of more than a thousand years SANC E

is usually, with much unfairness , almost entirely ignored ;PERIOD S '

for thi s interval not only continues to exhibi t vestiges of the first

epo ch , but gradually paves the way for the second. It is a common

error to suppose that in Italy alone the character of ancient art can

be thoroughly appreciated. This idea dates from the periodwhen no

preci se distinction was made between Greek and Roman art, when

the connection of the former with a part i cular land and nation ,and the tendency of the latter to pursue an independent course

were alike o verlooked. Now,however that we are acquainted

wi th m ore numerous Greek originals , and hav e acquired a

xxx ITALIAN ART .

deeper insight into the development of Hellenic art , an indis

criminate confusion of Greek andRoman styles is no longer to be

Gu am A”apprehended. We are now well aware that the highest per

Restart festion of ancient archi tecture is realised in the Hm msroSfl w i 0 18 temple alone. The Doric order, in which majes ti c gravi ty is"m u m s“

expressedby massive proportions andsymmetricaldecoration ,and the Ioni c structure , wi th i ts lighter and more graceful character, exhibit a creativ e spiri t enti rely different from that manifested in the sumptuous Roman edifices. Again , the most valuable

collection of ancient sculptures in i taly is incapable of afiording so

admirable an insight into thedevelopment ofGreek art as the sculptures of the Parthenon and other fragments ofGreek temple architecture preserved in the Bri tish Museum . But, whi le instruct ion isaflorded more abundantly by other than Itali an sources, ancient art

is perhaps thoroughly admired in Italy alone ,where works of art

encounter theeyewi th more appropriate adjuncts, andwhere climate,

scenery , and people materially contribute to intensify their impressiveness . As long as a vis it to Greece andAsia Minor is within thereach ofcomparatively few travellers , a soj ourn in Italymay herecom

mended as best calculated to afford instruction with respect to thegrowth ofanci ent art . An addi tional faci lity, moreover, is afforded bythe circum stance that in acco rdance wi th an admirable custom of

classic ant iquity the once perfected type of a plastic figure was not

again arbi trari ly abandoned, but rigidly adhered to, and continuallyreproduced. Thus in numerous cases ,

where the more ancient

Greek origi nal hadbeen lost, i t was preserved in subsequent copies ;and even in the works of the Roman imperial age Hellenic creativetalent is still reflected.

This supremacy of Greek intellect in Italy was established in a

Gum , twofold manner. In the first place Greek coloni sts intro

wrau a ui duced their ancient nati ve style into their new homes . Thi sA “ is proved by the exi stence of several Doric temples in Si

cily , such as those of Selimm to (but not all dating from the same

period), and the ruined temples at Syracuse, Girgm t i , and Segesta .

On the mainland the ao- called Temple of Neptune at Paa tum,

as well as the ruins at Metapontum,are striking examples of the

fully developed elegance and grandeur of the Doric order. But, in

the second place, the art of the Greeks did not attain its universalsupremacy in Italy ti ll a laterperiod, when Hellas , nationally ruined,had learned to obey the dictates of hermighty conqueror

,and the

Romans hadbegun to combinewi th theirpolit ical superiori ty the refinements ofmore advanced culture. The ancient scenes of arti stic

act iv ity in Greece (Athens for example) became re—peopled at

the cost of Rome ; Greek works of art and Greek artists were lntmdnced into Italy ; and ostentatious pride in the magnificence of5 0017 a cquired by victory led by an easy tranaitlon to a taste for

s uch o bj ects . To surround themselves wi th artisti c decorates“ 0am.

xxxii

column in the hands of Roman archi tects lost the fines t featuresof i ts original character, and was at length entirely disused. The

Ionic column also , and corresponding entablature, were regarded

with less favour than those of the Corinthi an order, the sumptuousness of whi ch was more congeni al to the artisti c taste of the

Romans. As the column in Roman archi tecture was no longer

destined exclusively to support a superstructure,but formed a

project ing porti on of the wall, or was of a purely ornamental

character the most ornate forms were the most sought after. The

graceful Corinthian capi tal , consisting of slightly droopingacanthus- leaves, was at length regarded as insufficiently enriched,and was superseded by the ao- called Roman capital (first used

in the arch of Ti tus) , a union of the Corinthian and Ioni c. An

impartial judgment respecting Roman architecture cannot , however,be formed from a m inute inspecti on of the individual columns

,

nor is the highest rank in importance to be assigned to the Roman

temples, whi ch , owing to the difi'

erent (projecting) construction of

their roots, are excluded from comparison wi th the Greek . Atten

tion mus t be directed to the several - storied structures , in whichthe tasteful ascending gradat ion of the component parts , fromthe more massive (Doric) to the lighter (Corint hian) , chieflyarrests the eye ; and the vast and artistically vaulted interiors, as

well as the structures of a

'

merely decorative description ,must

also be examined , in order that the chief merits of Roman art

may he understood. In the use of columns in front of closed

walls (e.g. as members of a facade) , in the construction of domes

above circular interiors , and of cylindri cal and groined vaultingover oblong spaces , the Roman edifices have served as models to

posterity , and the imi tations have often fallen short of the originals.It i s true that in the di stricts to which this volume of theHand

book is devoted, the splendour and beauty of ancient art i s not so

prominently i llustrated as in Rome or S . Italy . Nevertheless N.

Italy also contains many interest ing reli cs of Roman archi tecture(such as theAmphi theatre at Verona , theTriumphalArches at Aortaand Sum , and though the smaller local collections of Lom

bardy and Tuscany may not detain the traveller long, he wi ll un

doubtedly find ample food for his admirati on in the magnificen t

antique sculptures at Florence (the NiobeGroup , the Apouino , theformerly over- ratedMedicean Venus

,—Upper Italy andTus

that the image of the god erected in the calla should be exposed to therays of the sun. In this case an aperture was left in the ceiling androof , and such temples were termed bypmthral. Temples are also namedtetrasty le, bexasty le, octastyle, etc., according to the number of columnsat each and. A mos t attracti ve study is that o f archi tectural m oand enrichments , and of those consti tuent members whi ch respectively in.

di n es o up ed noumben t wei ht , or a free and inde tpendanRes earch In (b ees ma t ters enable the travellermore fully to aM o o tn

'

e t harm ony o f ancien t archi tecture.

ITALIAN ART. xxxii i

cany stand, on the other hand, in the very forefront of the arti stic

li fe of the m iddle ages and early Renai ssance and Veni ce may

p roudly boast of hav ing brilliantly i unfolded the glories of Itali anpain t ing at a t ime when that art had sunk at Rome to the lowest

dep ths. In order,however, to place the reader at a prOper point

of v i ew for appreciating the development of art in N. Italy , i t i s

necessary to gi ve a short sketch of the progress of Italian art in

general from the early part of themi ddle ages onwards.

In the 4 th century the heathen world, which had long been ina tott ering condition, at length became Christianised, and a Gamer,“

new p eriod of art began. Thi s is sometimes erroneously re Praw n

g arded as the result of a forcible rupture from ancient 0' AB“

Rom an art, and a sudden and spontaneous invention of a new style.

B ut the eye and the hand adhere to custom more tenaciously than

the m ind. While new ideas, and altered v iews of the character ofthe D eity and the destination of man were entertained, the wonted

form s were sti ll necessari ly employed in the expression of theset houghts . Moreover the heathen sovereigns had by no means been

unrem ittingly persecutionsdid not take p and the new doctrines were

perm i tted to expand, take deeper root , and organise themselves inthe m idst of heathen society . The consequence was, that the transi tiou from heathen to Chri stian ideas of art was a gradual one, and

that in point of form early Christian art continued to follow up the

lessons of the ancient . The best proof of this i s afforded by the

paint ings of the Roman Caracouns . These were by no means originally the secret, anxiously

- concealedplaces of refuge of the prim

i ti v e Christians, but constituted their legally- recognised, publi clyaccessible burial- places. Reared in the m idst of the customs of

heathen Rome, the Christian community perceived no necessi ty to

devi ate from the artisti c principles of antiqui ty . In the embelli shmen t of the catacombs they adhered to the decorative forms handeddown by their ancestors ; and in design , choice of colour, groupingof figures , and treatment of subject , they were entirely guided by

the customary rules. Even the sarcophagus- sculptures of the 4 th

and 5th centuries di ffer in purport only , and not in techni cal treat

ment , from the type exhibited in the tomb—reliefs of heathen Rome.

Five centuries elapsed before a new arti sti c style sprang up in the

pictorial , and the greatly neglected plastic arts. Meanwhile archi

tectu re haddeveloped itself commensurately with the requirem ents

of C hristian worship , and, in connection with the new modes of

bui lding , painting acquired a di fferent character.

The term Basrm oa STYLE is often employed to designate early

Chri stian architecture down to the l0th century . The name Cnunon

is of great antiquity, but i t is a m i stake to suppose that the Anom 'rac

early Chri stian basilicas p ossessedanything beyond the mere

nam e in comm on wi th those of the Rom an fora. The latter stru cB u p xn z . Italy 1. 11th E di t.

xxxiv ITALIAN ART.

turea, which are proved to have exi sted in most of the towns of the

Roman empire, and served as courts of judicature and public as

sembly-halls ,difi

’

er essentially in thei r origin and form from the

churches of the Christi ans. The forensic basilicas were neither fitted up for the purposes of Christ ian worship , nor did they , or the

heathen temples, serve as models for the construction of Christianchurches . The latter are rather to be regarded as extensions of the

private dwelling-houses of the Romans, where the first assembliesof the communi ty were held , and the component parts of wh ichwere reproduced in ecclesiasti cal edifices. The church , however,was by no means a sen i le imitation of the house, but a free development from i t , of which the following became the establishedtype. In front is s quadrangular fore

- court (atrium) , of the same

width as the basilica i tself, surrounded wi th an Open colonnade

and prov idedwi th a fountain (cantharus) for the ablutions of the

devout . This forms the approach to the interior of the church ,whi ch usually consisted of a nave and two aisles, the latter lower

than the former,and separated from i t by two rows of columns , the

whole term im ting in a semicircle (apsis). In front of the apse therewas sometimes a transverse space (transept) ; the altar, surmounted

by a columnar structure,occupied a detached position in the apse ;

the space in front of it , bounded by cancelli or rai lings , was

destined for the choir of officiating priests, and contained the two

pulpi ts (ambones) where the gospel and epi stles were read. Un

like the ancient temples , the early Christi an baai li cas exhibit a

neglect of external architecture , the chief importance being at»

tached to the interior, the decorations ofwhich , however, especi allyin early media rel times

,were often procured by plundering the

ancient Roman edifices,and transferring the spoi l to the churches

wi th little regard to harmony of style and material. The most ap

propriate ornaments of the churches were the metallic objects , suchas crosses and lustres, and the tapestry bestowed on them by papalp iety ; while the chief decoration of the walls consisted of mosai cs ,especially those covering the background of the apse and the‘triumphal’ arch which separates the apse from the nave. The

mosaics , as far at least as the material was concerned ,were of a

sterling monumental character , and contributed to give rise to a

new style of pictorial art ; in them ancient tradition was for the

first time abandoned, and the harsh and austere style erroneous lytermed Byzantine gradually introduced.

Christian art origi nated at Rome,but i ts development was

actively promoted in other Italian districts, especially at llam as ,

where during the Ostrogothic supremacy (493 as well

as under the succeeding Byzantine empire ,archi tecture

was zealously cultivated. The basilica- type was there morem a tured

, the external archi tecture enlivened by low arches" M p roj ecting buttresses , and the capitals oi the « M imosa in the

ITALIAN ART. xxxv

interior appropriately moulded with reference to the superincumb

ent arches. There , too , the art of mosaic painting was sedu

lonely cultivated, exhibiting in i ts earlier specimens (in the Bapt istery of theOrthodox and Tomb ofGalla Placidia) greater technicalexcellence and better drawing than the contemporaneous Roman

works . At Ravenna theWestern style also appears in combination

w ith the Eastern , and the church of S . Vitals (dating from 547)m ay b e regarded as a fine example of a Byzantine structure.

The term ‘e m s’

is often misapplied. Every work of the

so—called dark centuries of the middle ages, everything in archi

tecture that intervenes between the ancient and the Gothic, every

thing in painting which repels by i ts uncouth ill-proportioned

form s,is apt to be termed Byzantine ; and it is commonly supposed

that the practice of art in Italy was entrusted exclusively to Byzantine hands from the fall of the Western Empire to an ad

v enced period of the i 3th century . This belief in the universal

and unqualified prevalence of the Byzantine style , as well as the

idea that it is invariably of a clumsy and li feless character , i sentirely unfounded. The forms of Byzantine architecture are

at least strongly and clearly defined. While the basilica is a

long- extended hall

,over which the eye i s compelled to range

unt il it finds a natural resting-

place in the recess of the apse,every Byzantine structure may be circumscribed with a curved

line. The aisles,which in the basili ca run parallel wi th the

nave degenerate in the Byzantine style to narrow and in

signi ficant passages ; the apse loses its intimate connection wi th

the nave , being separated from i t ; the most con8picuous feature

in the building consists of the central square space ,bounded

by four massive pi llars which support the dome. These are the

essent i al characteri sti cs of the Byzant ine style , whi ch culminates

in the magnificent church of St . Sophia, and prevails throughoutOrient al Christendom ,

but in the West , including Italy ,only

occurs sporadi cally . With the exception of the churches of S . Vi

tale at Ravenna,and St . Mark at Venice , the edifices of Lower

Italy alone show a frequent application of this style.

The Byzantine imagination does not appear to have exercised a

greater influence on the growth of other branches of Italian Gaowmart than on architecture. A bri sk traffic in works of art o r ART m

was carried on by Veni ce, Amalfi,and other Italian towns

,

ITALY

with the Levant ; the position of Constantinople resembled that of

the m odern Lyons ; silk wares , tapestry ,and jewellery were most

highly valued when imported from the Eastern metropolis. Byzantine artists were always welcome v isitors to Italy ,

Italian con

noisseurs ordered works to be executed at ConstantinOple, chieflythose in metal

, and the sup eriori ty of Byzantine workmanshipwas universally acknowledged. All this

, however, does not justi i ythe In ference that Italian art was qui te subordinate to Byz an tin e .

xxxvi ITALIAN ART .

On the contrary , notwithstanding various external influences , it

underwent an independent and unbiassed development , and never

entirely abandoned its ancient principles . A considerable interval

indeed elapsed before the fusion of the original inhabitants wi ththe early medie val imm igrants was complete, before the aggregate

of different tribes , languages , customs , and ideas became blended

into a single nationality , and before the people attained sufficient

concentration and independence of spirit to devote them selves

successfully to the cultivation of art . Unproductive in the pro

vince of art as this early period is , yet an entire departure fromnati ve tradition , or a serious confli ct of the latterwi th extraneous

innovation never took place. It may be admitted , that in the

massive columns and cumbrous‘

capitals of the churches of UpperItaly ,

and in the art of vaulting whi ch was developed here at an

early period symptoms of the Germanic character of the inhabitants are manifested, and that in the Lower Italian and especiallySicilian structures ,

traces of Arabian and Norman influence are

unmi stakable. In the essenti als, however, the foreigners continue

to be the recipients ; themight of ancient tradition, and the nationalidea of form could not be repressed or superseded.

About the m iddle of the i i th century a zealous and prom isBow ing artisti c movement took place in Italy , and the seeds

caqua were sown whi ch three or four centuries later yielded so

luxuriant a growth . As yet nothing was matured, nothingcompleted, the aim was obscure, the resources insufficient ; mean

while architecture alone satisfied artisti c requirements , the at

tempts at painting and sculpture being barbarous in the ex

treme ; these, however, were the germs of the subsequent develOpment of art observable as early as the 11th and i 2th centuries .

This has been aptly designated the Romanesque period (11thi 3th cent ) , and the then prevalent forms of art the Bo

maneaque Sty le. As the Romance languages , notwi thstandingalterations, addi tions , and corruptions, maintain their fili al relation to the language of the Romans , so Romanesque art , in

spite of i ts rude and barbarous aspect , reveals its immediate

descent from the art of that people. The Tuscan towns were the

principal scene of the prosecution of medieval art . There an ia

dustrial population gradually arose, treasures of commerce were

collected, independent v iews of li fe were acquired in acti ve partyconfli cts , loft ier common interests became interwoven with thoseof private life, and education entered a broader andmore enlightened track ; and thus a taste for art also was awakened, and

leatheti c perception developed itself. When Italian architectureof the Romanesque period is examined, the difference between itscharacter and that of contemporaneous northern works is at once

app arent. In the latter the principal aim is perfection in thecon structi on of vaul ting . French , English , andGerman churches

ITALIAN ART. xxxvi i

are unquestionably the more organically conceived, the individual

parts are more inseparable andmore appropriately arranged. But

the subordination of all other aims to that of the secure and ac

curate formation of the vaulting does not adm it of an unrestrained

man i festation of the sense of form . The columns are apt to be

heavy ,symmetry and harmony in the consti tuent members to be

disregarded. On Italian soil new archi tectural ideas are rarelyfound, constructive boldness not being here the chief object ; on theother hand, the decorative arrangements are ri cher andmore grateful , the sense of rhythm and symmetry more pronounced. Thecathedral of Pisa, founded as early as the 11th century , or the churchof S . Miniato near Florence, dating from the 12th, may be takenas an example of this. The interior with its rows of columns , the

mouldings throughout , and the flat ceiling recall thebasilica- type ;whi le the exterior, especially the facade destitute of tower, with

the small arcades one above the other,and the variegated colours

of the courses of stone , presents a fine decorative effect . At the

same time the construction and decorat ion of the walls alreadyevince a taste for the elegant proportions whi ch we admire in later

Italian structures ; the format ion of the capitals, and the design of

the outlines prove that the precepts of ant iquity were not entirelyforgotten . In the Baptistery of Florence (S . Giovanni) a definite

Roman structure (the Pantheon) has even been imitated. A pe

culi ar conservative spirit pervades the mediaeval architecture of

Italy ; artists do not aim at an unknown and remote object ;the ideal which they have in v iew

,although perhaps instinct ive

ly only , lies in the past ; to conjure up thi s, and bring about

a Renai ssance of the antique ,appears to be the goal of their

aspirations. They apply themselves to their task with calmness

and concentration , they indulge in no bold or novel schemes, but

are content to di splay their love of form in the execution of detai ls .

What architecture as a whole loses in histori cal attraction i s

compensated by the beauty of the indiv idual edifices. Whi letheNorth possesses structures of greater importance in the development of art , Italy boasts of a far greater number of pleasing works .

There is hardly a district in Italy which does not boast of

interesting examples of Romanesque archi tecture. At Verona we

may mention the famous church of St . Zeno wi th i ts sculp Rom u

tured portals. In the same style are the cathedrals of Fer nsqus

f ara ,Modena

,Parma , and Piacenza

,the church of S . Am CHURCH E S

brogi o at M ilan,wi th i ts characteri stic fore- court and facade, and

that of S . Michele at Pav ia,erroneously attributedto theLombardi .

Tuscany aboundswi th Romanesque edifices . Among these the palm

is due to the cathedral of Pisa,a church of spacious dimensions in

the i nterior, superbly embellished wi th i ts marble of two colours

and the rows of columns on i ts facade. To the same peri od shes

belong the neighbouring Leaning Tower and the B apti stery T ue

xxxviii ITALIAN ART.

churches of b acon are copies of those at Pisa. Those of Florence,however, such as the octagonal , dome- covered baptistery and the

church of S. Miniato al Monte, exhibit an independent style.

The position occupied by Italy wi th regard to Gothic architecture is thus rendered obvious. She could not entirelyignore its influence, although incapable of awardi ng an nu

condi tional reception to this, the highest development of

vault -architecture. Gothic was introduced into Italy in a mature

and perfected condition. It did not of necessi ty, as in France,

develop itself from the earlier (Romanesque) style , its progres scannot be traced step by step ; it was imported by foreign architests (practised at Assisi by the German master Jacob) , a nd

adopted as being in consonance wi th the tendency of the age ; itfound numerous admirers among the mendicant orders of monks

and the humbler classes of ci tizens, but could never quite disengage itself from Italiani sing influences . It was so fartransformed

that the construct ive consti tuents of Gothi c are degraded to a de

corative office, and the national taste thus became reconciled to it.

The cathedral of Milan cannot be regarded as a fair specimen of

i talian Gothic , but this style must rather be sought for in the

medieval cathedrals of Florence, S ierra, Om icto , in the church ofS . Petronio at Bologna , and in numerous secular edifices, such as

the Loggia dei Lanai at Florence, the communal palaces of med

iraval Italian towns, and the palaces of Venice. An acquaintancewi th true Gothi c cons truct ion, so contracted notwithstanding all its

apparent richness , so exclusively adapted to practi cal requirement s ,can certainly not be acquired from these cathedrals. The spacious

interior, invi ting , as i t were, to calm enjoyment , while the cathedrals of the north seem to produce a sense of oppression, the predominance of horizontal lines, the playful appli cation of pointed

arches and gables , of fin ials and canopies , prove that an organic

coherence of the different architectural di stinguishing members washere but little considered. The characteristics ofGothic architecture,the towers immedi ately connected wi th the facade, and the prom i

nent flying buttresses are frequently wanting in Italian Gothi c edifices

,whether to theirdi sadvantage, it may be doubted. It is not

so much the sumptuousness of the materials which di sposes thespectator to pronounce a lenient judgment , as a feeling that Italianarchi tects pursued the only course by which the Gothic style could

be reconciledwith the atmosphere and li ght, the climate and nat

ural features of Italy. Gothi c lost much of its peculiar characterin Italy, but by these deviations from the customary type it therebecame capable of being nationalised , especially as at the same

period the other branches of art also aimed at a greaterdegree of

nat ionality , and entered into a new combination wi th the fundamen tal b ait of the Italian character, that of retrospective adherenceto the an tique.

Go rm c

Sm s .

l ITALIAN ART .

ful and the expressiveness of his figures , to his merited rank.Giotto, however, is fully entitled to rank in the highest class. Theamateur , who before entering Italy has become acquainted withGiotto from insignificant easel - pictures only ,

often arbitrarilyattributed to thi s mast er , and even in Italy i tself encounters

little else than obliquely drawn eyes , clumsy features,

and

cumbrous masses of drapery as characteristi cs of his style , wi ll

regard Giotto’

s reputation as ill- founded. He will be at a loss

to comprehend why Giotto is regarded as the inaugurator of a

new era of art , and why the name of the old Florentine master

is only second in popularity to that of Raphael. The fact is thatmom-

om Giotto’

s celebrity is not due to any single perfect work oflm vw fl art . His indefatigable energy in differen t spheres of art , the

enthusiasm which he kindled in every direction , and the development forwhich he paved theway , mus t be taken into consideration ,

in order that his place in his tory may be understood. Even when,

in consonance with the poeti cal sentiments of hi s age, he embodies

allegorical conceptions, as poverty , chastity, obedience, ordisplaysto us a ship as an emblem of the Church of Christ , he shows a

masterly acquaintance wi th the art of converting what i s perhapsin itself an ungrateful idea into a speaking , lifelike scene.

G iotto is an adept in narration , in imparting a faithful reali ty to

his compositi ons . The individual figures in his pictures may fai lto sat isfy the expectations ,

-and even earlier m eters , such as

Duccio , may have surpassed him in execution , but intelli gib ili tyof movement and dramatic effect were first naturali sed in art byGiotto . This is partly attributable to the luminous colouringemployed by him instead of the dark and heavy tones of hi s

predecessors , enabling him to impart the prOper expression to

his artisti c and novel conceptions. On these grounds therefore Giotto

, so versatile and so active in themost extended spheres ,was accounted the purest type of hi s century, and succeeding

generations founded a regular school of art in his name. As

in the case of all the earlier Italian painters , so in that of Giottoand his successors , an Opi nion of their true merits can be formedfrom theirmural paintings alone. The intimate connecti on of the

picture wi th the archi tecture, of which i t constituted the li vingornament, compelled artists to study the rules of symmetry and

harmonious composition , dev eloped their sense of style, and, as

extensive spaces were placed at their di sposal, adm i tted of broad

and unshackled delineation. Almost every church in Florence

boasted of specimens of art in the style of Giotto , and almost cv

ery town in Central Italy in the i 4 th century pract ised somebranch of art akin to Giotto's. Themost valuableworks of thi s styleare preserved in the churches of S . Croce (especi ally the choirchap els) and 5 . Maria Novella atFlorence. Beyond the precincts ofthe Tuscan cap i tal the finest works of Giotto are tub e foundat Assis i

ITALIAN ART.

and in the Madonna dcll’

Arena at Padua , where in 1306 he executed a representati on of scenes from the lives of the Virgin and

the Sav iour. The Campo Santa of Pisa affords specimens of the

handiwork of his pupils and contemporaries. In the works on thewalls of thi s unique national museum the spectator cannot fail tobe struck by their finely- conceived, poetical character (c.g. the

Triumph ofDeath), their sublim i ty (Last Judgment , Trials of Job),or their richness in dramatic effect (History of St . Rainerus, and of

the Martyrs Ephesus and Poti tus).In the 15th century, as well as in the i 4 th, Florence continued

to take the lead amongst the capitals of Italy in matters of art .

Vasari attributes thi s meri t to its pure and delicious atmo Fronnncn

sphere, which he regards as highly conducive to intelligence a Cau s e

and refinement . The fact,however, is, that Florence did 0 " AB T '

not itself produce a greater number of eminent artists than other

places . During a long period Siena successfully viedwith her inarti stic fertility, andUpper Italy in the i 4th century gave birth tothe two painters D ’

Avanzo andA urorm mr (paintings in the Chapelof 8 . G iorgio in Padua), who far surpass Giotto

’

s ordinary style. On

the other hand,no Italian city afforded in its political institutions

and publi c li fe so many favourable stimulants to artisti c imagina

tion,or promoted intellectual activity in so marked a degree, or

combined ease and dignity so harmoniously as Florence. Whattherefore was but obscurely expel ienced in the rest of Italy , and

manifested at irregular intervals only , was generally first reali sed

here w ith tangible dist inctness. Florence became the birthplaceof the revolution in art effected by Giotto ,

and Florence was the

hom e of the art of the Renai ssance,whi ch began to prevail soon

after the beginning of the 15th century and superseded the style

of Giotto.

The wordRenaissance i s commonly understood to designate a

revi val of the ant ique ; but while ancient art now began to REM “ ,

influence artistic taste more powerfully , and its study to be canon

more zealously prosecuted ,the essential character of the CULTURE

Renaissance consists by no means exclusively , or even principally ,in the imitation of the antique ; nor must the term be confined

merely to art,as it truly embraces the whole progress of civ ili

sat ion in Italy during the 15th and 16th centuries. How the

Renaissance mani fested itself in politi cal li fe ,and the different

phases it assumes in the scientific and the social world,cannot

here be discussed. It may , however, be observed that the Renai ssance in social life was chiefly promoted by the

‘humanists’

,

who preferred general culture to great professional attainment s,

who enthusiastically regarded classi cal ant i quity as the golden

age of great men and who exerci sed the most extensive‘

m

fiuence on the bias of artisti c views. In the peri od of the“Q.

naim nce the p osi tion of the artist wi th regard to hi s work “ fl

Fm s u rr

or run B r:

xli i ITALIAN ART .

the nature and aspect of the latterare changed. The education and

taste of the individual leave a more marked impress on the work ofthe author thanwaseverbefore the case ; his creations are pro- em inently the reflection of his intellect ; his alone is the responsibility ,his the reward of success or the mortificatiou of failure. Artists

now seek to attain celebri ty, they desire theirworks to be exam inedand judged as testimonials of their personal endowments. Mere

technical skill by no means sat isfies them, although they are far

from despising the drudgery of a handicraft (many of themost em in

ent quattrocentists having received the rudiments of theireducationin the workshop of a goldsmi th), the exclusive pursui t of a single

sphere of art is regarded by them as an indication of intellectual

poverty , and they aim at mastering the principles of each differentbranch . They work simultaneously as painters and sculptors

,and

when they devote themselves to architecture,i t is deemed nothing

unwonted or anomalous. A comprehensive and versati le education ,uni tedwith refinedpersonal sentiments, forms their loft iest aim.

This they attain inbut few instances, but that they eagerly aspiredto i t is proved by the biography of the i llustrious Leon BATTISTA

Annnn'rr

,who is entitled to the same rank in the 16th century , as

Leonardo da Vinci in the 16th. Rationally educated,physically and

morally healthy ,keenly alive to the calm enjoyments of life, and

possessing clearly defined ideas and decided tastes , the Renaissanceartists necessari ly regarded nature and her artistic embodiment

wi th difierent v iews from theirpredecessors . A fresh andjoyous loveof nature seems to pervade the whole of this period. She not onlyafforded an unbounded field to the scientific, but artists also strove

to approach her at first by a careful study of her various phenomens . Anatomy , geometry perspective and the studyof drapery and colour are zealously pursued and practically

na i ssance applied. External truth , fidelity to nature, and a correct

Al ma“ 7 ° rendering of real li fe in its minutest details are among theNam es .

necessary qualities in a perfect work . The realism of the re

presentat ion is , however, only the basis for the expression of li fe

like character and present enjoyment . The earlier artists of the

Renaissance rarely exhibi t parti ali ty for pathet ic scenes , or events

which awaken painful emotions and turbulent passions, and when

ITALIAN ART. xli ii

striking resemblance to the nai ve and not unpleasing tone of thechroni cler. The development of Italian art , however, by no means

term inates with mere fidelity to nature, a quality likewi sedisplayedby the contemporaneous art of the North. A superficial glance at

the works of the Italian Renaissance enables one to recogni se the

hi gher goal of imagination. The carefully selected groups of dignified men , beaut iful women and pleasing children occasionallywi thout internal necessity placed in the foreground prove that attract iveness was pro- eminently aimed at . This is also evidenced bythe early- awakened enthusiasm for the nude

,by the skill in di spos

i tiou of drapery, and the care devoted to boldness of outline and

accuracy of form . This aim is still more obv ious from the keensense of symmetry observable in all the better artists. The indi

vidual figures are not coldly and accurately drawn in conformi tywi th systemat ic rules. They are executedwith refined taste and

feeling ; harshness of expression and unpleasing characteristi cs are

sedulously avoided,while in the art of the North physiognom i c

fidelity is usually accompanied by extreme rigidity. A taste for

symmetry does not prevail in the formation of the indiv idual figure

only ; obedience to rhythmi cal precepts i s perceptible in the dispo

aition of the groups also , and in the composition of the entirework .

The intimate connection between Italian painting (fresco) and

architecture naturally leads to the transference of architectural rulesto the province of pi ctorial art whereby not only the invasion of a

mere luxuriant naturalism was obviated,but the fullest scope was

afforded to the artist for the execution of hi s task . For, to discover

the most effect ive proport ions , to inspire li fe into a scene by the

very rhythm of the lineaments,

are not‘

accompli shments to be

acquired by extraneous aid ; precise measurement and calcu

lation are here of no avail ; a discrim inating eye ,refined taste

,

and a creative imagination whi ch instinctively divines the appro

priate forms for its design ,can alone excel in this sphere of art .

This enthusiasm for external beauty and just and harmonious pro

portions i s the essential characteri sti c of the art of theRenaissance.

Its veneration for the antique i s thus also accounted for. At first

an ambit ious thirst for fame caused the Italians of the i 5th and l6th

centuries to look back to classical ant iqui ty as the era of i llus Srunr

trious men,and ardently to desire its return . Subsequently , or m e

however,they regarded i t simply as an excellent and appro

ANTIQUE

priate resource,when the study of actual li fe did not suffice, and an

adm irable assistance in perfecting their sense of form and symmetry .

They by no means viewed the art of the ancients as a perfectwhole,or as the product of a definite hi storical epoch ,

which developeditself under peculi arconditions ; but their attentionwas arrested bythe individual works of antiqui ty and their special beauties . Thus

ancient ideas were J'

s- adm i tted into the sphere of Renai ssan ce art .

A retam to the religious sp iri t of the Romans and Greek s is not. oi

iTALIAN ART.

course to be inferredfrom the veneration forthe ancient gods shownduring the humanisti c period ; belief in the Olympi an gods was extinct ; but just because no devotional feeling was intermingled,because the forms could only receive life from creat ive imagination,did they exercise so powerful an influence on the Italian masters.

The importance of mythological characters being wholly due to theperfect beauty of their forms they could not fail on this account

pre-eminently to recommend themselves to Renaissance artists.

These remarks wi ll, i t is hoped, convey to the reader a generalearn erw idea of the character of the Renaissance. Those who ex

lm oa 0' amine the architectural works of the 16th or 16th century

”A, “should refrain from marring their enjoyment by the not al

Aaem . togetherjust ifiable reflect ion , that in the Renaissance style" OW “ no new system was invented, as the architects merely em

ployed the ancient elements, and adhered principally to traditionin their constructi ve principles and selection of component parts .

Notwi thstanding the apparent want of organisation, however, greatbeauty of form ,

the outcome of the moat exuberant imagination ,

wi ll be observed in all these structures .

Throughout the di versified stages of development of the succeeding styles of Renaissance archi tecture

,felici ty of proporti on is

invariably the aim of all the great masters. To appreciate theirsuccess in this aim should also be regarded as the principal task ofthe spectator

,who with this object in view will do well to compare

a Gothic wi th a Renaissance structure. This comparison will proveto him that harmony of proportion is not the only efiectiv e elem ent

in architecture ; for, especially in the cathedrals of Germany , theexclusively vertical tendency , the attention to form without regardto measure

, the violation of precepts of rhythm ,and a disregard

of preportion and the proper ratio of the open to the closed cannot

fai l to strike the eye. Even the unski lled amateur will thus beconvinced of the abrupt contrast between the medie val and the

Renaissance styles . Thus prepared, he may , for example, proceedto inspect the Pitti Palace at Florence

,which undecorated and

uncrganised as i t is , would scarcely be distinguishable from a rude

pile of stones,i f a judgment were formed from the mere descrip

ti on. The art isti c charm consists in the simplici ty of the mass,

the justness of proport ion in the elevation of the stories , and the

tasteful adjustmen

the com ics surmounting the structure shouldU g li es t story ,

or to the entire facade. ThItself In B raman te

’

s imagination . The

ITALIAN ART. xlv

considered a beautifully organi sed structure ; andwhen,after the

example of Palladio in church- facades, a single series of columns

was substi tuted for those resting above one another,symmetry of

proportion was also the object in view.

From theworks of Brunelleschi (p . xlvi), the greatest master of

the Early Renai ssance, down to those of Andrea Palladio of Vi

cenza (p.xlvi i), the last great architect of theRenaissance, theworksof all the architects of that periodwill be found to possess manyfeatures in common. The style of the 15th century may, however,easily be distinguished from that of the i 6th. The Flor E s au Ex

entine Pitti, Riccardi , and S trom i palaces are sti ll based on M ISS -ANC E

the type of the mediaaval castle but other contemporary creations

show a closer affinity to the forms and arti culation of antique art .

A taste for beauty of detail , coeval with the realisti c tendency of

painting, produces in the architecture of the 15th century an exten

sive appli cation of graceful and attractive ornaments ,which entirelycover the surfaces, and throw the real organisation of the edifice into

the background. For a time the true aim ofRenaissance art appearsto have been departedfrom anxious care i s devoted to detai l instead

of to general effect ; the t e- application of columns did not at first

admi t of spacious structures ; the dome rose but timidly above the

level of the roof. But this attention to minutia,this disregard of

efl'ect on the part of these archi tects, was only , as i t were

,a re

straining of their power, in order the more completely to master,

the more grandly to develop the art .

There is no doubt that the Renai ssance palaces (among whichthat of Urbino, mentioned in vol . i i of this Handbook

,has always

been regardedas pro- em inently typical) aremore attractive than the

churches. These last , however though destitute of the venerable

associ ations connected wi th the mediaaval cathedrals bear ample

testimony to the abili ty of their builders. The churches ofNorthernItaly in parti cular are worthy of exam ination. The first early Re

naissance work constructed in this part of the country was the facadeof the Certosa ofPaeia , a superb example of decorative archi tecture.

Besides the marble edifices of this periodwe also observe structures

in brick, in which the vaulting andpillars form prominent features.

The favourite form was ei ther circular or that of the Greek cross(with equal arms), the edifice being usually crowned wi th a dome

,

and displaying in i ts interior an exuberant taste for lav i sh enrichment . Of this type are the church of theMadonna della Croce near

(hem and several others at Piacenza and Parma (Madonna della

Steccata). Itwas in this region that Bnam rn prosecuted the studies

of which Rome afterwards reaped the benefit . Among the secular

bui ldings of N. Italy we may mention the Ospedale Maggiore at

Milan,which shows the transi tion from Gothic to Renaissance. The

bes t survey of the palatial edifices built of brick will be ob tai ned

by wa iting through the streets of B ologna (p .

xlvi ITALIAN ART.

The visi tor to Venice wi ll have an opportunity of tracing withina very lim ited space the progress of Renai ssance architecture. The

church of 8. Zaccarta is an example of early Renai ssance still in

conflict wi th Gothi c, while the ri chly coloured church of 8 . Maria

dei Miracoli and the Scuola di 8 . Marco exhi bit the style in i ts

perfection. Foremost among the archi tects of Venice must be

mentioned the Lombardi, to whom most of the Venet ian buildings

of the 15th cent . are attributed ; but we shall afterwards advert to

the farther progress of Venetian architecture (p . xlvi i). One of themoat famous archi tects of N. Italy was Fm Groooxno of Verona , a

monk, a philologist (the discoverer of the let ters of the younger

Pliny), a botanist, an engineer, and a thoroughly well trained architect, who at a very advanced age, after the death of Bramante

,was

summoned to Rome to superintend the bui lding of St . Peter’s.

Ex amples of earlyRenaissance architecture abound in the towns

of Tuscany. At H om es,the scene of Frmrro Baum ns scm

'

s

lab0urs (1379 the attention is chiefly arrested hy the churchof 8 . Lorenzo with i ts two sacristies (the earlier by Brunei

leacht,the later by Michael Angelo ,

which i t i s interesting to

compare),whi le the small Cappeua def Pan t near 8. Croce is also

noticeab e. The Palasso Ruceua i is also important as showing thecombination ofpilasters wi th ‘

rustica’

,thegreatest advance achieved

by the early Renaissance. S iena , with i ts numerous palaces, H ome ,

the model of a Renaissance town and Urbino also afford excellent

examples of the art of the Quattrocentists , but are beyond the limi tsof the present volume. While all these different edifices possess

many features in common,they may be classed in a number of

groups , di ffering in material and various other characteristi cs , and

entirely relievi ng them from any reproach of monotony .

The earlyRenaissance is succeededbyBm m rn’

eepoch (1444wi th which began the golden age of symmetri cal construc

Zn ,“ ti on. With a wi se economy the mere decorative portions

o r m e Rn were circumscribed,while greater significance and more

"M “ marked expression were imparted to the true const ituents

of the structure , the real exponents of the architectural design .

The works of the Bramant ine era are less graceful and attract ive

than those of their predecessors,but superior in theirwell defined,

lofty simpli ci ty and finished character. Had the Church of St . Peterbeen completed in the form originally designed by Bramante we

could havepronounced a more decidedopinion as to the ideal of the

church- architecture of theRenaissance. The circum stance that thegrandest work of th is style has been subjected to the most varied

alterations (and vastness of dimensions was the principal aim of the

archi tects)teaches us to refrain from the indi scriminateblamewhichso commonly falls to the lot of Renaissance churches. It must atleas t be adm i tted that the favourite form of a Greek cross wi throunded ex tmm i ties, crowned by a dome, possesses m m

xlvi i i ITALIAN ART.

B ibliotcca of Sm ooino (in the Piazzetta ; p. 268) over the new

Pt ocmm ic of Sm ossi (p . although the two edifices exactlycorrespond in many respects, have made great progress towards anaccurate insight into the architecture of theRenaissance.

Much , however, would be lost by the travellerwho devo ted hisan,“ attention exclusively to the master-works which have beenWears or extolled from time iminemorlal, or solely to the great menA'm

umeutal structures. As even the insignificant vases (maj olieas ,

manufactured at Pesaro , Urbino , Gubbio and Castel

Durante) testi fy to the taste of the Italians , their part iali tyfor class ical models, and their enthusiasm for purity of form

, so

also in inferior works , some of whi ch fall wi thi n the province Of a

mere handi craft , the peculi ar beauties of the Renaissance style are

often detected and charming specimens of architecture are some

times di scovered ln remote corners of Italian towns. Normust the

vast domain Of decorative sculpture be di sregarded, as such works ,whether in metal, stone, or stucco , inlaid or carvedwood ( intan ia),often verge on the sphere of architecture in their designs, drawing,and style of enrichment.

On thewhole it may be asserted that the archi tecture of theRenaissance whi ch in Obedience to the requi rements of modern life

30m m , manifests its greatest excellence in secularstructures, cannot

or run Ra fai l to grati fy the taste of the most superficial observer.

With the sculpture of the same period, however, the case is

different. The Italian archi tecture of the 15th and l6th centuries

still possesses a pract ical value and is frequently imi tated at the

present day ; and painting undoubtedly attained its highest con

summation at the same period ; but the sculpture of the Renais

sance does not appear to us worthy Of revival, and indeed cannot

compete wi th that Of anti quity. Yet the plastic art , far from

enj oying a lowerdegree Of favour, was rather viewed by the ar

tists of that age as the proper centre of their sphere of acti vi ty.

Sculpture was the first art in Italy which was launched into the

stream of the Renaissance, in its development i t was ever a stepin advance of the other arts, and in the popular opini on possessedthe advantage of most clearly embodying the current ideas of the

age, and of affording the most brilli ant evidence of the re- awakenedlove of art. Owing probably to the closeness of the connection be

tween the plasti c art of the Renai ssance and the peculiar national

culture, the former lost much of its value after the decline of the

latter , and was less appreciated than picto rial and architecturalworks , in whi ch advent itious historical origin is Obviously less important than general effect . In tracing the progress of the sculptureOf the Renaissance , the enquirer at once encounters serious devi aticus from strict precepts, andnumerous infringements ofaesthet icrules . The execution of reliefs constitutes by far the widest sphereof ac tion of the Italian sculptors oi the 15th century. These,

ITALIAN ART .

however, contrary to immemori al usage, are executed in a pi ctorialstyle. Lom mzo Gnmnn'rr (1378 for example ,

in his cel

ebrated (eastern) door of the Bapti stery of Florence,is not sat is

fied wi th grouping the figures as in a painting and placing them

in a ri ch landscape copied from nature. He treats the backgroundin accordance with the rules of perspective ; the figures at a dis

tance are smaller and less raised than those in the foreground.

He oversteps the lim its of the plastic art , and above all violates

the laws of the relief- style, according to which the figures are

always represented in an imaginary space ,and the usual system

of a mere design in profile seldom departed from . In like manner

the paintedreliefs in terracotta by Luca DELLA Ronnra (1400- 1482)are somewhat inconsistent with purity of plastic form . But i f

i t be borne in m ind that the sculptors of the Renaissance did not

derive their ideas from a previously defined system , or adhere to

abstract rules , the fresh and lifelike vigour of their works (especially those of the i 5th century) will not be disputed, and pre

judi ce will be dispelled by the great attractions of the reliefs

them selves. The sculpture of the Renaissance adheres as stri ctlyas the other arts to the fundamental principle of representation ;scrupulous care is bestowed on the fai thful and attractive ren

dering of the individual objects ; the taste is gratified by express

ive heads, graceful female figures , and joyous children ; the sculptors have a keen appreciation of the beauty of the nude

,and

the im portance of a calm and dignified flow of drapery . In theiranx iety for fidelity of representat ion , however, they do not shrinkfrom harshness of expression or rigidity of form . Their predilection for bronze- casting, an art which was less in vogue in the

l6th cent . , accords with their love of indiv iduali sing their characters. In this materi al, decision and pregnancy of form are expressed

without restraint , and almost , as it were, spontaneously. Works inmarble also occur , but these generally trench on the province of

decorat ion , and seldom display the bold and unfettered aspirations

whi ch are apparent in the works in bronze.

The churches have always afforded the most important field for

the labours of the Italian sculptors, some of them ,such as S . Croce

at Florence, theFrari andSS . Giovanni e Paolo at Venice, and the

San ta at Padua, form ing very museum s of Renaissance sculpture.

At the same time many of the wealthier families (the Medici and

others) embellished their mansions wi th statuary ,and the art of

the sculptor was frequently invoked with a v iew to erect a fit ting

tribute to the memory of some public benefactor (such as the

equestrian statues at Ven ice and Padua).At Florence , the cradle of Renai ssance sculpture ,

we become

acquaintedwi th Ghiberti and Della Robbia, who have been “ g u m ,“

already mentioned, and wi th the famous DON ATELLO (pro or “W “E

perly D oaru'o DI NroooLo DI BE TTI Baum

,1886 wh o “u

“ “m“

Ba nan a . Italy I. 11th Edi t. d.

ITALIAN ART.

introduced a naturalistic style, which , though often harsh , is fullof life and character. The Judith Group in the Loggia de

’Lanzi

is an exaggerated and unpleasiug example of this style, the master

having aimed at the utmost possible expressi veness, while the linesand contours are entirely desti tute of ease. Among Donatello

’

s

most successful works on the other hand are his statue of St . George

and his Victorious Dav id in bronze in theMuseo Nat ionals (p .

a collection invaluable to the student of theearly Renaissance. The

reliefs on the two pulpits in S . Loeenso and the sculptures in thesacristy of that church (p . 473) should also be inspected. Dona

tello’s finest works out of Florence are his numerous sculptures in

8 . Antonio at Padua .

The next sculptor of note was Arm an/i Vanaoocrno (1436Most of the other masters of this period (Am omo Rom nm o ,

Moro na Frasona , Dasmnnro na Snm oxas o) were chleny - o c

cupied in the execution of tombstones and do not occupy a

posi tion of much importance ; but the life andsense ofbeauty whichcharacterise the early Renaissance are admirably exemplified in theworks of the comparatively unknown Mam o Crvm m of Lucea

(1436- 1601 ; Altar of St. Regulus in the Cathedral , p.

Important Florentine masters of the first half of the 16th cent.

were Grov . Fm o . Rum or who was perhaps inspired by Leonardo, and particularly Arman Su sovnro (1460the author of the exquisite group of Christ and the Baptist in the

Baptistery at Florence, of superb monuments at Rome (in the choirof 8. Maria del Popolo), and of part of the sculptures which adorn

the Santa Cass at Loreto . Northern Italy also contributed largelyto the development of the plasti c art . The Certosa at Pav ia for

example, afforded occupation during several decades to numerous

artists, among whom the most eminent were Grovarm r Anrom o

Asu ns o (sculptor of the huge monuments in the Cappella Colleoniat Bergamo), and, at a later period, Cmsrorono Sonam

,surnamed

Ir. Gonno ; Ven ice gave birth to the famous sculptor Anassm no

Lnoraanr (d. c cro or Bnlosco wrought at Padua ; Acosrm o Bus'rr

,n.Barman (p. and the above-mentionedOm sro

rono Son ar, were actively engaged at M ilan ; and Modenaafi

’orded employment to Maaaom and Basam u (p . artists

in terracotta the latter of whom is sometimes compared wi thCorreggio.

Among the various works executedby these masters,Monumenta lTombs largely predominate. Whi le these monuments are often of

a somewhat bombastic character,they afford an excellent illus~

tretien of the high value attached to indivi duali ty and personalculture during the Renaissance period. We may perhaps also frsquently take exception to the monotony of their style ,

whichrem ained almost unaltered for a whole century , but we cannot failto deri ve genuine p leasure from the inexhaustibh freshness of

ITALIAN ART. li

imagination and richness of detail displayed within so narrow

As museums cannot convey an adequate idea of the sculpture

of the 16th century , so the picture galleries wi ll not afford an

accurate insight into the painting of that period. Sculp PAINT,“

tures are frequently removed from their original position , or run Cm

many of those belonging to the Florent ine churches , for “ M ENTO

example ,hav ing been of late transferred to museums ; but mural

paintings are of course generally inseparable from the walls whi chthey adorn . Of the frescoes of the 15th century ofwhich a recordhasbeen preserved, perhaps one- half have been destroyedor obliterated,but those sti ll extant are the most instructive and attractive ex

amples of the art of this period. Themural paintings in the churchdel. Carm ine (Cappella Brancacei) at Florence are usually spoken of

as the earliest specimens of the painting of the Renaissance. Thisis a chronologi cal mistake ,

as some of these frescoes were not completed before the second half of the 15th century ; but on material

grounds the classification i s just ifiable, as this cycle of pictures may

be regarded as a programme of the earlier art of the Renaissance,

the importance of which it served to maintain , even during the age

of Raphael. Here the beauty of the nude was first revealed ,and

here a calm dignity was for the first time imparted to the individual

figures , as well as to the general arrangement ; and the transform

ation of a group of indifferent spectators in the composition into a

sympathi sing choir, forming as it were a frame to the principal actors in the scene ,

was first successfully effected. It is, therefore,

natural that these frescoes should still be regarded as models for

im itation , and that , when the attention of connoisseurs was again

directedduring the last century to the beauties of the pre- Raphael

i ts peri od, the works of M easure (1401- 28) and FILIPPIN O LIPPI

(14 57- 1604) shouldhave been eagerly rescuedfrom oblivion (comp.p .

A v isit to the churches of Florence is well calculated to convey

an idea of the subsequent rapiddevelopment of the art of painting .

The m ost important and extensive works are those of Do

xnm oo Gm nnarvnaro (144 9 v iz . frescoes in S. Trinita,P

5322):and those in the choir of 8 .Maria Novella, which in sprightliness of conception are hardly surpassed by any other work of thesame period. (The traveller will find i t very instructive to compare

the former of these works with the mural paintings of Giotto in S .

Croce, whi ch also represent the legend of St . Francis, and to draw

a parallel between Ghirlandajo’s Last Supper in the monasteries

of S. Marco and Ognissanti , and the work of Leonardo .) In the

Dom in ican monastery of S . Marco reigns the pious and peaceful

genius of FM GrovarmrANGELICO na Fm som; (1387 who ,

though inferior to his contemp oraries in dramati c power, v i es wi th

the best of them in his dep th of sentiment and hi s sense of beauty

i i i mamas ART.

as expressed more particularly by his heads , and who in his old

age displayed hi s well-matured art in the frescoes of the chapel ofSt . Nicholas in the Vatican.

Although the Tuscan painters exhibit their art to i ts fullest

extent in their mural paintings , their easel- pictures are also well

worthy of most careful examination ; for i t was chiefly throughthese that they gradually attained to perfection in imparting beautyand dignity to the human form . Besides the two great Florentine

galleries (Uffizi andPitti), the collect ion of the Academy (p . 486)is also well calculated to afford a survey of the progress of Florentine painting .

Beyond the precincts of Florence, Bsxon o GozzOLr’s charm ing

scenes from the Old Testament on the northern wall of the CampoPu n ,” w Santo ofPisa (p . truly form ing biblical genre-

pictures ,orm Panrs andhis scenes from the life of St. Augufi ine in 8 . Gina

’

To“W W-mums , Frmrro e rr'

s frescoes at Prato (p . Pmno

DELLA Fm onsca’

s Finding of the Cross in S. Francesco at A nn a,

and lastly Luca Sreuonnnu’s representation of the Last Day in

the Cathedral at Orvieto , aflord a most admirable revi ew of the

character and development ofRenaissance painting in Central Italy .

Arezzo and Orvieto should by no means he passed over,not only

because the works they contain of Piero della Francesca andLuca

Signorelli show how nearly the art even of the 15th century ap

proaches perfection, but because both of these towns afiord an im

mediate and attractive insight into the arti sti c taste of themedi e valtowns of Italy . Those who cannot conveniently vi sit the provincialtowns wi ll find several of the principal masters of the 16th century

uni ted in the mural paintings of the SistineChapel atRome, whereSu mac Borrrm m (see p. a pa 1] of the elderLippi , Cosm o

Rossnu r (p . Dom . Ghirlandajo, ignorelli , andPerug'lno have

executed a number of rich compositions from the life of Moses and

that of Christ .But an acquaintance wi th the Tuscan schools alone can never

suffice to enable one to form a judgment respecting the generalorm progress of art in Italy. Chords which are here but slightly

touched vibrate powerfully in Upper Italy. The works of

Axnnna Maureen (1431- 1506 ; at Padua and Mantua) derivemuch interest from having exercised a marked influence on the

German mastersHolbein andDiirer, and surpass all the otherworks

of hi s time in fidelity to nature and excellence of perspect ive(p. The earlier masters of the Venetian School (Vi vanrm ,

Onrvnnnr) were to some extent adherents of the Paduan school, towhi ch Mantegna belonged, but the peculiarVenetian style, mai nlyfounded on local characteristics, andadmirably successful in i ts richportraiture of noble and dignified personages , was soon afterwards

elaborated by Om a n Baum" (1421- 1507) and his brother Grom mw (14 26 sons of Giacomo (comp . p f lhn.

—:Yhe0m

ITALIAN ART . li i i

brian School also, which Originated at Gubbio,and is admirably re

presented early in the 15th century by O'r'rAvrANO NELLI, blending

with the Tuscan school in GENTILE DA FABB IANO,and culminating

in its last masters PrE '

rE o VAmm ccr,surnamed PERUGINO (1446

and BEENAE DINO BETTI,surnamed PrN'

rum ccm o (1454merits attention , not only because Raphael was one of its

adherents during his first period , but because i t supplements the

broaderFlorentine style, andnotwithstanding its peculiar and limited bias i s impressive in its character of lyric sentiment and religious devotion (e. g . Madonnas).

The fact that the various points of excellence were distributed

among di fferent local schools showed thenecessity of a loft ierunion .

Transcendent talent was requisite in order harmoniously to Umox 0 3 .

combine what could hi therto be v iewed separately only. oxrrnnsm

The 15th century , notwithstanding all i ts attractiveness,805 00“

shows that the climax Of art was still unattained. The forms em

ployed, graceful and pleasing though they be, are not yet lofty and

pure enough to be regarded as embodiments of the highest and

noblest conceptions. The figures sti ll present a local colouring ,having been selected by the artists as physi cally attractive

,rather

than as characteristi c andexpressive of their ideas. A portrai t style

still predom inates the actual representation does not appear

always wisely balanced with the internal significance of the event ,and the dramatic element i s insufficiently emphasi sed. The most

abundant scope was therefore now afforded for the labours of the

great triumvirate, LEONARDO DA Vm cr,MICHAEL AN GELO BUONAR

B OTI,andRAPHAEL SAN TI

,by whom an entirely new era was in

augurated.

Leonardo’s (1452 - 1519) remarkable character can only be thor

oughly understood after prolonged study . H i s comprehensivegenius was only partly devoted to art ; he also directed LEONARDL

his attention to scientific and practi cal pursuits of an entirely DA V INC I

di fferent nature. Refinement and versatility may be described as

the goal of hi s aspirations ; a div ision of labour, a parti tion

of indiv idual tasks were principles unknown to him . He laid,

as i t were,his entire personality into the scale in all that he

undertook . He regarded careful physical training as scarcely less

important than comprehensive culture of the mind ; the vigour of

his im agination servedalso to stimulate the exercise ofhis intellect ;

andhi s minute observation of nature developedhi s art istic taste and

organ of form . One is frequently tempted to regard Leonardo’

s

works as mere studies,in which he testedhis powers, and whi ch

occupied his attention so far only as they gratified hi s love of

investigation and experiment . At all events his personal impor

tance has exercised a greater influence than his produ cti ons as

an arti st , especially as his prej udiced age strenuously sought. t o

obli terate all trace of the latter. Few of L eon ardo‘s m s‘B

liv ITALIAN ART.

have been preserved in Italy , and these sadly marred by neglect .

A reminiscence of his earlier period ,

‘

when he wrought under

Arm an m ocom o at Florence, and was a fellow-pup il of LO

m zo nrGuam ,is the Annunciation in theUffiai (p . if it

be a genuine work. Several oil- paintings, portraits (e. g . the two

fine works in the Ambrosiana at Milan,p. Madonnas , and

imaginative works are attributed to his Milan period, althoughcareful research inclines us to attribute them to his pup ils. Un

adulterated pleasure may, however, be taken in his drawings in

the Ambrosiana and the Venice Academy (p . The unfin ishedAdorat ion of theMagi in the Uifizi (p . 432) bears ample test imonyto the fertility of hi s imagination, whi le the S t. Jerome in theVatican

,though also unfinished, affords an insight into his techni que.

The best idea of his reforms in the art of colouring is obtained by

an attentive exam ination of the works of the Milan school (Lem ,

SALAINO ; p . as these are far bet ter preserved than the only

undoubted work of Leonardo’

s Milan period in Italy : the Last

Supper in 8. Maria delle Grazie (p . Although now a total

wreck , i t is still well calculated to convey an idea of the new

epoch of Leonardo. The spectator should first examine the delicateequi librium of the composition ,

and observe how the individual

groups are complete in themselves, and yet simultaneously point toa common centre and impart a m onumental character to the work ;then the remarkable physiognomical fidelity which pervades every

detail, the psychological dist inctness of character, and the dramat i clife , together wi th the calmness of the entire bearing of the

picture. He wi ll then comprehend that wi th Leonardo a new era

in Italian painting was inaugurated , that the development of arthad attained its perfection.

The accuracy of this assertion will perhaps be doubted by theam ateur when he turns from Leonardo to l iehnel Angelo (1475

c m On the one handhe hears Michael Angelo extolledM OM as the most celebrated artist of the Renaissance ,

whi leon the other it is said that be exercised a prejudici al influenceon Italian art , and was the precursor of the decl ine of sculpture

and paint ing. Nor is an inspecti on of th is illustrious master’s

works calculated to dispel the doubt . Unnatural and arbi traryfeatures Often appear in juxtaposi tion with what is perfect , profoundly significant , and faithfully conceived. As in the case of

Leonardo, we shall find that it is only by studying the master's biography that we can Obtain an explanation of these anomalies and

reach a true appreciation of Michael Angelo's artisti c greatness.

Educated as a sculp tor, he exhibi ts partiali ty to the nude , and

treats the drapery in many respects difierently from his professi onalbrethren. But , like them ,

his aim is to inspire his figures wi th li fe,and he seeks to attain it by imparting to them an imposing and imPresal ve character. At thesame time heoccupiesm mm w ueu ,

lvi ITALIAN ART .

soon brought the ambitiously des igned memorial once more to a

standstill. From 1516 onwards Mi chael Angelo dwelt at Oarrara

andFlorence, occupied at first wi th the construction and embell ishment of the Facadeof S . Lorenzo , which was never completed, andthen wi th the Tombs of the Medici. This work also advanced very

slowly towards maturity, and at last the arti st , disgustedwi th thetyranny of theMedici, set up in theirplaces thoseof the statueswhichwere finished, and migrated to Rome Hi s first work herewas the Last Judgment in the Sistine Chapel, his next the erection

of the scanty fragments of the tomb of Pope Julius . His last years

were mainly devoted to archi tecture (S t. Peter's).Am ateurs wi ll best be enabled to render justice to Michael

Angelo by first devot ing their attention to hi s earlier works ,among which in the province of sculpture the group of the Pietain St. Peter

’s occupies the highest rank . The statues of Bacchus

and David (at Florence) likewise do not transgress the customary

precept s of the art of the Renaissance. Paintings of M ichaelAngela

’

s earlier period are rare ; the finest , whether conceived

in the midst of hi s youthful studies, or in hi s maturer years, is nu

questionably the ceiling-

painting in the Sistine. The archi tecturalarrangement of the ceiling , and the composi tion of the several

pictures are equally masterly ; the taste and di scrim inat ion of the

painter and sculptor are admirably combined. In God the Father,Michael Angelo produced a perfect type of i ts kind ; he understood how to inspire wi th dramatic li fe the abstract idea of the

act of creat ion ,which he conceived as motion in the prophets

and sibyls. Notwithstanding the apparent monotony of the

fundamental intention (foreshadowing of the Redemption), a great

variety of psychological incidents are displayed and embodied in

distinct characters. Last ly, in the ao- called Ancestors of Christ ,the forms represented are the genuine emanations of Mi chaelAngelo

’

s genius , pervaded by his profound and sombre senti

ments , and yet by no means destitute of gracefulness and beauty .

The decorati ve figures also which he designed to give life to hi s

archi tectural framework are wonderfully beautiful and spirited.

The Last Judgment, which was executed nearly thirty years later(in 154 1 acco rding to Vasari) , is not nearly so striking as the

ceiling—paintings, owi ng in a great measure to i ts damaged condi

tion . Among Michael Angela’s pupils were Seus s-ru n mu.

Pron e (the Venetian) , Mancnano Venom ,and Danmnn na

Vonrsnna .

Whether the palm bedue to MichaelAngelo ortoRaphael (1483.1520) among the artists of Italy is a question which formerly gave

Rarmrise to vehement discussi on among artists and amateurs .

The adm irer ofMichael Angelo need, however, by no means

be p recl uded from enjoying the works of Raphael. We now knowtha t i t Is far more advantageous to form an amuaintauce wi th

ITALIAN ART. lvii

each master in his peculiar province , than anxiously to weightheir respective merits ; and the more m inutely we examine theirworks , the more firmly we are persuaded that neither in any way

obstructed the pregress of the other , and that a so- called highercombination of the two styles was impossible. Michael Angelo’suni que posi tion among his contemporaries was such , that no one,Raphael not excepted ,

was entirely exempt from hi s influence ;but the result of preceding development was turned to the best

account , not by him , but by Raphael , whose susceptible and

discrim inating character enabled him at once to combine different

tendencies wi thin himself , and to avoid the faults of his pre

decessors. Raphael’s pictures are replete with indications of pro

found sentiment , but his imagination was so consti tuted thathe did not distort the ideas which he had to embody in order

to accommodate them to his own v iews, but rather strove to iden

tity h imself with them ,and to reproduce them with the utmost

fideli ty . In the case of Raphael , therefore, a knowledge of his

works and the enjoyment of them are almost inseparable ,and

it is difficult to point out any single sphere with whi ch he wasespeci ally fam iliar. He presents to us with equal enthusiasmpictures of the Madonna ,

and the myth of Cupid and Psyche ; ingreat cycli c composit ions he i s as brilliant as in the lim ited sphereof portrait- painting ; at one time he appears to attach paramountimportance to strictness of style ,

architectural arrangement , sym

metry of groups , etc. at other times one is tempted to believe thathe regarded colour as his most effective auxiliary. Hi s excellence

consi st s in his rendering equal just i ce to the most varied subjects ,and in each case as unhesitatingly pursuing the right course ,

both

in hi s apprehension of the idea and selection of form as i f he had

never followed any other.

Li ttle is known of Raphael’

s private life ,nor is it known by

what master he was trained after his father’

s death In

1500 he entered the studio of Perugino (p . li ii), and probably soon

assisted in the execution of some of theworks of his prolific master.

Of Raphael’s early ,or Umbrian period there are examples in the

Vatican Gallery Coronation of Mary) and the Brera at Milan

(Sposa lizio of the Madonna,

On settling at Florence (1504 )Raphael did not at first abandon the style he had learned at

Perug ia ,and which he had carried to greater perfect ion than any

of the other Umbrian masters . Many of the pictures he painted

there show that he sti ll followed the precepts of his first m aster ;

but he soon yielded to the influence of his Florent ine training .

After the storm raised by Savonarola had passedover, glorious days

were i n store for Florence. Leonardo,after his return from Milan

,

and M ichael Angelo were engaged here on their cartoons {or the

decoration of the great hall in the PalazzoVecchio '

,and i t was th e“

examp le, andmore p articularly the stimulating influence oi L ee

lv iii ITALIAN ART .

nardo ,that awakened the genius and called forth the highest

energies of all their younger contemporaries .

The fame of the Florentine school was at this period chiefiy

g a w kmaintained by Fm Banronom o (1475- 1517) andAXDB RA

mom m a o er. Sanro (1487 The only works of BartolommeoGun m o l

’ which we know are somewhat spiritless altar- pieces,but they

“m "exhibit in a high degree the digni ty of character

,the tran

quillity of expression, and the architectural symmetry of groupingin which he excelled. His finest p ictures are the Chris t with the fourSa in ts , theDescent from theCross (orPieta), theS t. Mark in thePi tti

Gallery , and the Madonna in the cathedral at Lucca. The traveller

would not do just ice to Andrea del Sarto , a masterof rich colouring ,were he to confine his attention to that arti st

’s works in the two

great Florentine galleries . Sarto’

a Frescoes in the Annuncia ta

(court and cloisters) and in the Scalzo (Hi story of John the Bapt ist,p . 470) are among the finest creations of the cinquecento . Such ,too, was the stimulus given to the arti sts of this period by theirgreat contemporaries at Florence that even those of subordinate

meri t have occasionally produced works of the highest excellence ,as

,for instance

,the Salutation of Annnn'

rm m and the Zenobius

pictures ofRw onro Gm m nu o in the Uffizi . The last masters of

the local Florentine school were Pom onuo andAnosL o Baoxm o .

Raphael’s style was more parti cularly influencedby his relationsto Fra Bartolommeo, and the traveller will find i t most interestingto compare their works and todetermine towhat extent each derivedsuggestions from the other. The best authenticated works in

i taly of Raphael's Florentine period are the Madonna del Gmnduca

(Pitt i), the Madonna del Cardinei io (Uffizi), the Entombment (Gal.Borghese in Rome) , the Predelie in the Vatican the portrai ts of

Angelo andMaddalena Don i (Pitti) , and the Portra it of H imself(Uffizi). The Portrait of a Lady in the Pi tti gallery is of doubtfu l

origin and the Madonna del B aidacchino in the same gallery was

only begun by Raphael.When Raphael went to Rome in 1508 he found a large circle

Ru mm y of notable artists already congregated there. Some of theseRona: were deprived of their employment by his arrival , including

Grovarw r Anxom o Barn,surnamed Ir. Sonora ,

whosefrescoes in the Farnesina (unfortunately not now accessible) viewi th Raphael’s works in tenderness and grace. A still more

numerous circle of pupils , however, soon assembled around Ra

pheal h im self,such as Gmmo Roxane

,Penmo var.Vaoa

,AN

um m . Su m o , Ponm oao m Canavaeero , Tm orso nm a

Vm,Ganorano

,c . Pam , andGi ovann i na Home . Attend

ed by this distingui shed retinue ,Raphael enjoyed all the honours

of a prince, although in the Roman art world , Braman te (p . xlvi)a nd M M“ : Angelo 000a an equally high rank . The latter did” 0 6 however

, trench on Raphael’s provi nce as a painter so much as

ITALIAN ART . lix

was formerly supposed, and the jealousy of each other which theyare said to have entertainedwas probably chiefly confined to their respective followers. Raphael had doubtless examined the ceiling of

the Sistinewi th the utmost care, andwas indebtedtoMichaelAngelofor much instruct ion ; but it is very important to note that he neitherfollowed in the footsteps, nor sufferedhis native genius to be biassed

in the slightest degree by the example of his great rival. A signal

proof of thi s independence is affordedby the S ibyls which he paintedin the church of 8. Maria della Pace in 1514

,and which , though

conceived in a very different spiri t from the imposing figures in the

Sistine, are not the less admirable. In order duly to appreciate theworks produced by Raphael during his Roman period, the traveller

should chiefly direct his attention to the master’

s frescoes . The

Stance in the Vatican,the programme for which was obviously

changed repeatedly during the progress of the work , the Tapestry ,the Logge, the finest work of decorative art in existence, the Do me

Mosa ics in S. Maria del Popolo (Capp . Chigi), and the Galatea and

Myth of Psyche in theFarnesina together consti tute the treasure be

queathed to Rome by the genius of the prince of painters . (Fartherparticulars as to these works wi ll be found in the second volume

of this Handbook .)Many , and some of the best , of Raphael’s easel-pictures of his

Roman period are now beyond the Alps. Italy , however, still possesses the Madonna della Sedia ,

the most mundane ,but most

charm ing of his Madonnas (Pi tti), the Madonna dell’Impannata

(Pit ti), the Madonna col D iv ino Amore (Naples), the Madonna di

Foligno and the Transfiguration (in the Vatican), S t . Cecilia (Bologna), and the Young S t. John (Uffizi). The finest of his portrai tsare those of Pope Julius II. (Uffizi ; a repli ca in the Pitti) and

Leo X. with two Cardinals (Pitti). Besides these works we mustalso mention his Cardinal B ibbiena (Pitti), the so—oalled Fornarina ,Raphael’s mistress (in the Pal. Barberini at Rome), and the Por

trait of a Lady (Pi tt i , No . which may represent the same

original and also recalls the Sistine Madonna.

After Raphael’s death the progress of art did not merely come

to a standstill,but a period of rapid DECLINE set in . The conquest

and plundering ofRome in 1527 entirely paralysed all art istic effort

for a t ime. At first thi s m isfortune proved a boon to other parts of

Italy . Raphael’s pupils mi grated from Rome to various pro

vincial towns . Gmmo Romano,for example, entered the

serv ice of the Duke of Mantua, embellished his palace withpaint ings, and designed the Palazzo del Te(p : while PBRINODBL Vacs settled at Genoa (Pal.Doria). These offshoots oi

‘

Raphael’s

school, however, soon languished, and ere long ceased to exist .

The NORTHERN Sermons of Italy , on the other hand reta‘

m eh.

their vi tality and independence for a somewhat longer peri sh . M .

Bologna the local sti le modified by the influence oi swam ,

lx ITALIAN ART .

was successfully practised by Bu rr. Ran s om,surnamed

Beac ons or

N . Ira n.

raw

maintained by Gu nm ncs soo Canoro .

The mos t important works produced in Northern Italy were thoseof Anrom o Anu enr, surnamed Conns ooro (14 94 ? and of

the Venetian mas ters. Those who visit Parma after Rome

and Florence will certainly be di sappointed wi th the p ic

t ures of Correggio. They will discover a realist ic tendency in his

works,and they will observe, not only that his treatment of space

(as in the perspective painting of domes) is unrefined,but that

his individual figures possess little attraction beyond mere natural

charms, and that their want of repose is apt to displease and fatigue

the eye. The fact is, that Correggi o was not a painter of all- em

bracing genius and far- reaching culture ,but merely an adept in

chiaroscuro, who left all the other resources of his art undeveIOped.

In examining the principal works of thee u n Sermon,how

ever,the t ravellerwill experi ence no such dissatisfact ion. From the

vschool of Giovanni Bellini (p . lii) emanated the greatest re

x32”presentati ves of Venetian painting Groncrcrm properlyEw w w (1477 whose works have unfortunately

not yet been sufficiently well identified, the elder Pan)“ (1480and Tiz iano Vecelli o (1477 who for nearly three

quarters of a century maintained his native style at its culminatingpoint . These masters are far from being mere colorists ; nordo theyowe their peculiar attraction to local inspirat ion alone. The enjoyment of life and pleasurewhich they so happily pourtray is a theme

dictated by the culture of the Renaissance (a culture possessed inan em inent degree by Ti tian, as indicated by his intimacy with the‘di vine

'

Aretino). Their serene and joyous characters often recall

some of the ancient gods ,showing the manner in whi ch the artists

of theRenaissance had profited by the revived study of the antique .

Properly to appreciate Titian i t is of importance to remember how

much of hi s activi ty was di splayed in the service of the difierent

courts . H is connection with the family of Este began at an early

period ; he carried on an act ive intercourse wi th the Gonzagas at

Mantua, and executednumerous pictures for them . Later he bashed

in the favour of Charles V . and Philip H . of Spain. The naturalresult of this was that the painting of portrai ts and of a somewhatlimi ted cycle of mythologi cal subjects engrossed the greater part o f

hi s time and talents. That Ti tian's genius, however, was by no

means alien to religion anddeep feeling in art,and that his imagin

ation was as rich and powerful in thi s field as in pourtm yingrealistic and sensually attracti ve forms of existence, is proved byIris num erous eccles iast ical paintings ,

of which the finest are thePess ro M adonna (p . the Martyrdom oi Su l tan-reuse“m y,

Com ccro

ITALIAN ART. lxi

the Presentation in the Temple (p . and the Assumption

(p . 268) at Venice. The St . Peter Martyr, another masterpiece,unfortunately fell a prey to the flames .

Owing to the soundness of the principles on which the Venetianschool was based, there is no wide gulf between i ts masters of the

highest and those of secondary rank as i s so often the case in the

other Italian schools ; and we accordingly find that works by LOasnzo LO '

r'

rO,Snnasrrau mar.Prom o

,the Bonrrazros

,PORDBNONB

,

PARIS Bonnorrs ,andJacoro TINTORETTO frequently vie in beauty

with those of the more renowned chiefs of their school. Even

PAOLO Camanr , surnamed Vsnomrsn (1528 the last great

master of hi s school , shows as yet no trace of the approachingperiod of decline ,

but continues to delight the beholder with hisdelicate si lvery tints and the spiri t and richness ofhi s compositions(comp . p .

Correggio, as well as subsequent Venetian masters, were fre

quently taken as'

models by the Italian painters of the i 7th century,and the influence they exerci sed could not fail to be de

tected even by the amateur, i f the entire post- Raphaelite

period were not usually overlooked. Those, however, whomake the great cinquecent i sts their principal study will doubtlessbe loth to examine the works of their successors. Magnificent de

corati ve works are occasionally encountered, but the taste is

ofiended by the undi sguised love of pomp and superficial man

nerism which they generally display . Arti sts no longer ear

nestly identi fy themselves with the ideas they embody ; theymechanically reproduce the customary themes, they lose the desire,and finally the abili ty to compose independently . They are, more

over, deficient in taste for beauty of form ,which , as i s well known ,

is most attract ive when most simple and natural. Their technicalskill i s not the result of mature experience, slowly acquired and

justly valued : they came into easy possession Of great resources of

art, which they frivolously and unworthily squander. The quaint ,the extravagant , the piquant alone stimulates their taste ; rap idity ,not excellence of workmanship , is their aim . Abundant specimens

of thi s manneri sm,exemplifiedin the works of ZUCCARO , D ’

AB PIN O,

h an gers , and others , are encountered at Rome and Florence

(cupola of the cathedral). The fact that several works of thi s

class produce a less unfavourable impression does not alter their

general position ,as it i s not want of talent so much as of con

scienti ousness which is attributed to these artists.

The condition of Italian art , that of paint ing at least , improved

to som e extent towards the close of the 16th century , when therewas a kind of second efflorescence, known in the schools as

the ‘rev ival of good taste

’

,whi ch i s said to have chi efly

“ cm “ 1 “

mani fested i tself in two directions , the eclectic and the na

tarslz'

s ti c. But these are terms of little or no mom ent in th e et c h}

lxi i ITALIAN ART.

of art , and the amateurhadbetterdisregardthem. This period Of artalso shouldbestudiedhistorically . The princi pal archi tectural monuments of the i 7th century are the churches of the Jesuits, whi chunquest ionably produce a most imposing effect ; but the hi storical

enquirer will not easily be dazzled by their meretrioious magni

ficence. -He will percei ve the absence Of organi c forms and the

impropriety of combining totally different styles, andhe will steel

himself against the gorgeous, but monotonous attract ions Of the

paintings and other works of the same period. The bright Renaissance i s extinct , simple pleasure in the natural and human is ob

literated. A gradual change in the views of the Italian public andin the position of the church did not fail to influence the tendencies

of art , and in the i 7th century artists again devoted their energies

more immediately to the service of the church . Devotional pictures

now became more frequent , but at the same time a sensual, natural

letio element gained ground. At One time i t veils i tself in beauty

Of form,at another it i s mani fested in the representation of volup

tuous and passionate emot ions ; classic dignity andnoble symmetryare never attained. Carer. AnLonr

’

s Judith (p. 490) should becomparedwith the beauties of Titian , and the frescoes ofAnnm ann

Ou u oorin thePalazzo Farnesewi th Raphael’s ceiling- paintings inthe Farnesina, in order that the di fference between the 16th and

i 7th centuries may be clearly understood ; and the euquirerwill be

still farther aided by consulting the coeval Italian poetry and oh

serving the development of the lyric drama Or opera. The poetry ofthe period thus furnishes a key to the mythological representationsof the School of the Carracci . Gems Of art, however, were not nufrequently producedduring the i 7th century, andmany of the frescoes

of thi s period are admirable,such as those by Gum c Ram and

Dom crmro at Rome. Beautiful oil- paintings by various masters

are also preserved in the Italian galleries. Besides the public collections of Bologna ,

Naples , and the Vati can and Capi tol , the

private galleries Of Rome are of great importance. The sO- called

gallery-

pieces , figures and scenes designatedby imposing titles , andpainted in the prevailing taste of the i 7th century , were readily re

ceived, and indeedmost appropriately placed in the palaces of theRoman nobles , most ofwhi ch owe their origin anddecoration to thatage. This retreat of art to the privacy of the apartments of the great

may be regarded as a symptom of the universal wi thdrawal of the

Italians from public li fe. Art ists, too , henceforth occupy an isolatedposi tion, unchecked by public Opinion, exposed to the caprices of

amateurs , and themselves inclined to an arbitrary deportment .

Several qualities , however st ill exi st of which Italian art ists are

never entirely divested ; they retain a certain address in the

arrangement of figures, they preserve their reputation as ingenious

decan ters, and understand the art Of occasionally imparting an

Idea] Imp ress to their pictures ; even down to an te period in the

I. Routes to Italy .

*

1. From Paris (Geneva) to Turin by Mont OenisFrom Geneva to Culos

From Brig over the Simplon to DomodossolaFrom Lucerne (B i le) to Lugano, Chiasso, and

(Milan). St. GotthardRailwayFrom Thusi s to Colico over the Splugen

5. From Innsbruck to Verona by the BrennerFrom Trent to Bassano by the Val SuganaFrom Mari to Riva

6 . From Vienna to Venicevii Pontebba

1 . From Paris Geneva} to Turin by Mont Genie.499 M . Rarawar in 22 hrs. (fares 98 fr. 80, 73 fr. 55, 58 fr.

From Pari s to (348 M.) Ouloa (774 i t 3 6t Folliet ; Rai l.

Restaurant), the junction of the Geneva line, seeBaedeker’

s North

ern France and B aedekcr’

s South-Eastern France.Fnox Geneva ao Cusoz , 42 M .,

rai lway in i l/z-2l/¢ hrs. (fares 8 fr. 10 c.,

Bin ,Afr. The line follows the right bank of the Rhéne, on the

s10pes of the Jura Mts. Beyond M.) Collonges the t ne flows througha narrow rocky valley , confined between the Jura and Mont Vouache

,

and commanded by the Fort de l’

Ectuse,which rises far above on the

right . The line quits the defile by the long Tunnel du Credo M.)crosses the grand Valserine Viaduct (275 yds. long and 170 ft. high), an

reaches (sol/2 M .) Bellegarde (Posts), at the influx of the Valserine into the

Bh6ne (French custom -house exam i nation). 42 M. Culoz .

The train crosses the Rhone ,and at M .) Chindrieux

reaches the N. endof theLac da Bourget (745 10M . in length ,3 M . in breadth

,the E . bank of which i t follows. On the Opposite

bank i s the Ci stercian monastery of Hautecombc.

362 M . Aix- les-Bains (850 ft . Sp lendide; GrandH t‘

itet d’

Aix ;Grand Hotel Lamartine; Hot. de la Paste, Hét. da Cen tre , less

expensive ; andmany others), the Aquae Gratianas of the Romans,

is a celebrated watering-

place wi th 8300 inbah.,possessing sul

phur- springs (113° In the place in front of the Etablisse

ment Thermal ri ses the Arch of Campanus. a Roman tomb of the

3rd or 4 th cent ., built in the shape of a triumphal arch.

370M. Chambery (880 ft. ; Hét. de France ; H6t . da Commerce;H6t. dcs Princes), beautifully si tuated on the Leisse, withinbah . ,

i s the capital of the Department of Savoy ,and an archi

episcopal see.

M . Chignin- les-Marches . M .Montme

'

lian (921 ft.bufl

'

et). The ancient castle was long the bulwark of Savoy against

France until its destruct ion in 1705 by Loui sXIV . The train con

1 Approaches to Italy through France, see Basdekcr‘a Sou th - E astern

m pm x. Italy 1. 1l th Edi t.

2 Route 1 . MONT GEM S.

tinues to ascend the valley of the b in . 381 M. Cruel. 386 M .

St . Pierre d‘

Alblgny (buffet) , the junction of the branch- line toAlbertv illc and (32 M.) Modi iers- cn- Tarrnta ise (p. the to

lies opposite on the right bank , commandedby the ruins of a castle.

Near (38873 M .) Chamoyu et the line turns to the right , and

traverses the valley of the Arc ( Value de Mauricnne), which here

422 M . St .

Arc several times. Numerous tunnels . 428 M . La Pm: (3135 ft ).431 M. Modane (3485 ft . ; Ra il. Restaurant , as). wi th wine

4 fr. ; Hotel International , B. Si/s B. w, n.) is the seat of the

French and Italian custom- house authori ties (carriages changed).The train (vi ew to the right) describes a wide curve round the

v illage, and, passing through two short tunnels, enters the great

Mont Cenis Tunnel, by which the Col de Prejus (8470ft.) is penetratad in a S .E . direction, though the name is derived from the old

Mont Genieroad, wh ich crosses theMont Gents Pass, 17M . to theE.

The tunnel (TV.M. in Is h

:N. entrance ft . 8 . entrance 41m ft .

above the seao lcvel hei t n he centre 4245 ft ., dc ih below the sur

face of the mount n ft .) was com clad in 4 870 under the

superintendence of the en users Somme ler, Grandi s and Grattoni at atotal cost of he tunnel is 28 ft. wide 19 ft. high, and hastwo lines o f rails. It is li ghted by lanterns

placed at intervals of one

metres , and the distances are given in k ilomeres . The transi t occupies25-3 ) m inutes. Travellers are warned not to protrude their heads or armsfrom the carriage-wi ndows during the transi t , and are also recomm endedto keep the wi ndows shut .

At the 8. end of the tunnel, 5M. from the frontier, is (444 M .)Bordonnccchia (4 125 the first italian station. The best views

are now to the left . Two tunnels. 447 M. Beaulard. Near(451M .)Out: (3500 the Roman Villa Mari ta

,the line enters the pictur

esque valley of the Dam Riparia . Beyond a bridge and two tun

nels is (455 M .) Salbem'and (3303 The river is again crossed.

Before the nex t station nine tunnels are traversed. To the left,

between the second and third, a glimpse is obtained of the small

town of Ez illes,wi th the frontier- fortress of that name. 481WM .

Chiamcnte, or Chaumont (25 25 R.) Then several tunnels and

aqueducts. The valley contracts and forms a wildgorge (Le Gorgte),of which beautiful views are obtained

,wi th the Mont Genie road

winding up the hi ll on the farther side and the Roche Melaft ), the Roche Michel, and other peaks towering above i t .

When the valley expands, Scan, wi th its Roman triumphal arch,

comes in sight on the left (see p. 465 M . Mcana (19501 M. from Susa

,li es 325 ft . hi gher than the latter. Three tunnels .

The train then descends through beautiful chestnut-woods , and

crosses the Dora. 471 M. Bussolcno (1425 the junct ion of

the branch- line to Susa described at p. 40.A t (4 75 M .) Boy-pone the Dora is crossed. 478 M. San Antonino.

480 M . Cbna'

ove. 482 M . S ame Am bro s io (1180 high above

SIMPLON. 2 . Route. 3

which (1 on the rocky peak of theMonte Pirchiriano (3150rises the Romanesque abbey of La Sagra di San M ichele (3110remarkable for i ts tombs which convert dead bodies into natural

mumm ies (view). At (485 M .) Av igliana , a medimval town wi tha large dynami te factory , the valley expands into a broad plain .

488 M . Rosta ; 49 1 M. Alp ignano ; M. Collegno. 49 9 M .

Turin , see p . 25.

2 . From Brig over the Simplon to Domodossola.

40 M . Du ran-nan from Brig over the Simplon to Domodossola twi ce

daily i n summ er in 9 hrs. (in the reverse direction 10 hrs . ; fare 16 fr. 5coupé 19 fr. 30 Luggage for the m orning di ligence must be deliveredthe n ight before. Ex'

raa Posr w i th two horses (8-8'/z hrs .) 9 1 fr. 80 c. ;horses are changed three times (carriages of the Brig hotels recommended).

Brig , French Brigue (224 5 ft . Hotel des Couronnes et Paste;Angleterre , and others ; Railway Restaurant), a well- built li ttle

town,wi th a turreted chateau is the term inus of the rai lway (see

Baedeker’

s Switzerland), and the beginning of the Simplon Route,constructedby order of Napoleon in 1800- 1806

,which here qui ts

the valley of the Rhi ne, and ascends in numerous windings.

9 M . Berisal (5005 the Third Refuge (Hotel de la Poste).Above the Fourth Refuge (5645 ft .) a retrospect is obtained in

clear weather of the Bernese Alps to the N .,from which theAletsch

Glac ier descends. The part of the road between the Fifth Refuge(634 5 ft .) and the culminating point i s protected from avalanchesby several galleries . From the Sixth Refuge (6540 ft .) a splendid

flnal v iew is enjoyed of the RhineValley.

At the summi t of the Simplon Pass (6590 ft .) stands a new

Hotel ; about M . farther on (6 M . from Berisal) i s the Hosp ice

(6565 ft . ; accommodation), a spacious building at the foot of the

Sewnhom We then descend gradually through a

broad valley , boundedby snow- cappedheights.

20 M . Simplon , Ger. S impeln , Ital . Semp ione (4855 ft . ; Paste,R.,

L .,A.

- 3,D . fr. ; He

‘

tel Fletschhom ) , i s a village

si tuated on the green meadows at the N .E . base of the Fletschhom

The road (to the left,short - cut for walkers) now

describes a long curve and enters the Laquin Valley . At (2 M .)Algaby we cross the Krummbach. Beyond the M.) AlgabyGallery begins thewi ld and grand

*Rav ine of Gondo , through whi chflows the Doves-fa . We cross thi s stream twice

,and at the Ninth

Refuge (3514 ft.) enter the Gondo Gallery . At the end of thi stunnel the Fressinone (orAlp ienbach) forms a fine waterfall, which

is crossed by a slender bridge ; on both sides the rocks tower to a

dizzy height , present ing a most imposing pi cture. 33“M . Gouda

(2815 ft .) i s the last Swi ss village (custom- house) ; ‘hM . b eyond

i t is the Italian boundary - column,and 1hM , farther on

“

i s PaglinO ,

4 Route 3 . LUCERNE . From Lueem e

the first Italian village. The valley now assumes the name of Va l

di Vedro .

29 M . h ells (2155 it ; Pasta) is the seat of the ltaliau custom

house. The valley ,although now less wild, continues to be ex

tremely picturesque. Beyond Ore'

vola (1100 ft.) it uni tes wi th thebroad and ferti le v alley of the Tom (or Toes), here called the Val

d'

Ossb’

la. The scenery now assumes a dist inctly Itali an character.40M. Demo

‘

doaaola (905 ft ;‘ Holel de la Ville ct Paste, R.

,L.

,

A. ii i/2 , dej . 3, D.«l l/g ir. ; Hotel d

‘

Espagne ,well spoken of ;

Albergo Mart ini), the anci ent Oscela , a small town wi th 2200 lnhab .

,beauti fully situated. The costumes seen here on market-day

are very p icturesque. The Palazzo S ilva ( i 6th cent .) contai ns a

small museum . The Calvary Hill, 20 m in. to the commands a

superb view.

Abon t l l/g 11. to theW . lies Em aneo mes ft. the chief place of thev alley o f that name, wi th mineral springs and a h repathic establishment.

Ramwar from Domodossola to Gravellona (for Pallanza and

Stress) and to Novara , see R. 29 .

3 . From Lucerne (Bale) to Lugano , Chiasso, andCome (M ilan). St . GotthardRailway .

Ba tawar to Chiaaao 140 M. ; m all train (first class only) in ”Ahrs. ,express in b

ill -7 hrs., ordi nary trains in ill/4 hrs . (fan s 29 fr. 70, 1 ) fr. 75 ,14 fr. 90 cu). To Milan ( 178 M. the mai l train takes 6 , the express 6

1]8’/r hrs. fares 85 fr. 70 c., 25 r.,

1? fr. 65 At Artie-Golden (p. 5this line a j oi ned by the new branch from Zug and Ziirich ( ll/« 1lA dini ng-car is attached to the mall train (di‘ifi, D. 5 tr.) and so (as

far as Chiasso) to the afternoo n express (dd); I D. 4 The nightexpress has a sleep ing

- carri age. A table~d’

dte i nner fr. includ.

wine ; in the thi rd-c lass wai t ings room 1 fr. me.) for passengers by the

day-ex press is prov i ded at Gmschenen, where the traveller shouldbe careful

to avo id an involuntary change of carri s ea, or even of trains. Finestviews from Lueerne to Flii elen to the rig t, from Flii elen to Gatschenento the left , from Airolo to Bellinaona to the right, and at Lugano andCome to the left .

The ‘ Bt . Got thard Ra ilway , constructed in 1812-82, at a total cos t o f

m m illio n francs, is one of the most stu

pendous engineering ente es

of modern times . The hi best int of t e railway is in the m id e o fthe grea t tunnel and ta il? ft. a ove the level of the sea. The max im um

ga‘t

l

i

‘

im t is the shortest curve- radius 330 yds. The i nclines have partlysurm ounted b large sp iral tunnels , of which there are three on the

B . side of the St. o tthard and four on the 8. in all the ra ilwa has 79tunnels (w i th an aggrep te length of 29 l ), 88 large bri dges , m inerbridges , and 14 vi aducts. The great tunnel alone coat nearly 57 mi llion

ma

ma s“Farre, the engi neer, died of apoplexy in the tunnel on July

The ° 8 tm boat Voyag e on the Lake of Lucerue from Lucerne to meelen (at/aw, hrs.) is much

‘pleasanter than the rai lwa o journey (1 hr.)

and is recommended to ose who are not pressc for time. Comp .

Lucsrne. Scnwarn anor m Lorrain e Hos ; 1167 3 1. Narrostaa ;Bu narvaea ; Enaora ; Ana aau ; Crest: Borax. nu Bros

, all on theM e; the first named are on a large scale. o ur. on Lac and Sr. Goa-r»

u m,bo th near the station. Ram on

,on the Reuse. Ru ssia, Break ,

It . Anu s all unpretending.

to Como. WASEN. 3 . Route. 5

Lucem e (1437 the capi tal of the canton of that name,is

beautifully situated at the efflux of the Reuse from the Lake ofLucem e. The best view i s obtained from the Giltsch (1722 at

the N.W. end of the town, M . from the station (wire- rope rail

way). The celebrated L ion of Lueerne, designed by Thorwaldsen,lies M . to the N. of the Schwei zerhof-Quai .

The railway skirts Lucerne in two tunnels and then runs towards

the Kii ssnach arm of the Lake of Lucerne. The view is very fine,wi th the Ri gi rising in front of us. 12 M . Immensee (1620on the Lake of Zug ; M. Arth Goldau (p . Beyond (26 M.)Brannon the line reaches the ‘ Urner See orE . arm of the Lake ofLucem e

,along the banks of whi ch it runs through a succession

of tunnels , some of great length. Beyond(32 M.)Fliielen (1436 ft .Tell , S t . Gotthard, Kreuz , etc .) the train ascends the broad valley

of the Reuse, via(38M.) Erstfeld.

Themost interesting part of the railway begins at M.)Amsteg (1760 Immediately beyond the station the train pierces a

projecting rock by means of the Windgelle Tunnel, crosses the Kerstelen bach by an imposing bridge and i s then carried through thesIOpe of the Bristenstock by means of two tunnels , and across the

Reuse by an iron bridge, 266 ft . high . We now follow the left bankof the p icturesque Reuse valley , traversing the Inachi Tunnel and

crossing the Inschialp- Bach

,cross the Zgraggen - Thal by means of a

viaduct , and skirt the mountain through three tunnels and a cut

ting and over a vi aduct.

Beyond (60M .) Gurtnellen (2300 ft.) the train crosses the Gor

neren -B ach and the Haegrigen- B aeh and enters the P/

‘

a/fensprungL00p Tunnel (1636 On emerging from the upper end of the

tunnel,which i s 116 ft . above the lower, the train threads three

shorter tunnels and crosses the LowerMeienreuss Bridge. Beyond

the Wattinger Loop Tunnel (119 9 yds . long ; 76 ft . of ascent) i tagain crosses the Reuse and penetrates another tunnel to6 1 M . Wasen (3066 a considerable village wi th a loftily

si tuated church, commanding an adm irable survey of the boldstruc

ture of the railway . The imposing M iddle Meienreuss B ridge

high) and the Leggistein L00p Tunnel (1204 yds . long,ascent) now carry us to the UpperMeienreuss Bridge (148ft .

hi gh), where we cross the wild and deep ravine of the Meienreuss

for the third time. Passing through another tunnel and ski rt ingthe face of the moun tains

,we obtain a v iew of Wasen ,

far below

us,and of the windings just traversed. Opposi te ri ses the Rienzer

Stock (9786 We next cross two finebridges, penetrate theNos:

berg Tunnel (1M . long ; ascent of 118 and cross the deep gorge

of the Goeschenen -Reuss (view of the Goeschenen Thal to the right ,wi th the beautiful Dammafirn in the background).

6 6 M . Gmsehenen (3640ft ,

“Raz‘

l. Restaurant , comp . p . h) .

Imm ediately beyond the stat ion the train crosses the Gotthu'fl l

6 Route 3 . ST . Go'

r'rnann TUNNEL. From Lam -M

Reuse andenters the great‘ Bt . GotthardTunnel, which runs nearly

due 6 - 6000 ft. below the hi ghest point of the mountain. The

tunnel is yds. or about M. in length , 28 ft. wide, and21 ft . high . It is laid wi th a double line of rails, and i s lined wi thmasonry throughout. Express trains take 16 min. to pass throughthe tunnel, slow trains 26 min. ; lanterns are placed on each sideof the tunnel at intervals of 1000 metres , numbered 1 to xv , the

even numbers being on the right side and the uneven on the left .

At the S. end of the tunnel, to the right , are some new fortifications.66 M . M rfilo (3765 in the upper Ticirto Valley (Valle Le

oentina). The scenery here still retains quite an Alpine character.BeyondAirolo the train crosses the Ticino

, passes through theStalvé

'

dro fl annel (about M. long), and enters the Smuo di S talvedro . On the left bank of the Ticino the highroad runs throughfour rock-cuttings. The near (70M.)Ambri-Piotta .

To the left lies Quin ta. Rodi - Fiesso (3100 ft.) theMonte P iottino projects into the valley on the N. The Ticino has

worn a course for i tself through the mountain , and descends the

gloomy gorge in a series ofwaterfalls. The railway crosses the gorge

at Dario Grandc, passes through two short tunnels , andenters the

Frcgg io Loop Tuned (1M . in length), from whi ch weemerge, 118ft .lower, in the Fiot tino Gorge. We agai n cross the Ticino in the midst

of the grandest scenery , and then thread two short tunnels, thePrato Loop Tunnel (i M. long ; 118 ft . of descent), and anothershort tunnel

,beyond which we enjoy a View of the beaut iful valley

of Faido,with i ts fine chestnut- trees. Crossing the Ticino and

going through another tunnel, we reach78M . Faido (2486 the capi tal of theLeventina, thoroughly

Italian in character. On the right the Piumogna des cends in a

fine waterfall.

The train now follows the left bank of the Ticino , traversinga beautiful dis trict , richly woodedwith walnut and chestnut trees .

To the right lies Chipewyan ,wi th an old church . Near (82 M.)

Lo cos-go the Cribiasea forms a fine waterfall on the ri ght. Fartheron the Ticino forces i ts way through the picturesqueB iaschina Rovim to a lower region of the valley. The railway descends about

300 ft . on the left bank by means of two loop - tunnels , one below

the other in corkscrew fashion : v ia. the Piano tondo Loop Tum(WmM . long ; 116 ft . of descent) , beyond a short tunnel and a

viaduct , and the Trac i Loop M el (nearly 1 M . long ; 118 ft . of

descent), beyond another short tunnel and viaduct . The train has

now reached the lower zone of the Valle Leveutina. and crosses and

recrosses the Ticino on ei ther side of (87 M.) Giom ico (1480On the ri ght is the pretty fall of the Cramos ina . 9 1 M. Bodio

(1090 Beyond Poucggio the Brenna descends from the Val

E lan/o on the left, and is crossed by a double bridge. The valleyof tlw Ti clno now expands and takes thename oi B ieitro .Luauriant

to Come. LUGANO. 3 . Route. 7

vines,chestnuts , walnuts , mulberries and fig- trees remind the

traveller of his proximity to‘the garden of the earth , fair Italy’.

9 4 M . Biases.(970ft. Rail.Restaurant),wi th an oldRomanesquechurch on a hi ll. From the station a series of oratories ascends to the

Petrpn illa Chapel, nearwhich i s thepretty Froda orS t.PetronillaFall.The train passes through two tunnels. 98 M . Osogna (870102 M . Clara (830 at the foot of thePizza di Clara (8920

with themonastery of Santa Maria on the hillside. Beyond(104 M.)Cas tione the train passes the mouth of the Val Mesocco and crosses

the Moe'

sa . The train then passes through a tunnel beyondwhichwe obtain a magnificent view of Bellinzona.

106 M . Belli nzona (760 ft . ; Ra ilway Restaurant ; H6 t.- Pens.Su isse cl de la Paste ; Hfit. S t. Gotthard ; Cervo), the capital of the

canton of Ticino,a thoroughly Italian town wi th 6000 inbah.

,i s the

junction for Locarno (p . 161) and Luino (p. Above i t rise

three picturesque castles : the Costello Grands,on an i solated hi ll

to theW.,the Castello di Mezzo

,and the Castello Corbaria

,to the E .

The railway to Lugano and Mi lan passes through a tunnel

(300 yds.) below the Castello di Mezzo. At (108 M .) Giubiascothe rai lways to the Lago Maggiore (p. 161) di verge to the right .Our line approaches the foot of the mountains near Camorino , and

ascends the slepes of Monte Cenere through walnut and chestnut

trees. S. Anton io lies below on the right ; then, Cadenazzo (p .

Two tunnels .

‘ View of the Ticino Valley and the influx of the

T icino into the Lago Maggiore, improving as we ascend. The train

then penetrates the Monte Cenere by means of a curved tunnel

(1 M . long), 1435 ft . above the sea- level and about 370 ft . below the

summi t of the pass. At the S . end of the tunnel , in a sequesteredvalley , lies (116 M .) Rivera- Bironico (1420 The train then

skirts the Leguana , whi ch soon uni tes wi th the Vedeggio , a stream

descending from M te. Camoghe(p. to form the Agno . Short

tunnel . 120M. Taverns (1130 ft. ; inn). BeyondLamone (1033 ft.)the train quits the Agno and threads theMassagno Tunnel (1135 ftabove the sea).

124 M . Lugano. The Railway Stat ion (1110ft .; Pl. 0 , 2 ;‘Rcstau

rant) lies on the hi ll above the town,of which

,as well as of the lake

,i t

comm ands a fine vi ew . Besides the road and a shorter foo tpath there i s

a CAB LE Tm nwar (Funicolare; com p . Pl. 0 , 2, at the 8 . end o f the

bui lding (fares : up 40 or 20 c ., down 20 or 10 The Srs au s oars ( to

Porto Ceresio and Pon te Tresa and to Porlezza,see p . 153 ; to Capolago ,

on the Generoso Railway , see p 12) have three piers : Lugano- Ct

’

tta,in the

inner town,in front o f the Palaz zo Ci vi co (Pl. 0, Lugano -Parco, near

the B étel du Parc (Pl . C , and Lugano-Paradlso (Pl. B , for Paradiso

and the Mte. S . Salvatore.

H otels (the chief of which send om nibuses to m eet the trains and

steam ers). On the lake: ‘ Hdrs a DU Pane (Pl. a ; B , C ,in an old m on

aster-y , w i th shady garden (band twi ce a day) and the dépendauces ui Bel.vedere, Vi lla Ceres t

’

o, and Beau (Pl. b ,

B the last ,wi th bu t

garden , alone.

Op en In win ter) , R., L ., A. 4 -6, B .

0m ” 1’/t , ”205 10 p ens. 8—12 fr. ;‘GBAND Horns. Srnnnnm n (Pl . c t

,E mma

to Como . LUGANO. 3 . Route. 9

Boat wi th one rower fr., two rowers 8 fr. for the first hour

,each

addi t . l/g hr. fr. and 1 fr. respectively , wi th fee. Bailing Boat and

”In fr.

Eng li sh Chapel, adjoining the Belvedere du Parc (Pl. 0, 4 ; see p . 7 ;English chaplain resident from May to the end of

Lugano (932 the largest and busiest town in the Swiss

canton of Ticino,wi th 7000 inbah.

,i s charmingly si tuated on

the lake of the same name, and enjoys quite an Italian climate (theagave blooming here in the open air). It i s a very pleasant place

for a lengthened stay . The wi nter temperature i s somewhat hi gherthan that ofMontreux orMeran

,from whi ch Lugano i s also di stin

gui shed by i ts comparat ively low elevation above the sea. The

clim ate i s therefore less stimulating , and for suscepti ble const itu

ti ons forms a sui table transi tion- stage on the way farther south .

The heat of summer i s seldom excessi ve. The environs possess

all the charms of Italian mountain- scenery ; numerous vi llages,churches

,chapels

,and country

- seats are scattered along the banksof the lake, and the lower hills are covered wi th v ineyards and

gardens , contrasting beauti fully wi th the dark foliage of the chestnuts andwalnuts in the background. To the S .

,immediately above

the town,ri ses the Mon te San Salvatore, wooded to i ts summi t ; to

the E .,across the lake

,i s the Monte Caprino, to the left are the

Mon te Br). and the beautiful Monte B oglia. On the N . opens the

broad valley of the Caesar-ate

,backedby a group of mountains among

whi ch the double peak of Monte Camoghe(p . 12) i s conspicuous.

To the E . of the steamboat - pi er of Lugano—Ci ttalies thePIAZZA

GIARDINI (PI. 0 , D , an Open space beautified by pleasure

grounds and a fountain. On i tsW. side rises the imposing Palazzo

Civ ico (Pl. 0 ,erected in 1844

, wi th a beau t iful colonnaded

court and a small Collection of Pa intings by local artists on the firstfloor (Open 10- 12 and 2- 4 ; fee). Beyond lies the Piazza della Ri

form a . A broad QUAY, plantedwi th trees and much frequentedas an evening

-

promenade, stretches, under various names,along the

lake. At its E . end i s the new Thea tre (p . at the S . end of

the Quai V incenzo Vela i s a small Founta in S ta tue of Tell (Pl.0 ,

by V ela

The old conventual church of SANTA MARIA DEGLI AN GIOLI

(Pl. adjoining the Hotel du Parc, contains some good frescoesby B ernardino Lu in i .

The paint ing on the wall of the screen one of the largest andfinest

ever execu ted by Lu ini , represents the 3 Pass ion of Christ , and con tains

sev eral hundred figures , arranged according to the antiquated style in

two rows . In the foreground, occupy ing the upper part of the w all,

stand three huge crosses , at the foot of whi ch we perceive Rom an war

riors , the groups of the holy women,and S t . John , and the execu tioners

cas ti ng lots for the garments. Abo ve, on a dim inished scale, from left to

right , are Christ on the Mount of Oli ves, Christ taken prisoner , the

l ock ing of Christ , the Bearing of the Cross, the Entombment , Thom as‘

sQ n

belief, and the Ascension, all imm ediately adj acent . Although th e s\y\e oi

the composi tion s tu'

k es one as old-fashi oned, especially after seei ng L ee

nardo’

s works, the ey e canno t fa i l to be grat ified by th e num ero u s b eau

10 Route 3 . LUGANO. From Dosem e

ti ful details. The St. Sebastian and St. Rochus , below ,between the

arches , are parti cularly fine. To the left, on the wall of the church,is

the Last 8a per. a picture in three sectione.. d in the 1st Chapel on theright is a a s Madonna , two sintings on panel by Lariat. The

also contains the tomb of Arch p. Lachat (d. 1m The sacristan expectsa small fee (25-30

The interior of the town ,wi th its arcades , workshops in the

open air, and granite- paved streets , is also qui te Italian in i ts

character. San Lorenzo (Pl. 0,the principal church , on a

height below the station ,probably erected by Tommaso Roduri at

the close of the 16th cent .,has a tastefully enriched marble facade

in the early-Renaissance style. The terrace in front of the stat ion

commands an extensi ve ‘ View of the town and the lake.

There are various pleasant Wan t s , well provided wi th guideposts and benches. To the S .

,on the highroad (electric tramway ,

see p. past the Hotel du Pam and Hotel Splendide , throughthe suburb of Paradise (Pi. A, B, 6 ; s teamboat , see p . and bythe foot of Mte. Salvatore, to the (1V; M.) headland of San Martino .

To Melide,see p . From Paradise a footpath leads to the right

to (5 min.) the Belcedere, which commands another fine view.

To the W. by the Ponte Tress road (Pl. A, B, 4 , 6 ; p. whi ch

(1326 ft .) is situated on a hill to the right (fine vi ew from the

church ; to theW. is the Lake of Murzano). A carriage road leads

from theRestauran t du Jardi n,to the left

,vii Genti tino , to (i i/g M.)

the conspicuous church of Sant’

Abbondio (1340 in the grave

yard of which are several monumen ts by Vela. The walk may be

pleasantly extended from Gentilino to Montagnola and thence backvi i S. Abbondio (1 To the E .,

from the Piaz za Castello

(Pi. D, we may follow the Via Carlo Cattaneo,whi ch crosses the

(V, M.) Casserole, to M.) Casserole (Pl.G , 3 ; electric car,and thence proceed by the sunny h ighroad skirt ing the foot of theMte. Bra to 1 M. Castagnola (1080 where we obtain a fine

view of the to. S . Salvatore (good restaurant in the Vi lla Moritz,p . At No. 78 in the Piazza Costello is the entrance to the shadygrounds of the Villa Cabrini (formerly Giant, Pl. D ,

E,

wi th a

beautiful figure of a mourning woman (‘La by Viuc .

Vela (gardener - 1 From Castagnola a picturesque butsomewhat fatiguing footpath (best in the evening) leads to (3M.)Gandria (p. where some of the steamers touch.

The most interes ting excursion is the‘ Asuanr or m Mom San Sw

varon , by cablenrai lway yds . ion from Paradise in 30 m in . aredown 2 The station (Pl. A, 6 ; m ft . Res tauran t , déj .8, D. fr.)

1 es at the term i nus o f the electric tramway (p .S), 114 11. from the steam boat»

pier Leanna -Paradi se (steamboat from Lugano -Oi tta in 10 m i n.,26 a.

The ra ilway , wi th an i ni tial gradient o f i i : crosses the S t . 6 0Rail way , tra vers es a vi aduct (i iO yds . long ; gradient rtedby ”a" P1118” . and reaches the halfway station at Pursuits ft J

12 Route 3 . CAPOLAGO. From Lucerne

Sa le and the (i ll.hr ) monastery of Bi 0 (newIt ; refreshments), charmingly si tu ated on a wooded hill (the c urch conta ins a Madonna attributed

to Guerci no). [A delightful walk m ay be taken hence. throu h ches t

nut woods and o ver pastures the top o fM e.moor-to 1mm.)From the monastery back by (i M.)Poete Cops-lasers ft. wi th a church

coutainin

vglga good old copy of Leonardo da V inci a Last Bugg

er (best lighti iM). /s M ) the railway-station of M ac (p . out s Tamaro

i hrs. gu ide) from M om (p. 7) or Bironico (p . 7) no t di f

cul t.

ft

Splendi d Vi ew of Lago Maggi orep(i n the dis tance). etc. R oute

Cam oghi new i t ; 7 8 hrs. from Lugano ; guide from Coils), a iamous po int of vi ew , fatigu ing. Road vi i Oanobbi o and Teasers“ (

‘ Trat'

toria Sev . Antonini ). and then to the right , thron h the Val C‘olia , or

upper valley o f the Cm m te, to (12 M. can . in V2 hrs .) Benn y !“ or

Lower Calla (m ft ;“Osterie Garai rola . Thence (wi th gu ide) by Gotta

and the Alp Pietrarossa , leavi ng the H is. Gm irolat(see below) to the

left , to the (8 hrs .) Alp Barton (0920 it .) and the ( i i/3 hr.) top. whereoy a strik ing panorama of the A] from li te. Ro sa to the Ort

ler. he descent may be made to the vii the alps o t‘

Ricotta and

Lcom o and through the Va l H ombbia , to Gi ubiaseo and (6 hrs ) Bellm an:

(p The ascen t of Monte Garm la aecom lished t'

rom Gollain 8 hrs., is also recommended. Pedes trians w i ll d i t to thei r ac

count to return from the Val Cells to Pari sers over the Pass o/ Sao Lucio(6960 i t ), or to theValBolda (p ei ther by theCia o dell Am bioocm i t ;v iews) or pas t the remarkable Do lom i ti c peaks o f the Duo“ 45“ Vecohia .

A pleasant excurs ion may be made in a light mo nm taim carriago

use .) vii BMW doses .) to (2 hrs.) Cadm ario (2401 whence the

carriage is sent to Agno . From Cadcmarlo we ascend on (no t to (i nmin .)Sen Bernardo (2966 i t. v iew o f Lago l agg

ore, etc ”) We next ro ceodto the Arouno-lseo roadand fo llow i t to left to [n o tuf Ctmo

,

k n o ts, and (2 hrs .) Am (p. where we re o in the carriage. Thechapel o t

‘

M a Mafi a (2660 i t lies near the road, tween lsco and C imo .

Fl o at Lo oaxo t o Caro nac o , steamboat several timcs dai ly in'/e hr.,

in connect ion wi th the Generoso Rai lway , see below. Stat i ons : Comp ton ,

Bissonc, alloy-09 9 m, H elena, and Oapo lago.

Excursi on to the Grotto of Odessa, see p . 168.

Steamboat on the Lake of Lugano , in connection with the rai l

ways to the Lago Maggiore and the Lake of Como,see p . 163 .

Fnox Lo 11 crosses

the Tossino

view to the 1

under the N.E . spur of Monte S . Salvatore (p. It then skirtsthe lake, wi th views (to the left) of the wooded slo es of the E .

bank and the villages upon it. The vi llage of ( i M.) Maids ,M. beyond the headland of S. Marti no (p. contains two

popular resorts, the Grot to Demicheli (restaurant) and the Grotto

Ci relli (cold viands). The train and the road then cross the laketo B issonc by a stone vi aduct ‘/g M. long, which sadly mars the

scenery . At each end there is an arch for the passage of boats.

Pleasant views in both directions . Two tunnels. Then (130M.)Maroggia (Bi storante Man , wi th beds), at theW. base of theMte.Gamm a ; continuous view of the lake on the right .film/2 M . Ca ago (

‘ HotH-Pm s du Lac, with garden andelectri c light, R. pens . 6- 9 tr. Buffet ), at the head of the SE .

arm a! the lake,near the month of the L aveggi o , is.the stati on {or

to Como . MONTE GENEROSO. 3 . Route. 13

the Generoso Railway (steamboat from Lugano 2- 3 times a day in

summer, in about 1Fnon Caronas o TO rna Tor or Mom s Gnuanoso , rack

-and-

pinion rail

way (generally running from April i 5th to O ct . 15th) in hr. ,

to B ellavi sta

(Hdt. oneroso) in 56 m i nu tes . Returu ~fare to the tap 10 fr. (Sun . 5 fromLugano 11 fr. 75 c . (Sun . 6 return- ti cket, incl. R.

,D ., a B . in the H6 t .

Knlm , 18 fr. The trains start from the steamboat-pier at Capolago and

halt at (2m in.) the S t. GotthardRa i lway Station, where the toothed rai l be

gins. The train crosses the roadand the S t. Go tthard railway andascends theslope of theGeneroso (gradient 20 : 10 afterwards 22 : w ith a continuousopen v iew, on the right, of the Val di Laveggio , gi rt wi th woodedhills, of

the li ttle town ofMendrisio, and, behind, of the Lake of Lugano w i th S . V itale on the W . bank , andMte. Salvatore to the N . Then it sk irts abrupt

clifi'

s and enters a curved tunnel (160 yds . long), imm edi atel before which

the summ i t of Mon te Rosa is v isible. 1'I4 M . San Ni colas 20 ft. ; restan

ran t) a stati on in the finely wooded Val di Solarino . The line nex t describes

a w ide curve, enters the Val della Gi azza by a tunnel 50 yds . long , and

proceeds high up on the m ountain-sIOpe , wi th fine v iews of the plain

of Lombardy as far as Mi lan and Varese , and o t‘

the valleys of the Ge

neroso (to the right ap ears Monte Bis l-i r-o , w ith i ts pi lgrimage-church).

M . Bellac ista (401 ft Albergo Bellav i sta , plain restauran t). A ath

leads from the station along the m ountain-ridge (fine v iews ; benches to

the (5 m in.) ‘ Pcrron, a platform prov ided wi th railings , immediatelyabove Capolago, wi th a beautiful vi ew (best in the m orning) of the Lakeof Lugano and the surrounding heights, backed by the line of snow-

peaks

stretching from the Gran Paradi so to the St. Gotthard. About V2 M . to

the E . of the station (hotel-porter meets the trains) is the‘Hotel Monte

Generoao (3965 ft ; R.,L ., a A. 4 -5

,B . 1l/z, luncheon Ii i/24 ,

D . 5, pens. 12 fr.gEng ] . Church Serv i ce), si tuated on a moun tain- terrace commanding a v iewover the plain of Lombard as far as the Monte Viso . A bridle-

path leads

hence to the summ i t in 1‘ 4 hr. Beyond Bellav ista the rai lway ascends

throu h ano ther tu nnel (90 yds. long), and closely sk irts the barren ridge,afl

'

ord ng occasional v iews to the left of the lake and town of Lugano ,and to the right, below , of the v i llages o f Muggio and Gabbio . Bey nnd

tw o short tunnels we reach the s tati on of M .) Vetta (5355 i i . ;‘ HOtsl

Kulm ,R. 5, B dej . 4 , D . 5 i r.,

connec ted by v iew- terraces w i th the

Restaurant Vetta ; ad'

acent , Albergo-Rixtorante della Vetta , plain , D w i th

w ine 3 A goo pa h prov ided wi th rai lings leads hence in 10 m in.

to the summit of Monte Generoso (5590 The‘ Vmw,

no less strik ingthan picturesque, embraces the lakes of Lugano , Com o

,Varese, and Lago

Maggiore, the enti re Alpine chain from the Monte V i so to the Pizzo dei

T re Signori , and to the S . the plain of Lombardy , watered by the P0 and

backed by the Apennines, w i th the towns o f Milan , Lodi , Grams , and

Crem ona. From the stat ion of Vetta we may descend on foot to the

B étel da Generoso or to Bellav i sta station in hr.

Monte Generoso m ay also be ascended from Mendrh io (see below) vra

San N icolao (the usual way) in 4 hrs . , from Maroggs'

a (p . 12) v iaRooi o

(1665 H6 t.-Pens . Mte. Generoso pens. 5-6 fr.) in hrs. , or from

Ba lem a (see below) v iaMugg io in i -dl/z hrs. (roads to Rov io and Muggio ,bey ond which the accent is fatigu in also shorter footpath to ROV i o).From Lanzo d’Intelc i (bridle-

path , 563 see p. 163 ; recommended for

the return (to Osterie 6

The train new ascends the fertile valley of the Laveggio .

135 M . Mendri sio (1190 ft . ; pop. 2870;‘ Angclo, Italian, R.

A. 2 l/2 a small town of 2900 i nbah. ,M . from the station

,

li es at the beginning of the bridle-

path to the Monte Generoso (tothe Hot . du Generoso 3 hrs. mule 6 At Ligom ctto , Uh“ .

to the W the birthp lace of Vincenzo Vela (1822-9 i) , i s the Mu scoVela, wi thm odels and a few originals by that sculptor. Th e the“

14 Route 4 . SPLflGEN. From Thusis

Coldrcria M ast carries us through the watershedbetween the Laveggio and the Bu gg ia. 139 M. Balema.

140 M. Chiaaso (7 65 ft . ;l‘Rail . Restaurant ;

‘ Alb. San M ichele,Alb.

-Ristorantc Colonnc, both near the station), the last Swi ss village (custom-house ; usually a long halt). The line p ierces the

Monte Olimp ino by means of a tunnel 8190yds. long, beyondwhicha vi ew of the Lake of Como i s disclosed to the left. We then passRoma Vico, a suburb of Como. on the left.

143 M. Guano (StazioneMedi tm anca,p. thence to (30M.)

Milan,see B. 20.

4 . From Thusis to Calico over the Spldgen.

68 M. Dtmoanoa from Thusi s to Chlavenna (A1 twi ce deli,in

summer in 10 hrs. (fare 16 fr. so, can 19 tr. so Earn Poor rumThusi s to Chiavenna wi th two horses 9 fr. 20 c., wi th three horses 186 fr.

50 c. Ramwa t from Chiavenna to Cali co, 17 M., in -1 hr. (fares 8 fr.

10, 2 fr. 16 , 1 fr. 40 co rresponding wi th the steamboats to Como .

Thusis (2460 ft . ; Hfit -PenS. Via Mala, Post, Rhaetia, the

terminus of the railway, lies at the confluence of the Rhine and the

Noun. The Splugen road leads hence through the gorge of the‘ Via Mala , crossing the foaming Rhine several times. Finest ‘ Viewat the second bridge.

M. Andcer (8210 Then we follow the woodedRomaBas ins and the picturesque Rhcimaald That Val Rhein) to

M. Splugen , Roman. Spluga (4757 ft Edict Bodcnhaus ,R., L t A. D. 3 in ; y ou Sp liigcn), the capital of the Rheinwald-Thal , at the junct ion of the Spliigen and Bernardino routes.

The latter here runs to theW . The Splugen route turns to the left,crosses the Rhine, andascends in windings to the M .) SplfigenPm (Colmo dewOn e ; 6946 the boundary between Swi tzer

landandItaly. About3hM. beyond the pass is theDogana (624 6

the Italian custom- house.

The road now descends by numerous zigzags along the E. slope,

being protected against avalanches by long galleries and avoidi ngthe dangerous Lira Gorge. BeyondPianaaso (inn), near the entranceto a short gallery, the Madis imo forms a magnificent waterfall, 650ft.in height, which is best surveyed from a platform by the roadside.

From Pianasso a road ascends to (“loM .) l adcsim o (tame ), a preti lly si tuated v illage with a chaiybeate spring and a

'Bydrap athic.

34 M. campodolciuo (3456 ft. Pasta , Croced‘

Oro,both indii

ferent) consis ts of four large groups of houses. The second contains

the church. The Lira Valley ( Valle San Gidcomo) is strewn withfragments of rock , but the wildness of the scene is softened bythe luxuriant foliage of the chestnuts lower down , from whichrises the slender campanile of the church of Madonna 45 Gallivapy io . B ey ondSan Giacomo the rich luauriance of Italian vegetati on unfolds i tself to the view.

to Calico . OHIAVENNA. 4 . Route. 15

4 1 M. Ohiavenna. H otels . ‘ Hd-rar. Connaux, V4 M . from the

rai lway-station , wi th railway and diligence ticket and luggage office, R.

,

L., a A. from 2,B . D . incl. wi ne 3 fr. g Ansas s e Srs coaa , at the

stati on ,R., L ., a A. 21h. B . 1 ir. , Caravr. 5 03 0 , on the Promenade.

The Station (Cafe-Restaurant, dej . fr. g beer) lies outside of and

below the town. Through-tickets are here issued to the steamboat-stations

on the Lago di Come, wi th coupon for the omnibus-journey between the

railway-station and the quay at Calico.

Chiaoenna (1090 the Roman Clavemta,an ancient town

wi th 4 100 inbah.,i s charmingly si tuated on the Mora , at the mouth

of the Val Bregaglia , through which the road to theMalojaPass andthe Engadine leads. Opposite the H6tel Conradi are the ruins of

an unfinished castle of De Solis , the last governor appointedby theGri sons. Picturesque view from the castle-

garden or‘Paradiso

’

(adm.

50 San Lorenzo , the principal church , has a slender clocktower or campanile, rising from an arcaded enclosure which wasformerly the burial

-

ground. The Battistsrio (closed ; fee 15- 20contains a font of 1206

,adornedwi th reliefs.

The hi lls of the Val (”ap iola contain m any

‘Marm i tte dei Giganti’

or

giant’

s kettles (Ger. Strudellocher , Riesenkessel) o f all sizes (gui des at

the hotels).

The RAILWAY TO Conico (fares, see p. 14) traverses three tunnels soon after starting, beyondwhi ch we enjoy a fine retrospect of

Chiavenna. The lineruns through a rich vine-bearing country, the

lower parts of whi ch , however, are exposed to the inundati ons ofthe Liro andMore. The valley Piano di Chiaverma) i s enclosed on

both sides by lofty mountains. On the right bank of the More liesGordona , at the mouth of the Val della Forcola , beyond whichthe B oggia forms a pretty waterfall in its precipi tous descent

from the narrow Val Bodengo . 6 M . Samdlaco is the station for

the large vi llage of that name on the Opposite (right) bank of the

More, at the mouth of the Val Msngasia. Near M .) Novatethe railway reaches the Lago di Mezzola. This lake was originallythe N. bay of the Lake of Como, from whi ch i t has been almost

separated by the deposi ts of the Adda ; but the narrow channelwhich connects the lakes has again been rendered navigable. To

the S . appears the pyramidal Mte. Legnone (p . The railway ,supported by masonry and traversing tunnels , crosses the Adda

beyond M .) Dubino. The Valtellina railway (p . 161) joinsours from the left ; we observe on a hill to the right the rui ned

castle of Fuentes, once the key of the Valtellina

,erected by the

Spaniards in 1603 , and destroyed by the French in 179 6 .

17 M . Calico (720 ft . ;l“Ristora'nte alla S tazione, with beds), at

the N .E . extremi ty of theLake of Como,see p . 160. The station i s

nearly M . from the quay . The omnibus- coupons are collected at

the exi t from the station . There is abundant time to permi t of pass

engers walking to the quay . Rai lway from Colico to Lecco (Mi ,lan) , see pp. 142- 136 .

16

6 . From Innsbruck to Verona by the Brenner.

i 1h M. Aven u e Socrat es b rawn (Ou ter-reta in“ W ) in 61

12 hrs . (express fares 36 fr. 86 , 96 fr. c. , o rdi nary 29 fr. 90, 22 i'

r.

i t fr. 85 c . ; thro ugh- tickets payable in gold The ‘Nord-S iid

a train doW e composed of drat-class and g cars,germs-ms the j ourney

in ti l/4 hrs . ; the day - express ( i s ? a 2nd cl.) takes the night'cnpress

( let, 2nd 4: 3rd cl.) the ordinary trains fi lo-12 hrs . Views on the

right as iar as the summ i t of the Brenner.The Brenner (44 90 the lowest pass ov er the princ ipal chain of theAlps,

is traversed by one of the oldes t of theAlpi neroutes ,which was used as earlyas the Roman period and rendered prac t icable for carriages in 1772 . Therailway , Opened in i867 , is carried through so tunnels and over so largeand a num ber of smaller bridges wi thin a distance of 08M. The greates tincline, is between innsbruclt and the culm inating point.

Innsbruck (1880 ft . ; Tiroler Hof, R. , L., A. from

‘2 fl.,B .

70 hr.,D. fl. ; Hot. dc t

’Europe, R. , L .

, A. from B .

60hr. , D .

‘

2 c. , Golden 80mm,R.

,L .

,A. 2-2 i/9 fl., B . 60 kr D.

2 fl.,these three first class

,opposite the station ; Victoria , also 0p

posi to the stat ion ; 3 6t Kreid, Margarethen-Platz ; Hot.Manchen ,

Edt. Habsburg, in the town, these four second-class ; Ra il. Restaurant , D. wi th wine 1 ii . 20 the capital of Tyrol, wi thinbah., is descri bed in Bacdcker

’

s Eastern Alps. The railway as

cends the valley of the Stu. Four tunnels. “I, M. Unterberg-S tefansbn

'

ickc. Three tunnels.

more tunnels. wi th the chateau of

Trautson,is charmingly Steinach (34 47

The train now ascends a steep incli ne, crosses the valleys of Schmirn

and Vale in a wide curve beyond M.) St . Jodok (two tunnels), andruns high above the Sill to M .) Grier (4 114 it .) It

then passes the small green Brenner- Sec, andreaches‘25 M. Stat . Brenner (44 96 ft ; B uffet), on the summi t of the

pass , the watershed between the Bla ck Sea and theAdriatic. From

the hi llside to the right descends the Bisak which the train now

follows. M. Brennerbad (4290 a popular bath- establishment. Theline then descends rapidly through two tunnels to (30WM.)Scheueberg (4075 where i t turns into the Pflersch- Thal, return

ing ,however ,

to the Eisak valley by a curved tunnel , 800 yds .

long . 36 M . Gossensass (3494 ft .) is vi si ted as a summer- resort .

The train now runs through wi ld rocky scenery. 40M. Starring

(3110 On the left rises the castle of Speechenstehs, and on the

right the ruins of Thumburg and Reifcnstein . 43 M . Fretm fetd.

We now cross the Ei sak. On the left bank are the remains of

the castle of Wei/smut». 46 M . Mauls. 47V? M . Grasstcin

(2746 at the entrance of the narrow defile of (60M.) M ittewald,where the French were defeated in 1809 . The lower end of the

defile called the Briz ener Ktause ,near Unterau

,is closed by the

Branaensfeate.a strong fortress constructed in 1833 . The (new.M.)m a in s tation (2450 ft . ;

‘ Rait . Restaurant , D . 1 ii . 20 km) , theJun ction of the Pas terthal li ne (for Oarinthia) , lies some distance

18 Route 5 .

M. Trent. ‘ Hdrat. Tan tra , near

i lls-2 il. in the town : Eunors , Via Lun B . a

class : Aqum B ianca , near the castle ; onu no

Trent (640hab.

,formerly the

possesses numerous

an impos ing appearance. The prettyare adorned with a lofty Monument t

The ‘ Cathedm l,begun in i ts present form in 1212

in 1882- 89 , is a Romanesque church surmoun ted byN . portal

,as at Botzen ,

is adorned wi th a pair of

Pi azza Grands (at the cathedral), which i s embelli

tasteful Neptune Fountain stands the Palazzo

members of the Counci l of Trent

The handsome organ- loft i s in the Renaissance style.

ThePalazzo Municipale, in the

dral, contains the Public Librarysisting of collections of natural hi

qui ttes, coins , etc.On the E . side of the town rises the imposing

Consiglio, formerly the seat of the prince- bishop

rack. A tine vi ew is enjoyed from the huge Torregood v iew of the town is also obtained from the

puchin Convent above the Castello . The rockVerruca or Dos Trento (950 the

not accessible to visi tors.

rm .Trent to Baaaano through the Vewar to (47 M.) Tcm in hrs.reas on thence (railway in conta in la

The line leaves the Adige at (8 Si .)o f the Perm .

ALA. 5. Route. 19

Jur road enters the im posing rocky gorge of the”Canale di Brenta. In a

°

coky cav i ty to the left, 100 ft . above the road, is the medi teval strong

i old of Cooolo (inaccessible). About 3 M. farther on the Oisrnone descends"rom the Vol Prirmero. Opposi te (13‘fz M .) Carpané (485 ft. ; Cavallino),in the right bank of the Bronte, li es Vo lstagna , inhabi ted chiefly la

the

makers of broad- brimm ed straw -hats . Beyond (19 M.) Bo logna Oft .).he rav ine of the Brenta expands. About M . farther on the road turns

t corner, and a vi ew i s obtained of a broad plain wi th large oli ve-

planta

;i ons in which lies the pi cturesque town of

23 M . B assano (see p .

The RAILWAY follows the Adige. 122 M . Matarello. On a

mill near (127 M .) Calliano ri ses the castle of Beseno , the property

)f Count Trapp. The lower valley of the Adige, as far as the Italian

frontier, i s named the Val Lagorina . It i s rich in v ines, mai ze,ind m ulberries . 129 M . Volano ; 130M . Villa Logarina .

132 M. Rovereto (695 ft . ;‘Ho

‘

t. Glira ; Agnello), a considerable:own wi th 9000 inbah.,has an old Cos tello. Road to Torrebclo i

cino and Schio , see p . 231.

The train crosses the Leno. On the right bank of the Adige liesIsera , celebrated for i ts wine, wi th numerous vi llas and a waterfall.

On the left bank , to the E . of the railway , near L izzano,i s the

Costello Dante (1003 which about the year 1302 was v isited byDante when banished from Florence.

135 M. Mori (570ft Buffet ; Ra ilway Hotel, a tolerable Italianhouse

,R.,

L ., A.

Fno n Mont ro RIVA on m a Lauo DrGases VIAAnco, 15l/z M .

,steam

tramway in hr. (fares i st cl. 1 H. 23 , 3rd cl . 51 [The distance toRiva by the di rect road is about 11 M .; carr. wi th two horses 7 fl.]The line crosses the Adige to (2 M .) Mort Borga to , the station for the largevi llage of Mort (672 ft .) It then traverses the broad green valley to

M .) Lopp io (735 wi th the chateau of Count Castelbarco , passes theli ttle Lago di Lopp io, w i th i ts rocky islands, and winds up am ong rockydebris to the (i ll.M .) culm i nating point of the route , at the chapel of

San Giovanni (915 W e now descend to (8M .) Nago, a v i llage si tuated

on the brink of a rav ine, w i th the ruins of the castle of Peneda (922on a barren rock to the left . The road leads hence to the left to Torbole

(p. and (3 M .) Riva. The line descends along the ri ght slope of the

moun ta ins. W e enj oy an exquisi te‘ V iew of the blue Lago di Garda, w i th

the Sarca at our feet , and the long Monte Brione opposi te. Presen tlyArco and the wide valley of the Sarca, w i th i ts m ountain -sides, come in to

view . 11 M . Oltresarca is the s tation for sev eral v i llages. We then cross

the Sarca to (12‘I2 M .) Arco (p . 203) Thence we traverse the ferti le valley(to the left Mte. B ri one ; to the right , among the m oun tains , Tenno , see

p. i 3 ‘lz M. Son Tommaso. M. Riva (p. 201 ; steamers on the

Lago di Garda, see p .

Near M.) San Marco the line intersects the so- called

Slavini di San Marco, probably the remains of an ancient glacier,

accordi ng to others the traces of a vast landslip , which is said tohave buried a town here in 883, and is described by Dante (Inferno i i . 4 At (137 M.) Serravalle the valley contracts .

142 M . Ala (4 15 ft . ; Ra il. Restaurant ; Hotel Ala ; Cervo), wi th1600 inbah.

,i s the seat of the Italian and Austrian custom-house

authori ties. Those who have forwarded luggage by thi s rout e to or

from Italy should enquire {or i t at the custom- house here “A“ .

20 Route 0. W 0 .

Av io ,‘

the last Austrian stati on , wi th the dilapidated chateau of

Count Castelbarco .

148 M . Peri (4 13 the first Italian stat ion, is the start ingpoint for the ascent of the Mon te Baldo (Mte. Maggi ore ; comp .

p . whi ch separates the valley of the Adige from the Lago di

Garda. On an eminence to the right , near (156 M .) Cem ino, liesRtvolt

,which was stormed by the French in 1796 and 1797 under

Masséna, and afterwards gave him his ducal ti t le. We now enter

the Chim e cli Verona,a rocky defile celebrated in medie val warfare.

At the entrance are the works of Incana le, commandi ng the pass .

The train passes (160M.) Domeglt'

ard, also a stat ion on the

Verona and Caprino line (comp . p . then (161 M .) Peseantina

,and (167 M .) Parana all

’

Adige (p. crosses the Adige,and soon reaches the Verona andMilan line.

At Verona (see p. 207) i t first stops at (173 M.) the S tat ionsPorto Nuoea and then at the (175 M.) S taz ione Porto Vescovo, the

principal station.

6 . From Vienna to Venice viaPontebba .

401 M. Aosrruaxt Sc orn RAILWAY to Bruce; Amm an Bu rs Ru nwar

thence to Panto/cl : Nou n In t u i t Ba tawar thence to Venice.‘Train de

luxe'

(Vienna-(Banner‘

ls t class carriages only , at speci al rate) daily inwin ter, vi i Amstetten, in i bmhrs ; ex ress tra in v iaBreak in i o' hrs .,

vi i

Ams tet ten in hrs . (fares 70 fr. 00 , tr.dd ordinary train 26V: hrs.

Vienna, see Boedelter’

aAustria . The express trai ns take hr.

fromV ienna to (47M.) Gloggni tz vi i Baden andWiener-Nm stadt

At Gloggni tz (1450 ft .) beg ins the‘ Semmering Ra ilway , the oldest

of the great continental mountain- railways , constructed in 1848

53 (best v iews on the kfl). in the valley flows the green Schi sm-mu .

On the left is the three- peaked Sonnwmdsteln ; to theW .,in the

background, the Rarolp . At (51M). Paperback (16 15 ft.) the traincrosses the Valley of Reichenau by a v iaduct 80 it. h igh andascendsrapidly on the S . s10pe of the valley (gradient 1 Beyond four

tunnels i t reaches (60M.) Klamm (2290 wi th a half- ruinedcastle of Prince Liechtenstein

,on a rocky pinnacle. Far below runs

the old Semmering road. The train new skirts the Wetm ettelwand

by a long gallery andreaches (64Vg M.)Breitem tet‘

n (2530 ft.) Two

more tunnels are traversed, and the ravines oi the Kalle Rome and

the Untere Adlt'

tzgroben crossed by lofty viaducts.

After three more tunnels the train reaches M.) Sumnering

(2930 and passes from Austri a into Styria by means of the

a nmering Tunnel , nearly 1 M . long

p i cturesq ue valley of the Mars,containing numerous forges . 85M.

Lam e/t ram ; 8772M. Kriegloch ; 9Q112M . Mitterdorf’

. On the t ightri ses the chateau of Plchl

,and beyond the ruins at law .

to Venice. ST. MICHAEL. 0. Route. 21

The train makes a wide sweep round the Wartberg-Kogel, crossingthe M iirz twice, and reaches (95 M .) Kindberg ,

wi th a castle of

Count Attems. 100M . Marcia ; M . Kapfenberg.

M . Bruok (1595 ft . Wintersteiner), a small town at the

confluence of the Miirz andMar,wi th an old castle

,is the junction

of the line to Grate and Trieste (see Baedeker’

s Austria). On a rockyheight to the N. of the station i s the ruined castle of Landskron .

The STAATSBAHN ,which we now follow

,diverges to the right

from the South Railway , crosses the Mur, and ascends the narrow

valley of that river. Beyond (114 M .) Niklasdorfwe again cross the

Mur and reach M .) Leoben (1745 the most important

town of Upper Styria (7000 The train describes a wide

circui t round the town, and stops at the M .) Staatsbahnhof,to the S . of the suburb of Waasen . It then follows the Mur, passing the chateau of Goss on the left .

125M . SanktMi chael (1955 ft .*Rail.Restaurant), at themouth

of the Liesing Thai , is the junction for the line to Selzthal and

Amstetten, followed by the‘train de luxe

’ mentioned at p . 20.

139 M . Knittel/‘

eld (2110 M . Judenburg (2380 ftRail. Restaurant) , at the base of the Seethal Alps , with extensivefoun tries. M. Thalheim ; 157 M. S t. Gear-gen ; 160M. Unz

markt . On the right ri ses the ruin ofFrauenburg , once the seat of the

minnesinger Ulri ch von Liechtenstein. Beyond M.) Scheifling , wi th the chateau of Schrattenberg the train qui ts the Mn:and ascends to M .) S t . Lambrecht (2900 on the water

shed between the Mur and the Drave. It then descends the valley

of the Olsa , passing (173 M .) Neumarkt and (178M .) E inoed.

M . Friesach (2090 ft .) an ancient town,commanded by

four ruined castles,near the confluence of the Olsa with the Met

nits . The train now enters the Krappfeld, the ferti le plain of the

Gurk ; to the E . i s the Sau - Alpe ,to the S. rise the Karawanken .

M. H irt ; 189 M . Treibach; 197 M . Launsdorf ("Rail . Bestau

rant). The most interest ing of the numerous castles of the Car

inthian nobles in thi s district is *H och- Osterwitz,the property of

the Khevenhii ller family , 2 M. to the S .W . , on a rock 500 ft . high .

From M .) Glandorf (‘RaiL Restaurant) a branch - line

diverges to Klagenfurt . 203 M . S t. Veit (1560 an ancient

town with 3000 inbah., was the capi tal of Carinthi a down to 1519 .

The line continues to ascend the valley of the Glen , part of

which i s marshy . M . Feistritz- Pulst. To the right is the ruinof Liebenfels ; to the left those ofKarlsbcrg and (farther on) Hardegg.211 M. Glanegg, with an old castle. Beyond M.) Feldkir

chm we skirt a wide moor andat M.) S teindorf approach theOssiacher See (1600 M. Ossiach ; 229 M . Sattendorf.At the S .W . end of the lake i s the m in of Landsltron .

234 M. Villas}: (1665 ft. ‘ Bw‘

l. Restauran t ; Mosser Pock et s } ,

an old town on the D rove,wi th 7700 inhab . the ina cti on oi th e

22 Rou te 6 . PONTEBBA.

lines to Marburg and Franzensfeste , is very picturesquely si tuatedat the base of the Dobratsch (7110

The train skirts the town towards the S . and crosses the Brave.

M. BadVillaelt , with warm sulphur springs . We now cross

the Gail . M. Fir-n its ; M. Arnoldstein ; 247V? M.ThomMoglern . The line then runs along the left side of the S chlitso

Valley and passes through two tunnels.251M. Tarvia (24 10 ft .

‘ Ra il . Hotel or Restauran t), where therailway from Laibach joins cure on the left , the chief place in the

Kernel Valley , consists of Unter- Tarvis , in the floor of the v alley,M . from the the station, and Ober- Taro is

,ahM . farther on

,

wi th a station of i ts own ,at which the slow trains stop .

Beyond Ober- Tarvis the line gradually ascends. To the left

ri ses the Luschariberg (5880 wi th a much - frequented pilgrimage

- church. 256 M . Sa ifntls (26 15 on the watershedbetween the Black Sea and the Adriatic. The train then descendsalong the Fella . 260 M . Uggow itz. Near the p icturesque Fort

Molborgeth the Fella is crossed. Beyond (262 ‘I2 M .) Malborgetlt the

trai n traverses a rocky ravine, at the endofwhich lies (26 6 M.) Lo ssn itc

, passes Leopoldskirehen on the left,and crosses the 'Vogelbaelt .

272 M. Pontafcl (1870 ft . ; Rai lway Restaurant), the Austrianfrontier- station

,where the luggage of passengers arriving from Italy

is examined. Pontafel is separatedby the rushingPontebbana fromM. Pontebba (Rai lway Restaurant), the first village in

Italy , wi th the Italian custom- house (luggage examined). The nex tpart of the railway , traversing the wild ravine of the Fella (

‘ Valle

del Fem ), i s remarkable both for the grandeur of the scenery and

for the boldness di splayed in the constructi on of the line. The train

at first descends rapidly along the righ t bank of the Fella,and

then crosses the river by an iron bridge, 130 ft. high, at Pon te di

Moro . 278M . Dayna , at the month of the valley of that name, at

the headofwhich rises the grand pyramid of the Montasio orBram

ko/‘

el (9030 281 M. Chiusa orte, at the entrance of the

pict uresque Raecolana Valley. At M.)Resiu tta the train crossestheReria. Below (288M.) Maggio the valley of the Fella expands.

The bo ttom of the valley is covered wi th rubble. A little below

(29 1M.) S ins iam per la Carnta the Fella flows into the Tagliamen to,which here waters an extensive plain.

294 M. Venzone. The train traverses the marshy valley of the

Tagliatnento by an imposing vi aduct,

M. in length , and thenqui ts the bas in of that river, whi ch flows towards the S.W . into

theAdriatic Sea. 298M. Gemona - Ospedaletto , the junction of the

new line to Veni ce vi i Casarsa andPortogruaro (comp . p. 906,

M . Humane-Adm ; 304 M. Tarcen to ; 30 l/g M. Trice

m a ; Reano del Roj olc. 316 M . Udine, see p . 306 .

From Udfne to (401 M .) Ven ice, see pp . 906 -303 .

II. Piedm ont .

From the P iazza Castello, w i th the Royal Palace to theAcademy (gallery of painti ngs) and the P iazza 3. Carloand Carlo Emanuele, 27. From the Piazza Castello tothe Cathedral and the P iazza Emanuele Fi liberto , 33 .

From the P iazza Cas tello to the Piazza dello Statuto ;Giardino della C i ttadella ; Central Stat ion ; Corso V i ttorioEm anuele Segundo , 34 . From the Piazza Cas tello bythe V ia di P0 to the Piaz za Vi ttorio Em anuele , andthence to the Nuovo Giardino Pubblico , 35 Ri ghtbank of the Po ; Capuchin m onastery , 37 .

Excursions : The Superga , 38. Moncalieri . Stupinigi .Carignano, 38.

The Alpine Valleys to the West of Turin .

Ceresole Reale, 39 . b . Lanzo , 39 . e. Susa,Torre Pellice, 40. e. Cri ssolo (Mon te V iso), 4 1.

From Turin to Ventim iglia vl a Cuneo and Tenda

From Cuneo to Basti a (Turin, Savona)Env irons of Mondov i , 45 .

From Turin to Genoa

a . Vi’

a Alessandria and Nov i

b . ViaBra and SavonaFrom Bra to Alessandria

, 48. From Ceva to Ormea , 48.

c. Vi i Acqui andOvadaFrom Turin to Aosta and Courmayeur

From Aosta to the Graian Alps1. From Aosta to Cogne, 55. 2. From Cogne to Valsavaranche, 57. 3 . From Valsavar nche to Rhem es No treDame, 57 . 4 . From Rhemes No lre-Dame to Valgri

sanche, Liverogne, and Aos'a , 58.

From Santhia (Turin) to BiellaFrom Turin to Milan v iaNov araFrom Vercelli to Alessandri a, 60. From Novara to

Varallo , to Arena , and to Seregno , 61.

This district ‘at the foot of the m ountains

’

, enclosed on three sides

by the Alps and Apennines , and separated from Lombardy by the T icino ,emb races , according to the present div ision , the prov inces of Turin ,

No

oara . Cause, and Alessandn’

a,wi th inbah. , and an area of about

sq . M . It consi sts of low lands flank ing the banks of the Po and

i ts tributaries, which y ield ri ce and m ai ze , and of hi ghlands where ex

cellent wi ne and si lk are produced , and lastly of a bleaker m oun tain

mgi on of forests and pastures . The earlies t Innanr'ran'rs were Celt ic and

Lignri an tribes , who were but slow ly influenced by Rom an culture ; and

i t was not ti ll the reign of Augustus that the subjugation o f the higher

valleys was com pleted. The Du nner o f the people s till retains traces of

thei r ancient affini ty w i th the French ; thus , p ieuve, instead of the Italian

W e , om for uomo , cheer for cuore , ms for ci tta , rason for ragione,

p lan ts for p iazza . Thi s patoi s is universally spoken , even by the upper

classes , but i s unintellig ible to s trangers. Throughout Piedm on t , h owever

French is very generally understoodThe Hrsronr of the coun try i s closely in terw oven w ith th at oi

26 Route 7 . TURI‘

N. M ai treya.

Tramway. (horse and electric ; fare 10 c., transfer 16 c .) traverse thestreets in m any different directions (see Plan). The chi ef centres are

Piazza Castello (Pl. 8 , F. Piaaaa Em anuele Fili berto (‘Porta Palaaao

'

;Pi . D , B , i ), Pi aasa delle Statn to (Pl. 0 , Piazza 8. liartino (Pl. 0 ,and Planes Carlo Felice (Pl. E , t).

Steam Tramway s “in” various po ints in the more or less immediate

neighbourhood; cou

zg. t Italian time-tables .

Pos t Office (Pl. F 3 ; for p oets f um e letters, V ia Princi peAmedeo 10 ; branch

-office a t the Stas ione Oeutrale. Telegraph Offices ,Piazza Carlo Alberto (Pl . F, 3) and at the Staz ione Centrale.

Bookaellara. Carlo Clauses , Via di Po i 9 ; Rosenberg l : Sewer, Vi a Eu0 3 ; f . Casanova , Piazza Oarignano ; L. Ross: 40 Go ., in the Galleri a

nbalpina (p . Pno‘

ro o narns . Glam, see above ; Abac us , Via deil

'

Aca dem ia Albert ina . Hav en s-ans : Stow e, (Jan ette del Popolo, 0a :

xetta di M ine , Ita lic Bea le.

Goods Agents. Giov . B lancot ti , V ia Bogi no 21; m m om , V iaCern

Aaia i t . Stenographer and Typ eWri ter, Cem re Va 'oaa , 20 Via Carlo

lberto .

Bankers . Pellegrtni Moria , Piazza Salter-inn 8 ; De t erm : t

Via Altieri 16 ; Koala -at om,Via Venti Settemhre 66 . Honey Changers .

Bauer at Boo-cm, V ia Cavour i t).

Phy sici ans . Dr. F. 001m. Corso Oporto 30 (speaks Engl ish and French);Dr. Berger“, Via Melchior G io ia 8 ( ea lu French).—Dentiat a. J . Bowman

(Amen ), V ia Finance 11 ; M ai , a Pietro Mi cca (speaks E ngli sh); Gm" 114, Via Ro ma 15 . Chemis ts. A. Tom ,

Via di Po i t ; Farm cla

W e. V ia Roma 2Baths . La M anam a

,Via Venti Settembre 7 ; Baal-t Cancer , V ia

Lagran e 22. Bath We l l/1 ir. , wi th tee of 20 c .

l ilitary I onic in the Piazza Castello every afternoon (6 insummer dai ly in the o ld Piaaza d

‘

Armi about 6 p.m . , during t e Corso ,and Sun 2-4 in the G iardi no Beale (comp

by.

Theatres. Team£8

60 (Pl. 62 ; F ,m a Castello, for operas and

ballets. wi th seats for persons , generally open duri ng Lent and the Car

nival only (adm ission 3 ir., reserved seats 6 . poltrone 10 in ) ; Vittorio Emanuele (Pl. 69 ; F , V ia Rossini 13 , for o peras ballet s , and eques trian per

formances , the largest in the ci ty ; Atfleri (Pl.fl ; D, Piazza Soll'

erino , t’

or

com edy and operet tas ; Caricature (P1. 68 ; E, in the Piazza of that nam e ;Potiteama Golda“, V ia Maria V i ttori a i t . Teatro Rossini (Pl. 67 ; F,

Via

di Po 2d, t’

orPlays in the Piedmontese dia lect. Cafl Roma no , Galleria

Subalp ina (p.m, a th ea tre of vao ie'ies, wi th a se arate s tage for summer.

B ritish Oonanl, mo dulo Can tata, V ia 80 inc 2g. Uni ted S ta t-eaaul, Percy di e-Emma, V ia Hadama Cristina

English Church , V ia P io Qui nta lb , behi nd the Tempi o Valdese ; IOF

vi ce at e.m . Protes tant Servi ce in the Toupie Va ldese (Pl. 18 ;F.I) on Sundays, in French at 11 . in i talian at 8 o

'

clock. M Ita lian

Church, Vi a Karin V i ttoria 27 , first floor.

Principal Attraction ( i - i l 3 day) : Armoury (p . Pi cture Gallery(p. 50) and Museum of Antiqui es (p . 29) Huseo Civico (p. monumentsin the Cathedral (p. vi ew from the Capuchin monastery (p .

Turin (786 Ital. Torino , the anci ent Tamm ie, capi tal ofthe Taurini a Ligurian-Celtic tribe ,

destroyed by Hannibal‘218

,afterwards the Roman Augusta Taurinorum ,

was the capi talof the County ofPiedmont in the middle ages , and in 14 18 became

subject to the Dukes of Savoy , who frequently resided here. From

1720 it was the capital of the Kingdom of Sardinia, and from 1860to 1866 of i taly. The seat of a university, of an archbishop , and

of a military academy, and headquarters of the lat Italian Corpsfi nal e, this grea t ci ty lies in an extensive plain on thePo , whichai m the wa ters of the Dam Ripariubelow the ci ty . Them

Palazzo Madama . TURIN. 7 . Route. 27

of the P0 i s bounded on theW. by the Graian and Cottian Alps, and

on the E . by a range of hills rising on the right bank , opposite theci ty (

"

hill of the Capuchins , p . 37 ; Superga , p . Turin was the

chief centre of those national struggles which led to the unificationof Italy . The removal of the seat of government to Florence seriously

impaired the prosperi ty of the citi zens for a t ime , but they havelong since recovered their losses. The rapidly increasing populationnew numbers upwards of including the suburbs .

Turin is conspicuous am ong the ci ties of Italy for the regulari ty of

i ts construction. Its plan presents rectangular blocks of houses (h ole) , long,broad ,

straight streets Vie) , spacious squares , and num erous gardens .

Its history explains this. The plan of the old town,w i th slight varia

ti ons ,is ascertained to be the sam e as that of the colony founded by the

Em sror Augustus . It formed a rectangle of 2210 ft. in length , and

1370,

ft . in breadth, and is now intersected by the Via Garibaldi , whi ch

runs between the Piazza Castello and the V ia della Consolata. It had

four principal gates , of which the Porto Pa latina ,to the N . (in the Pa

laz zo delle Torri , p . s ti ll exists . The whole town was comprised

wi thin this circum ference unti l in the 17th cent . a. systematic ex tension

of the ci ty was begun in accordance wi th the original plan. The fort i

ficati ons constructed by Francis I. in 1536, and finally the siege of 1706cleared away most of the old bui ldings , and gave the town i ts present

appearance. The fortifications were demolished by the French in 1801,

and the ci tadel had to give place to the rai lway in 1857 .

The spacious Prazza CASTELLO (Pl. E ,F, 2) forms the centre

of the town . From thi s point the busiest streets diverge : Via Roma,Via Pietro Micca, Via Garibaldi, Via dell

’

Accadem ia delle Science,and the broad and handsome Vra DI Po , leading to the bridge over

the Po , and flanked by arcades (Portici) , containing shops . The

Un iversity in the Via di Po , see p . 35. In the angle of the

Piazza Castello i s the Galleria dell’

Industria Subalp ina (PI. 20 ;F,

bu ilt in 1874,containing the GaffeRomano (p . The

other end of this arcade is in the Piazza Carlo Alberto (p .

The Palazzo Madame. (PI. 42 ; E ,the anci ent castle, a lofty

and cumbrous pile in the centre of the Piazza Castello i s the only

mediaeval structure of which Turin boasts ; i t was erected by William ofMont ferrat

,when master of the town towards the end of the

i 3th cent . , and was restored at the beginning of the 15th cent . byLodovi co d

’

Acaja. It owes i ts present name to Maria,mother ofKing

Victor Amadeus who as Dowager Duchess ( ‘Madama Reale’

)occupied the building ,

and embellished i t in 1718 by the addi tion

of a handsome double flight of steps and the facade wi th marble

columns on theW . side,from a desi gn by Juoara . The two original

towers on the E . side are still standing ; two others on theW . side,one of which contains an observatory , are concealed by the facade.

From 1848 to 1860 the palace was the meeting-

place of the Sar

din ian Senate, and i t now contains several insti tut ions . In front

of i t stands a Monument to the Sardinian Army (PI. by Vine.

Vela , erected by the Milanese in 1859 .

At theN.W. corner of this p iazza is the church oi Sun Lot-m um

wi th a p eculiar dome,

and des ti tute of facade , by Guarini QV‘

oE'

Q

28 Route 7. roam. Palaaao Beale.

On the N. side of the Pi azza Castello rises the Palm s Beale.orRoyal Palace (P1. 46 ; E ,

a plain brick edifice begun in 1646 .The palace-yard is separated from the Plan s by a gate , the pillars

ofwhich are adornedwi th two groups in bronze ofCastor andPollux ,

designed by Abbondio Sangiorgio in 1842 . To the left in the hallof the palace (admission free), in a niche near the staircase

, is an

equestrian statue of Duke Victor Amadeus I. (d. the statue

is of bronze, the horse in marble ; below the latter are two slaves .

The handsome sta ircase is embelli shed with statues of Emmanuel

Philibert by Varn i , andCarloAlberto by Vela. The royal apartmen tsare shown daily, 9 - 3.

The wing of the palace contains the ‘ Borar. Am our

(Armert’

a Beale ; Pl. 4 , E entered from the arcade of the Pre

fettura (P1. 49 , E F 2 ; last door to the left) ; admissi on (i i - 3) byt ickets obtained (gratis) on the landing of the first staircase. The

collection,which is on the second story, is very choice. Catalogue6 fr.

In the centre of Boo n i (Rolando ) are a bronze statuette of Na o leon L ,

the sword he were at the bat tle of Marengo , a quadrant he us when a

young officer, two French regim en tal

Twi sts and tum ket tle drums captu red at the bat tle of Turin in 1 umerous models of m odern

weapons ; in a cab inet near the window , Prussi an helmets then,Japanese

and Indian weapons and armour. A cabinet on the rig t con ta ina gi fts

puresenled to Vi ctor Emm anuel by Italian towns , a sword nted by Home

1869 , a gilded wreath o l’

laurel by Turin in i8m, an a sword in 1866,

on the occasion of the Dante Festival in the centre, the favouri te horseof Charles Albert ; Piedmontese tlaga m the wars of 18484 9 over thecabinets . i n a cabi net to the left of the entrance is a t iny US . of theKoran,in tolerable preservation. The long Ilau . (Ga lleria Burm a“) contains,on the right a giganti c suit of armour worn at the Bat tle of Pavia by an

equerry ofFranc is L of France ; beyond i t in front of the chimney -p iece

a choice and vs valuable collecti on of 82 battle ‘ axes, a sword execu tedby Ber-m ute and some final ornamented helmets of the lothand l6th centuries . Under glass , a

‘ Bhi d by Beacenuto Cellim’

embossed,

and inlaid wi th gliding , representi ng scenes from the war of llarlusagainst Jugurtha. The fines t sui ts o f arm our are those of the Brescianfami ly Mart inengo , three on the left and one on the right. Adjacen t isan ancient ros trum in the form of a boar

‘

s head, found in the harbour at

Genoa. At the cud of the hall are the arm our o i Prince Eugene, the saddleof Em Charles V . in red velvet, and the beauti ful armour of Duke Emmanu Philibert. On the righ t , under glass , the sword of S t. Maurice,the scim i tar of Tippoo Sahib etc . In the cabinet A are Roman weapons,helme ts , and the eagle of a legion . In the cabinet F

,at the top , the

sword of the Im peri al General Johann von Werth (d. bearing a

German inscription in verse.

On the floor below is the B orn . Lraaa ar of 60411) vols. and 2000“88 .

(shown only on application to the librarian), containing valuable geo

phical, historica l, and genealogi cal worli e. mi nia tures o f the tbth and6i b cent . , draw ings by Leonardo da Vinei (

‘Portrai t of himsel f ; see

p. Fro Bartolomeo“ , Cor-regalia, academ ia PM , etc . A staircase

ascends hence to the valuable Co llection of Coins , trinkets, enam els , carvedivory , etc .

, in a small room adj oi ning the Armoury .

The Palace Garden (Giardino Beale ; Pl. E ,F, 2), entered from

the arcade opposi te the Palazzo Madama, is open on Sun. andfestirs ls

, between 1st July and 1st Oct .,1- 6 o

'clock (m ilitary music ;

p . Fine view of the Superga. The Cathedral adjoins thep alace on the W. (see p .

30 Route 7 . TURIN . Picture Gallery .

The Sum Amm onia-n a are on the First Floor. In the 1st Roost are

mummies, papyrus wri tings, scarabmi , tri nkets . vases

, orcelain sta

tuettes,and terraco ttas

,many of which are Gm ltom an . e M Room

on the right contains a papyrus wi th fragments of the annals of l anetho

ghlis t of the kin

gs of E t down to the 19 th dynasty), discovered by

ampollion ; the Book o the Dead‘

,edi ted by Lepsi us ; the M o

h im found in the pont ifica te Of Paul " L , etc . A passage to the leftof the 1st Room contains inscriptions and statuettes . We now turn to

the left into a room containing Cyprian antiqui ties , several in teres tingE truscan cinerary urns wi th traces of painting and (at the door) two

Assyrian reliefs , the heads of a king and a eunuc

Beyond , on the left , is a room devoted to Roman Sculptures : inthe m iddle , heads of poets and philosga

hers ; alon the longer wall ,busts of emperors ; in the corner to the l colossal iiead of a goddess ,fine ‘ Head of Venus (bus t modern), head o f Antinous , fragments of a fine

relief of a youth in a chari ot wi th four horses, probably a Greek work, etc .

A room on the right contains the Greece-E truscan vases ; by the w indow

wall are two com plete tombs found between Turin and llilan and earlyItalian vessels. In the next room are brouses and a few reliefs in silver.

In front of the wall-presses are a tri and a Silenus, found near Turin,head of Caligula, andMinerva, foun in the Versa near S tradella in 1828.The room in the m iddle con ta ins terraco ttas , co ins, and ‘ Glass.

The ‘Picture Gallery on the second floor,i s

important for the study of Macrino d'

Alba (1460- 1510) and hispupil Deferrari do Chican o, and of Gaudcncio Ferrari (1471?

who was inspiredby Leonardo and influencedby theUmbrianschool (Nos. 49 and Sodoma (1480 who originally belonged to the Lombard school, i s well representedby three pictures.Lorenzo di Oredi

’

s (1459 - 1537)Madonna,No. 356

,ofhi s best period,

shows that he was influenced by Leonardo. Among numerous and

important works of the old Netherlandish school are : 369 . Petm s

Cuisine; 358. Mending ; 340. Sketch by Rubens ; 338, 351, 363 ,384 by Van Dyck. (Catalogue fr obtainable only from the

booksellers.) The pictures bear the names of their painters.

i . Roo st . Princes of the House of Savoy and battle-pieces. Beginningon the right : ten of the bat tles fought by Prince Eu one , by Hue/tun

burg : thirteen portrai ts of members of the House of avoy ; HoraceVsm et

,King Charles Albert ; as, 31. M ela Schoo l ; as, so. Dutch School :

3. Van salm on Prince Eugene on horseback.

11. Boat . Defendants Deferra ri , l adonna wi th 88. George andBarbara and Charles III. of Savoy (anc ient frame) ;

‘d9 . Go ad. F S t.Peter and donor whis . Macrirw d

‘

Alba , Madonna and saints u

deasio Ferrari , Visi tation , 68. God the Father, 6d. Pieta, 7. Joachimdriven from the Tem ple, 68. Madonna and St. Elizabeth; 60. Ben . M ini

,

Pietb ; 00. Sodom ,Holy Family. On an easel : 784 . Barnaba da Modena

,

Madonna

Picture Gallery . TUBIN . Route. 3I

p . 127, 128. Bronzino , Portrai ts of Eleonora da Toledo and her husband Cosimo I. de

’ Medici ; 129 . After Titian, an old copy,Pope Paul III.

In the m iddle are four Madonnas : 779 . Gioc . Bellini (ruined by retouch

ing) ; 780. Bart. Vicarini 828. Timoteo Viti (more probably School ofPerngino ; forged signature) ; 824 . Gregorio Schiavone.

VI. B oon . Above the door : 132. Bonifazio Hol Fami ly ; 137,138, 142, 143 . Andrea Schiacone, Mythological scenes ; 1 O. Ant. Badile

(m aster of P. Veronese) Presentation in the Temple ; Opposi te, 157.

P . Veronese, The Queen Of Sheba before Solom on ; 160. Agostino Carracci,

Landscape ;‘ 161. Ca raoaggio, Musici an .

VII. Bo on . 163. Guido Reni John the Baptist ; 167. Jacop o Bassano,Cupid at the forge ; 170. Giulio desare Procaccini (not Oresp i), 88. Francisand Carlo Borromeo adoring the Madonna ; 174 . Sp agnoletto, St . Jerome ;182 . P. Veronese, Finding of Moses .

VIII. Boon . Porcelain -paintings by Constantin of Geneva,copied from

celebrated ori ginals ; Luca della Robbia , Adoration of the Infant Sav i our.IX. B oon . Frui t and flower pieces : 220. by Snyders , 225. by Fyt, 228.

by De Heem . Then a corridor wi th inferior works.X . Bo on .

‘ 234 . P. Veronese , Mary Magdalen washing the Saviour’

s

feet ; Guercino , 242. Ecce Homo , 239 . St . Francesca B omana ; 823 . P.

Veroneu , Danae; 241. E lisabetta S irani , Cain andAbel ; 237 , 238. Poussin,

W aterfall, Cascades of T i voli ; 244 . Orazio Genti leschi,Annunciation ; 251.

S iraeri (more probably Ribera), Homer.

XI. B oon . 257, 258. Sassoferra to Madonnas , the first called ‘ della

Rosa‘

; 257 bis. Canaletto, Piaz zetta in Veni ce ; 262 . Guercino, Return of

the Prodi gal Son ; 263. Fr. Albani , Salm aci s 260,264

,271

,274 . Albani

,

The four E lements ; 287. Gius . C resp i , St. epomuk in the confessional ;276. Carlo Dolei , Madonna ~ 283, 288. Bernardino Relotto, V iews of Turin ;

M aratta,Madonna ; 299 , 300. Angelica Kaufm an

,Sibyls.

XII. Roon . Netherlands and Germ an school : 306 . Engelbrechtsen

(not Lucas can Lsyden), Crucifix ion ; 307. Flemish Master of the FemaleHalf-figures, Cruci fix ion ; 309 . Adoration of the Magi , in the style of H ieron.

B osch ; 313. Van Eyck St. Francis receiv ing the stigmata ;°312, 320.

Rog ier van der Weyden, Madonna and St . E lizabeth, wi th portrai t of thedonor ; 324 . Flemish School (not Moslaert), Lu te-player ; °338. Van Dyck,Chi ldren of Charles I. of England ; 340. Rubens, Sketch of hi s apotheosisof Henry IV . in the Uffiz i ;

‘ 351. Van Dyck, Infanta Clara Eugenia of Spain .

XIII. B oon . Gem s of the collect ion. 355 . Mantegna , Madonna and

saints (much retouched) ; 356 . Lorenzo di Credi , Madonna ; 357. Guercino,M adonna ;

‘ 358. Hans Mem ling ,The Seven Sorrows of Mary , a chrono

logical com posi ti on of a kindm uch in vogue am ong northern arti sts ; 359 .Pelrus Grietas , Madonna ; 849 . Ti tian, St . Jerom e

,a late work ; ‘ 361. Saenre

dam , In teri or of a church,the figures by A. can Ostade ;

‘ 363 . Van Dyck,Prince Thomas of Savoy, a fine portrai t ; 364 . D . Teniers , Tavern

-scene ;Woucerman

,Cavalry attacking a bridge ; 368. D. Teniers, Musician ;

36 9 . Sandro B o tticelli , Triumph of Chasti ty ; 371. Gaud. Ferrari , Crucifix ion

(an early work in distemper) ; “373. Rap hael, Madonna della Tenda (a veryfine p icture, bu t the ori ginal is at Muni ch) ;

‘ 375. Desiderio da Settignano

(not Dona tello), Madonna (relief in m arble) ; 376 . Sodoma,Lucretia ; 377 .

Paul Potter Cattle graz ing ; 377bis. Rembrandt, Old m an asleep (anearly work) ; 378. Jan Brueghel, Landscape ; 379 . Frans van M ieris

,Por

trai t of him self ; 384 . Van Dyck, Holy Fam i ly , painted under the influenceof T i tian ; 386 . II. Holbein

,Portrai t of E rasmus (a copy) ; 389 . J . Ruysdael,

Landscape ; 391. Gerard Dou , Girl plucki ng grapes ;‘ 392. Velazquez , Phil

i l l}?of Spain ; 393 . Rubens Holy Fam i ly ; 394 . C. Netscher

,Scissors

grin er.

XIV . Boon . 398. Sa llaert, Procession ; 410. Floris,Adoration of the

Magi ; 420. Woucerman,Horse-m arket ; 435. Gerard Dou

,Portrait ; 428.

D . Teniers, Card-players ; 434 bis . J . Ruysdael, Landscape ; 44 1. B . Fabri tius ,

Holy Fam i ly.XV . Boon . 478

,483. Claude Lorrain

,Landscapes ; 481 . Bourguiqnom

Ba ttle , 601. P. M'

ynard, Louis XIV .

32 Route 7 . roam.

Opposite the Academy, to the E . ,is the large church of San

Filippo (Pl. 16 ; F, erected by Guarinl in 1679 , and restoredbyJua n in 1714 . The portico in front is a later addi tion. The churchcontains pictures by Guercino, Solimena

,and others.

The neighbouring Pi azza San CARLO (Pl. E, 587 ft. longand 264 ft . wide ,

is embellished wi th an equestrian ‘ Statue of

DukeEmmanuel Phi libert (Pl. in bronze,designedby Maroo

chett i The relief on the W . aide represents the Battle of

St . Quentin ; that on the E . side the Peace of Cateau-Cambrdsi s

by whi ch the duchy was restored to the House of Savoy ;the duke as

‘

pacem rcddilurus’is in the act of sheathing his sword.

The two churches on the 8. side of the piazza are San Cam

(Pl. 9) andSam's Curs'm ta (Pl. 9b), both founded at the beginning

of the 17th cent ., wi th facades of later date : that of 8 . Crist ina byJnvara that of S . Carlo

,in Baveno granite, an imi tation of

Juvara'

s,added i n 1836 . 8. Carlo contains a monument of the

condottiere Francesco Maria Broglia, ancestor of the French fami lyof Broglie. The high- altar- piece is by Morszzone.

TheVIA Rona leads from the Piazza 8. Carlo to the N. to the

Piaz za Castello (p . and to the S., passing the Galleria Nasibnale(Pi. 21 ; E, bui lt by Cami lle 1110010 in 1889 , to the Piazza Carlo

Felice (p . 35) and the railway- station ; to the E . theVia MariaVit

toria, wi th the Pal. della Cisterna (P1. 46 , F 3 ; at the corner of theV ia Carlo Alberto), the residence of the Duke of Aosta, leads to

the Piazza Carlo Emanuele Secondo (see below). In the Via dell’

6 ; F, and adjoining it is a Museoopen on week-days 10- 12 and 2- 4 ,

on Sun. and holidays -4, grati s). Fartheron is the large Ospo

dale di San Giovann i Batt ista Pl. 38 ; F,The Asuou Baum tPl. F, 8, behind the has i tal , is adorned wi th

a m onument to D an'els Mania (d. 1857 ; com p. p . b Vela, and wi th

statues o f (‘

et ore Balbo (d. the m ini ster and his to rlan, It)

!Vela , and

Of the Pi edmon'esc general Baoa , by AlbertOni . TO the .E . are the

g rounds of the Piazza Cavour (Pl. G , with a bus t o f the Sardi nian

s tatesman , the Moreno“ Pea di Vi llamarina ,by Tabacchi . Farther on ,

in the direction of the Plum Maria Teresa (Pl. 0 , is a m onum ent, byBu tti , t o Gen . Gug lielmo Peps (4 . the gallant ofender o f Veni ce in

1849 . A few.paces to the S .,

in the Vi a Manc ini stands the domed

church of San aaahno (Pl . 15 ; F, O , built in by 0. Sada . The

facade is adorned wi h figures of the E vangelists , and the interior co n

tains ood m odern trcscoe< and some sta tues b Alber'onhT e Pia i aa Bodoni (Pl F, to the S . o f the AJuOla Balbo , is

adorned wi th an eques rian statue, in bronze, by Sperati (1691) of Gao rralAlfonso La Marmara (a whose re utation , m ade in (he brimca and

the war of ”59 . was somewhat dimm e by his less successful appearancein the war of

In the centre of the Piazza CARLO EnABUBLRSo s nO (Pi .F,

commonly called the ‘Piazsa Carlina’

,ri ses the impos ing

‘Monument

of flavour (P1. 48 ft . high , by Gino . B opri , erected in 1873 .

Gra teful flely presents the civic crown to the creator of Italian uni ty,who bolds a scroll in his left handwi th the famouawarda‘libera chiesa

34 Route 7 . m m. La Oom olauz.

d. 1866 ; by Di ui) , Duke of Genoa and brother of Victor Emmanuel were erected in 1858 ; that of King Charles Albert

by Cauda, in the colonnade to the left , was erected in

of King Victor Emmanuel II. (6 . by Vela, to the

right , in 1880. Opposite these statues are memorial tablets refer

ring to the events of their reigns.TheViaMilano leads hence to theN. to the church of S . Domen

ico (14 th cent ; containing a Madonna and St. Domini c by Guer

oino) , and the Via Corte d’Appello to the W. to Pi azza Savors

(P1. D ,in whi ch ri ses an obelisk 0 1. 75 ft. in height ,

commemorating the aboli tion of ecclesiastical jurisdict ion by themini ster Siccardi in 1860. -The Via della Consolata leads henceto the church of

La Consolata (P1. 11 ; D , formed by the union of threechurches

, now a building in the baroque style, erected by Guarim‘

in 1679,anddecorated by Juvara in 1714 . The chapel to the left

below the dome contains kneeling statues in marble of Maria

Theresa, Queen of Charles Albert , andMaria Adelaide, Queen of

Victor Emmanuel (both of whom died in by Vela , erected

in 1861. The church contains a highly reveredMadonna. The

passage to the right is hung wi th voti ve pictures. The campanile

belonged to the convent of 8. Andrea (9 th century). The column

of the Madonna in the adjoining piazza, erected in 1836 , commem

orates the cessation of the cholera.

A little to the N.E .,and intersectedby theCorsoReginaMarghe

ri ta , lies the Pi a zza mu s eum Pram aro (Pl. D,E,i), adjoined

on the S . by the Pi azza Milano, andon the N . by thePiazza dei Mo

lini . To the N. of the latterruns theVIA u .Pom s Moses,wi th the

station of the Girls-Lam e railway (p. 39) on the left,and on the

right the new church of S . Gioachino , a basilica in the Lombard

style, wi th a campani le 150 ft. high , erected in 1876 - 82 by Count

Ceppi . The street then crosses theDora B iporia by the Panic

Mecca , a handsome bridge of one arch, constructed in 1880, and

namedafter its builder. Fine vi ew of the Superga andof the GraianAlps overtopped by the Gran Paradiso .

From the Piazza Costello the Via Garibaldi leads t0‘

the Pi azzant Genia Tunnel

a pi le of grani te rocks , on which lie the stupeiled and conqueredts

‘

of themountain. On a tablet are the names of the engineers ,ommciucr

,Gratton i

,and Gmndis.

From'

the Via Garibaldi we proceed to the 8 . by the Corso Si c

D, 2 , where statues

opp osi te ,in 1873

,to the jurist G. B . Cassinia . Farther on

,at

the cor ner of the Via della Cernai a in front oi the termer ci tadel ,

Arsenal. ream. 7 . Route. 35

is a monument by Gina. Bogliani (1834) in memory of Pietro M icca(Pl. 30h ; D ,

the heroic ‘soldato minatore’, who at the sacrifice

of his own li fe saved the citadel of Turin, on 30th Aug.

,1706

, byspringing a mine when the French grenadi ers hadalready advanced

to the very gates. Nearly Opposite is a column bearing a bust of

Al . B orella ,the author

,and in the Via della Cernaia rises the

statue of General Alex. La Marmara (d. 1855 in the Crimea), byGius. Cassano A marble tablet above the gateway of the

ci tadel commemorates the Italian soldiers who fell in Africa in

January, 1887 .

In the Pn zza Sonm nm o,to the E . of the citadel , rises an

equestri an statue of Duke Ferdinand of Genoa (PI. 29 , D E 3 ;comp . pp . 33

,commanding general at the bat tle of Novara, by

Balzi co and the gardens of the piazza contain monuments

of General Gerbaix dc Sonnaz , by Dini , and the historian GiuseppeLa Farina

, by Auteri-Pomar.

To the of the Piazza Solferino, in the V ia dell’

Arsenale,stands the Arsenal (Pl. 5 ; E ,

founded in 1659 and containingthe Museo Naz ionale d

’

Artiglierta (adm . dai ly , except a col

lect ion of ordnance of every description from the i 4 th cent . to the

present day. In the Via S . Secondo,the continuation ,

to the S . ,

of the Via dell’

Arsenale,rises the church of San Secondo

,completed

in 1882 in the Lombard style, wi th a campani le 170 ft. hi gh.

In front of the imposing Central S tation (p . 25 ; Pl . E ,4,5)

extends the Pu zza CARLO FELICE , wi th i ts tasteful gardens,adorned wi th a bronze statue of Massimo d

’

Azeglio , patriot , poet ,and painter (d. by Balzico erected in 1873 . Thi s piazzais adj oined by two smaller ones : the Piazza Paleocapa to the W .

,

wi th the statue of the minister of that name (PI. and thePiazza

Lagrange ,on the E . , wi th the statue of L. Lagrange, the mathe

matician (d. 1813 at Paris ; P1.

The broadConso Vrr'r.EMANUELE II. leads to theW. to thePiazza

Vi ttori o EmanueleSecondo (Pl. D ,wi th the monument of the king

(P1. 37 ; unfinished). To the E . the Corso leads t o the Waldensian

Church (Temp io Va ldese; PI. 18, F 4 ; see p. the first Protestant

church bui lt at Turin after the establishment of religious tolerati on

in 1848. A few paces farther on,also to the right , ri ses the church

of San Giovann i Evangelism,built by Count Mella in 1882 in the

Romanesque style. Giardino Pubblico , see p . 37.

A li ttle to the S.W of the Waldensian church, at the corner of the

V ia 8 . Anselmo and the V ia. P ie Quinta , is the Synagogue (Pl. 19 ; F ,4,

in the Moorish style In the Piazza raluzzo , to the S .W .,is the

church of Santi Pietro e Paolo , wi th a Byzantine fagade

In theVIA DIPo (p . which leads to the S .E . from thePiazza

Castello on the left i s the Universi ty (Pl. F erected.Xe

1713 from designs by the Genoese Ricca,wi th a handsem e“he

3 ‘

36 Route 7 . TURIN.

Renaissance court . It contains a Nurse Lapidario of Roman anti

qui tica, chiefly inscript ions . Marble statues have been erected hereto Carlo Emanuele III., and to Vittorio Amadee II. (at the en

trance) , both by the brothers Collini ; to Prof. Riberi (d.

by AlbertOui to Dr. L . Gallo (d. by Vela ; to Prof. Timermans (a. by Tabacchi ; and to Peaca tore, the jurist, by Dini .On the corridor of the first floor are busts of celebrated professors

and a large allegori cal group presented by VictorEmmanuel I. The

vols. and contains valuable Aldine editions and manuscripts from

Bobbie. The Universi ty (founded in 1404) has at present 200era and 2600 students .

No. 6,to the right in the Via dell’ Accademia Albertina, is the

Aca demia Albertina di BelleArti (Pl. 1, F 3 ; shown on weekdays 10-4 ; gratui ty 60 foundedi n 1662 , and transferred hi therm i 33 . It contains a small collection of pictures , many beingcepies. Am0ng the best are : 126 . Quinten Malays Head of

Christ ; 140, 141. h e Filippo L ipp i , Four saints (wings of altar

piece) ; 218. Giovenene, Adorati on of the Child. Also numerous‘ Cartoons by Gandenaie Ferrari and Lanln i, and a cartoon of Leo

nardo’

s Madonna wi th St . Anna by an arti st of theLombardSchool

(copy of the pi cture in the Louvre).The ViaMontebelle, the next cross- street , leads to the so- called

Mole Antonelli ana (P1. 22 , G 2 ; adm. 60 begun in 1863 as a

synago s by Antone!“ (d. 1888) and completed by the ci ty in

1878—8890

as a Marco del Risoryimento Italiano , in memory of Victor

Emmanuel II. It i s a square bui lding (44 yds. each way) resemblinga tower

,wi th a singular facade formed of several rows of columns ;

i ts height to the head of the gi lded statue 13 ft. high) at the topi s 638 ft. (Washington Obelisk 666 The dome i s striking fromits bold disregard of the ordinary techni cal rules of construct ion .

The ball beneath the dome i s 84 ft. square and upwards of 300 ft .high , and contains three galleries one above the other.

In the Via di Gaudenzio Ferrari , No. 1 , is the Mu se Civiee

(PI. 62 ; F, containing the civic collections (grati s on Sun .,

Thurs.,and holidays, 12- 3 ; on other days , 94 ,

fee 60Gaouan Fac es . Early sculptures , early medie val relief of the li a~

donna,coffin of the poet Vaguons (d. 1499) wi th reliefs of Orpheus and

Perseus , terracottas,wood-carvings oi the l6th cent ., a model of the Busi n

toro (p. Freer Freon. Modern pa inti and soul tures. Marblestatues of Eve by Fantaeehteui and Dante by Va 0 . The r iat ic tendencyof modern i talian art is well i llustrated in the death-agon ies d icted inthe C rucifixi on o f Eulalia b m rehi and the ‘c m e do 0 ude

‘

b

Ilen e. Good water coloura gy Basso“, i llustrating the events 0! 1869 -8S tatuette by Balz ico, the

‘Plebiacite in Naples‘

. In the last room are a

few old pa inti ngs by Bart. Vicarifl m, Begiardiat, Heather“, and Waters,and a marble bust of Sappho by Gam a . Bacoxn Faces . Rooms 124 4 :S culp tures la wood, tapestry , bronze and i ron work . Ream 16 : Modern

38 Route 7. TUBIN.

the Pan theon at Rome,to commemorate the return of King Vi ctor

Emmanuel I. in 1814 . The groups flanking the steps represent Fai thandChari ty . The lofty columns of theportico are monoli ths of grani te. In front of the church ri ses aMonument ofVictorEmmanuel I.

(d. by Gaggini . A few hundred yards farther on is theVilla della Regina , new a school for the daughters of officers whohave fallen in battle.

The Cemetery (Campe Santa) , 1‘/g M. to the NE . of Turin, on

the Chivasso read (open 104 in winter in fine wea ther ; in March ,April, Sept , andOct . 9 - 6 ; in summer8- 12 and 2 is reached fromthe Ponte delle Benne by a shady avenue (steam- tramway from the

Piazza EmanueleFiliberto , see p. The front part of the cemeteryis enclosed by a wall with arches

, while the more interesting portionbeyond i s surrounded by arcades covered with domes. In the front

section , to the left by thewall, i s the tomb of Silvie Pellieo (d.

in the other section we observe the names of D'

Ascglio, Bane, Brofferio, Gioberti, Pepe, Plnclli, and other eminent Italians.

The ‘ Superga , or Seperga (2206 ft . comp . Map, p . 26 ;way from thePiazza Castelle to the vi llage of Sassi in

l/ghL ; thenceto the top by cable- tram in 20 min. ; no change of carriages in the

case of trenddirett i ; fares 2 fr. 60, 1 fr. 86 is well worthy of a

visi t . The Superga , the royal burial- church , a handsome edifice

wi th a port ico , and crowned with a dome,is conspicuously si tuated

on a hi ll to the E. of Turin. The church , a votive offering dedi cated

by V ictor Amadeus the first king of Sardinia, on the occasion of

the raisi ng of the siege of Turin in 1706 (p. was erected in

1717- 31 from designs by Jueara , and consecrated in 1749 . The in

terier (closed 12-2) contains a room hung with indifferent portrai tsof all the popes. At the entrance to the burial- vault is the Archangel Michael contending with the Devil, a marble group by Carlo

Finelli Splendid‘ View of theAlps, especially from thedome,

the ascent of which is recommended. Ristorantedella M edan,

dej . 3, D. wi th wine 4 fr.,well spoken of (also bedrooms).

To the S. of Turin ,on the line to Genoa (R. 11a), lies l oncalieri

(steam ~ tramway from the Piazza Castello) , a pleasant lit tle town of

inbah., p icturesquely si tuated on a chain of bi lls , and commandln a superb view. On a height above the v il l e i s the royal Chance

(1 ih cent .) in whi ch Victor Emmanuel I. died in 1 4 . The picture-

galleryi n the W . w ing contains a series o f large paintings illustratin the histo ryof the House o f Savoy . The las t o f the series ,

‘Delivery of e Plebisciteof Tuscan by Baron Ricaso li in is in teres ting from i ts num ero us

portrai ts fee ‘Ir i A horse-tramway runs to the chi tose from theterm inus o f the steam tramway .

Abou t 6 M. to the S.W . of Turin (steam -trv mway , see p . 26) lice Stua id , a l e ro yal hunting-chi teau, erected from des igns by Juvsra in

of lee Emmanuel Il l., wi th a beauti ful and extensi ve parkdel Cartel Vecchto, at the back 01 the shi te“ ,

modm h hA nother steam -tramway connec ts Turin w\\hwwi th can numb. and severa l fine churches, eunuch on the W

CERESOLE sears . 8. Route. 39

N i ce. San Giovanni B altista was erected by Count Alfieri ; Sanla - h{art'

a

delle Gracie contains a.monument to Bianca Pale ologus, daughter of Guglielm o IV ., Marqui s of Montferrat, and w i fe of Duke Charles I. , at whose

court the‘Chevalier Bayard

‘

was hmught up. Carignano , w i th the ti tle

of a principali ty , was gi ven as an appanage to Thomas Francis (d.

fourth son of Charles Emmanuel I., from whom the present royal fam i lyi s descended. Steam-tramway to Om agnola , see p. 47.

8. The Alpine Valleys to theWest of Turin.

a . FROM TUB IN TO Cens som Ream . To (28M.) Cuorgne, railway in 2 hrs . (fares 3,

fr. 40 ,2 fr. 16 The trains start at the

Stazione di Porta Susa (p. The most important intermediate

stat ions are (22 M .) Rivarolo (Canavcsc) and (26 M .) Valperga , the

latter commanded by the hr.) S antuario di Belmonte (2380ft. ;vi ew), foundedby KingArdo in , Margrave of Ivrea, in 1010, restored

in 1300, andnow occupiedby Observanti st monks. From Cuorgne

(1350 ft. Alb . della Corona Grossa ; Cafe-Restaurant de Paris ;omn . to Locana 11/2 fr. ,one- horse can .to Noasca16 , two-horse 27 ft . ;carr. from the Grand H6tel at Ceresole Reale meet the morningtrain) a road ascends to theW . through the valley of the Orco (Val

Locana) v1a M.)Ponte Canavesc (144 3 ft. ; Alb. del Valentino),a p icturesque little town at the mouth of the Val Soana , Locana

(2026 fi .g Corona Grossa ; Tre Pem ici ; Cervo), and Percbecche to

(20 M.) Noasca (3480 ft . ;ran) . Beale, R L. ,

a A. dej .D. In the neighbourhood is the pretty waterfall of theNoaachelta . A bridle- path (mule 6 fr.) leads from Noasca through thewild gorge of the Orco (the

‘Scalari di Ceresolc

’

) to (2 hrs .)CeresoleBeale (4905 ft . ; GrandHatel, R. , L . , A. from

B . dej . 3 , D . 4 , pens . 12 ir. ; Antico S tabilimento ; Alb. Le

vanna ; Alb. della Gallala ; Bellagarda ,well spoken of), a v illage

with 300 inbah.,situated in a wide valley at the N.E . base of the

four-

peakedLevanna and frequented as a summer

resort for its ohalybeate spring.

Excursions (guide 6-6 fr. per day , mule and dri ver 10 fr ). V ia Grosso

and through fine fir-woods to the (1 hr.) Alp i Om si onay (6706 the (1hr.)Alp i List, and the (26 m in .) Laghells

‘

della Bellagarda (7340 on the NE .

slopes of the Monte Bellagarda (9642 V ia Frera to the hrs.) Lagodi Dres affo rding a fine v iew of the Levannetta

From the hr.) Parrocchia (p . 51) to the hrs.) Alps’

dt‘

Nel and the

Lago dt Nel (7800 at the foo t of the vast Ne] Glacier. Over the Col

do N icolet to Val Sacaranchc (wi th ascent of the Gran Paradiso) and Vi lleneuve (Aosta), see p . 68 ; to Cogne, see p . 67.

b . FROM TUB IN TO LAN ZO,20M .,

railway in hr. (fares 3 fr.36 ,

2 fr. 26 , 1 fr. 60 starting from the Via al Ponte Mosca

(Pl. E , 1 ; p . M. Venaria Beale, with ruins of a royal

hunting- chateau destroyed by the French Republicans, at the influxof the Ceronda into the S tem . The train crosses hath streams and

seconds the valley of the latter. 8M. Caselle ; 13 M . Ciri‘

c, wi fe. a.

Gothi c church of the i 3th century. 20M, 1.3 a 1 0111165 0 Q‘

T lhik x

40 Route 8. PINEROLO.

Pas ta ; Eur-om ; Rail. Restaurant), prettily situated on a hill

,wi th

s ruined castle,and surroundedwi th vi llas.

Lanao i s the best starting -point for excursi ons in the three Vam rs

or m Urm 81 m . The southernmost of these is the Valle dt we,through which a road leads to the vi llage of me (2476 —In the m iddle isthe Va lle d‘Ala , whi ch di ver

ges from the N. or chief valle at Cares (3 10 ft.)

and contains the vi llages 0 A M at Sim-o (8645 ft. an Baku (4786Between the two v illages is the li ne waterfall o f Gov-gin da

'

l londm s .

Throu h the northernmost, or Vat Grands , a road ascends v i i m elamberto ft.) and arom atic (3616 ft .) to I’m Alpt Grate at

the base of fl oa ts Levanna An interes ti ng excurs on m ay also

be made to the valley of the Tw o,and to the lofti ly si tuated Bantam-to

df Ba st‘ [mum

'

s (3090 ft. ; 1‘Is The Poets del Roe which crosses the

Stern near Lanso wi th an arch o f 120 ft. in w idth, washunt inms. Bee0 . Batti

'

s‘Da Tortao a Laura 4 per ts Valli della SM G

'

(Casanova, Turin).

e Mt .

shortbranch- line (Al/2 M . Buss.

(1626 ft. ; Sole, well spoken of), a small and ancient town, theRo

man Sammie, picturesquely si tuated on the right bank of the Dora.A garden on theW. side of the town contains a Triumphal Arch ,44 ft. in height, 39 ft. in width, and 23 ft. in depth, wi th projectingCoriuthi an columns at the corners andsacrificial scenes on the frieze ,erected according to the inscription in A.D. 8 to Augustus . Thereare also a few other Roman reli cs. The church of San Gtusto dates

from the 11th century. On the opposite bank of the Dora rises the

m ined castle La Brunette.

d. Fnox Tum ro Tom Pu mas ,M., railway in 2

(fares 6 tr 3 fr. 76 , 2 fr.M a l—The train diverges from the

line (p . 46) at Sangone and turns to the S.W. M. Airm en,

whence a branch runs to Saluzzo M., passing Moretts , p.24 M. Pinerolo, Fr.Pigm ol (l8i 2 ft. ; Campana ; Cannon d

‘

Oro),a town wi th inbah.,

an old cathedral,and a monument to

Gen. Brlgnone by Tabscchl.A steam - tramway runs hence to 0mm and Ba ton s (see p.

Cavour lies at the foo t of the Becca , an isolated grani te cone risingabove the

gain, the once fort ified too of which commands a fine v iew o f

the Alps. m m the i 7th cent. onwards i t was the seat of the now ex

t inct counts of Cavour. Another steam - tramway runs from Pinerolo to

M en, in the Val Chisone, and thence to Pen -m and i m m ne.

29 l/gM. Brlchem sio (branch- line to Barge, see 33 M.Lu

sem a . 34WM. Torre Pellice, Fr. La Tour (1 20 ft .; Ours, wellspoken of L ion d

’

Or; Pens. Bel-Air

,Pa ts. guises, both well spoken

8. a town of 2800 inhab. and the capital of theWalden

sian Valleys.The Wannansu u VALLl i

'

O ( Values Vaudo‘ses) , adjoining the Frenchfrontier, were the home of thosewell

-known Protestant communi ties (aboutsouls)who were formerly so cruelly persecuted andwho have resided

here for upwards of si x centuries . The language of the valley s ls l-rench.

After Torre Pellice the chief settlements are Laserna (see abo ve), Hunt ,andW e Pam“ (all three in the valley of the Pelliee) ; Aw e , in theba ri um] val ley of tires ame name to theh . of Torre Petites 8m Gam e,In the Va l seam s , and Ferraro (see above) , in the v et u nm et.

4 2 Route 9 . CUNEO. From Turin

hab., si tuatedon a hi ll on the left bank of the S lum , seat of a bishop ,has an academy andmineral baths (branch- line to Mondovl, p.44 M. Maddalena. 47 M. Cm tallo , a picturesque place wi th remains of medie val fortifications. 60M. San Benigno di Ounce.

66 M . Ounce, or Cont (1722 fi. g‘ Alb. Superga, unpretending ;

Barre di Ferro , well spoken of; Stella d’

Oro), the capi tal of a pro~Vince, wi th inbah. , lies on a v iew- commandi ng hi ll at theconfluence of the Star-a and the Gesso . After the battle of Marengo

the fortifications were converted into shady promenades , whichafiord splendid vi ews of the Maritime Alps , of Mte . V iso (p . 4 1 ;

and the Besimanda (p. 46 ; In the Pi az za Vi tt. Ema

nuele a monument to Giuseppe Barbaroux ,by Dini , was erected in

1879 . The Franciscan Church is in the Gothic style (i 3thPleasant walk to the Madonna degli Angeli , at the confluence of the

streams .

From Cuneo to the Cenase ddVa l Pesto and to Norm al, see pp . u, to

Saleem ,see p . 41 . Grun t Tns nwar from Cuneo , vi i Garcons , to Dram ” ,

si tuated to the N W . in theMain valley ; and also to Em e Sa s Deb at es

(see below).

The rai lway to Limone at first traverses a plain covered wi thgroves of chestnuts. 60 M. Bones.

63 M . Barge Ban Dalmasso (Tre cam , Delfino), a small townwith 2600 inhab.

,i s overlooked by the church ofMadonna del Mon

serrata (view).From Borgo S. Dalmaszo a delightful excursion may be m ade to the

Urn s Veneer or run B ass o (dili gence daily in summer as far as the

Bagni di Valdieri The ro ad ascends along the left bank o f the Geseo

to tB M.) Va ld (2486 ft. ; Corona Green a vi llage wi th non inhab .,

whi ch is the starting-po int for an ascen t o the Monte P4 97 mane.) an

excellent poin t of v iew . Beyond Valdieri a road leads to the left to9 6 M.) Beta

-aqua (2968 ft . ;

‘ Aaaslo, unpretending ; W e). a village o f7m inhab ., finely si tuated in a lateral valley . From this poi nt exm i ons

(guides obtainab

le)may be made to the Bonn et Valley through which a

road ascends to M .) a waterfall 1280 ft . high ; to hrs .) the Lake ofRosina (6 117 ft.) and on , past a picturesque waterfall . to the (l ‘ls hrsJmoun tain-lake of Brown (6678 ft . ; chalet of the l . A. 0. wi th rfmts . in

summer), with a magnificent env ironment, a good s rtlng-point forascent of the h am deu’ Argentcra (4 hrs . ; see below) and other moun ’

aintours to the top of the Bee d

‘

Orsl (81th i t. i‘View) ; and to (ii M.) the

w yuhunfing- lodge ofS an Giacomo (good road through heech~woods). From

8. G iacomo bridle-paths lead to the glacier~filled head o f the valley at the

N ora's Chap ter, and across the Calls delle Finest“ to (8 hrs.) St. Hw fin»V‘subie (see Baedet er

'

s South-Eastern Francs). The main road continuesto ascend the Green v

~ lley . About 8 M . above Valdieri , in a sequesteredup land va

‘

ley lie the Bagni di Valdieri al so i t.) wi th ei ght warm sulphur

sm%(100 and a well-equipped hotel (season ,

June 25m to

Sept . th ; pens . a to The s lendid a tuation attracts many other guestsbeside the pati ents. To the E . 1 es a fine beech-forest. To the W . a casant

excursion may he made i n to the Vallasco Valley , wi th i ts royal sho nv -box.

The chief mountain-ascent is that o f the ‘ M ta ear swee ter-a (10 383 11 ;6 hrs recommended to experts onl t guide 12 the hlchrst o f the Maritime Alps . the splendid panorama rom whi ch includes the plain of the Poand thewuss Alps on the N .E .

, the Alps of Dauphiny on the W ., the

coas t of vence on the R.W .,from the lower valley of the Var to the

15 10 1100 0! Hyen a, and Cors ica on the S . The ascent M “m‘ MM ”and(MAM A) Ia fati guing though not di fficul t (6 1mm.was \0 EA.

to Ventim iglia . COL DI TENDA. 9 . Route. 4 3

Ano ther road connects Borgo S. Dalmazzo wi th the UPPER VALLEY or

run Srnna ,a tributary of the Tanaro (di ligence to Bagni di V inadio in

summ er). The capital of thi s fair valley , known to the Romans as theValue Ans-ea on account of i ts fertili t i s (10V: M .) Demonte (2660 ft. ; Alb .

Gari baldi), an industrial place wi th 00 inbah.,

pleasantly situated in an

Open part of the valley . Above Demonte the va ley contracts . The next

v i llages are (17 M.) Vinads’

o (3020 ft. ; Alb. d'

Ital ia), picturesquely si tuated

and enc ircled by strong fo rtifications, Sambuco and Argentera (Fr. Argenam w i th the Itali an custom-house. [For the route over the Col de

La w or 001 de l’Argents

‘

ere to Larche and Barcelonnette , in France, see

Baedeker‘

s South-Eastern France ] A road to the left, halfway between

V inadi o and Sambuco , leads to the high-ly ing Bagni di Vinadio (4363

s i tuated in a lateral valley , 7 M.

'

to the S .W . of V inadio, and possessinga ho tel (pens .

-9 fr.) and eight hot sulphur-springs t8

'i -144° sim

i ler to those of Valdieri (p . A pleasant excursion may be madehence to the (1 hr.) ham let of Callieri , wi th i ts old woods of beech and

pine and a fine waterfall. Adm irable v iews are had from the Beccad

‘

Ischs‘

a tor (9860 ft. ; 6 reached by passi ng the lakes of the same

nam e,and from the Monte Tim

'

bras (9960 but the ascent in each case

is fati gu ing (guide 12

M. Roccavione. The train enters the valley of the Verme

nagna , enclosed now by wooded hei ghts, now by precip itous lime

stone clifis. Numerous tunnels. 66 M.Robilante ; 70M. Vernante.

We pass through a long loop tunnel and across a lofty v iaduct .

Fine but fleeting retrospect (r.) of Mte. Viso.

76 M. Limone (3286 ft . Pasta ,Europa , plain), the present

term inus of the rai lway , lies in an open stretch of the valley , at the

N. base of the Col di Tenda. Post- Omnibus to Ventimi glia, see

p. 4 1 (to Nice, see p. Ascent of the Besimauda,see p. 46 .

The old road over the fortified heights of the Col di Tenda, ordi Com io (6263 where the Maritime Alps (W .) terminate and

the Li gurian Alps (E .) begin , i s now closed to ordinary traffic. The

new road,constructed in 1883 , penetrates the Tenda by means of

a tunnel,about M. long, which first gradually ascends and then

descends (N. entrance 4330ft . , S . entrance 4 196 From the

central point both ends are v isible. The road then descends throughthe valley of the Roja , whi ch reaches the sea at Ventim iglia, to the

9 M .) foundries of Vievota, where the main tunnel of the railway ,M . long, i s to emerge. Farther on we pass through a ravine, en

closed by curious sandstone rocks , and reach

11 M . (from Limonc) Tenda (2676 ft. ; Alb. Nat ionals , Lanna,Oroce B ianca ,

Cannon d’Oro , all plain), a pi cturesque li ttle town

with 2000 inhab.,overhung by precipi tous walls of rock. Fragments

of the castlewhere Beatrice di Tenda was born (comp. p . 134) standon a rock here.

Excursions (guides) m ay be m ade from Tenda through the Um o Woodto (4 hrs .) the t0p of the Monte (

”

iagore (7626 which comm ands a v i ew

extending to the sea ; to the N .E . . through the p i cturesque valley of the

Rio Freddo and over the (4 hrs .) Cone dei S i gnori (refuge-hut), to the topof the Ctma dt H arauarets (8690 the highest summ i t oi the Urgen t .“

Alps

We now descend through a narrow rocky v alley to14 M 38 11Dalmazzo di Tenda (2260 ft .; It alian cust om -h ens%\s

4 4 Route 9 . 8. MARIA MADDALENA.

situated amid luxuriant groves of chestnut , wi th several villas and

an oldGarthusian abbey, fitted up as a hotel and hydropath ic (spanfrom midi-April to the end of Oct . , pens. 8 ft . ; Eugl . Ch. servi ce).Some interesti ng caves have recently been di scovered in thevicinity.

About 2 M. to the E . of 8. Dalmazso lies Brine (2611) ft. ; E htel de laSource, well spoken of), in the valley of the Leeann , wi th an interestingchurch. A li ttle to the 8. i s the p inco fnrest of m e. A bridle-path leadsto the W . to (S hra ) Santa [aria Maddalena (bliO fL ; d accommodati on), in the at tractive Va l di Ca terina. surrounded by arch-woods . Ex

co rsi ons (guides) me be made from this po int past the old si lver andlead m ine o f Val o nce worked by the Saracens , to the wild Valle

del? Inferno , strewn wi th huge blocks o f rock and containi ng 14 small

lakes. and on to (3 hrs .) the ”cranial“ (7218 rocks of slate inscribedwi th rude draw ings of nnknown anti qui ty , to the (6 hrs.) top of the ‘ Hanle

Bras (9426 which comm ands a splendid view of file Alps, N ice, and

the Riv iera (ascent fatigu i ng but no t di fficult) ; and to the three largem ountain-lakes of ‘ Va tmaaca. which lie i n a rocky soli tude ,

o ne abo ve

another , the largest (211: hrs . , to i lsome walk) at a height of at

the foo t of the snow-clad Mte. Ciamc‘

nej as (9666

Near the (17M.)French frontier the valley contracts to the ‘ Goladi Gendarm e

,one of the most imposing gorges of the Alps , so nar

row at places as barely to leave room for river and road batm an

the perpendicular rocks (1200- 1300 At (19 M .) Fan tasia

(Fr. Fontan . 1424 wi th the French custom-hou se,the scenery

assumes a more southern character and the first olives appear.

Farther on Scorpio (Fr. Saorge), on a lofty rocky terrace to the left,with the ruins of a castle destroyed by the French in 1792 , com

mands the road. Adjacent is a large monastery .

At (24 M.) La Giandola (1250 ft . H6tel des Etrangers : Posts),situated in a green valley at the foot of bare cli tIs of slate

,the roads

to Nice and Ventimiglia part company .

The Row 1 0 N i ce (38 M. ; pos t-om n ibus from Limone once dai ly in

18 hrs. leads over the Col dt Bronte (2748 ft .) to 800ml“. Fr Harps! (1176 i i . ;Hotel rrnen. m edi ocre). and then over the Co! at Bram (4930 ft .) to D B:

earene (i tal. Beam s ). Finally we descend along the Patna». Comp.Baedeber

’s Horde-Em a France.

The road to Ventimi glia follows the picturesque valley of the

Roja ,passes the li ttle town of Bn glio or Brett

,with the ruined

castle of Cricella . and regains Italian soi l (custom-house). It thenthreads two tunnels, below the rocky nest of Piena

,built about

1300 ft . above the floor of the valley , and farther on traverses the

villages of (M l/g M.) SanMichele and M .)Airole.

41 M. Ventimiglia , see p . 92 .

10. From Cuneo to Bastia (Turin, Saoona).22V: 31. Bann er in i ll; hr. (fares 4 fr. 10, 2 fr. 86 , 1 fr. 86

Cuneo. see p . 42 . From (6 M.) Beinettc an omnibus runs

fare 1 tr.) in summerto the secularized Oertosa diVal P edo, which lies about tom. to thes .

The Om en di Paste , in the lonely and. romanti c Val Pu ts , wasfo unded in 1173 , and is now a

‘H ydropathi c and ph ase!“Macaw-resort

4 6 Route 11 . ALESSANDRIA. From Turin

Sin/2 M . Anti (Leone d'oro ; Alba

-

go Beale ; Rail. Restaurant) ,the anci ent Asia

,a mediseval- looking town wi th inhab . and

numerous towers , i s famous for i ts sparkling wine (Asti spumante)and i ts horticulture. The left aisle of theGothi c Cathedral

,erected

in 1348,contains (2nd chapel) a Madonna wi th four saints by a

master of the school ofVercelli , and(3rdchapel) a Sposaliz io, probably by the same. The adjacent church of San Giovanni (the sacristan of thecathedral keeps the key) is built overan ancient Christian basilica, part of which has again been rendered accessible, and

has monoli thic columns wi th capi tals bearing Chri stian symbols

cent .) The Piazza i s adornedwi th a statue of the poet Atficri9 - 1803

,a native of Asti), by Vini , and the Giardi no Pubblico

with a monument of Victor Emmanuel II. Near the Ports Ales

sandria is the small octagonal Bapti stery of San Pietro (11thborne by short columns with square capi tals

,and enclosed by a low

polygonal gallery. Asti is the junction of the line vi i AcquiOvsda

Fnon Asri ro Mourn s (M ilan), 48 M., in 231.-SWhrs. (fares 8 fr. 10,6 fr. 90, 8 ir. Stat ions un important ; 29 31. Com ic-Mow see p .60 ;Mortara. see p. 180. Fac ts Asrt ro Casu c s ou : (p. 13 M., in 4 hr.S team Tramway from Asti to German s and to Canals.

Next stations : Annone Cerro Felizsano,Solero . Country fis t

and ferti le. NearAlessandria the line to Bellinzona (B .

to the N. The train crosses the Tanaro by a bridge

skirts the fortifications,and reaches

50‘lg M. Alessandria (310 ft . ; Ra il. Restaurant ; a tropa, fair ;GrandMogol et des Etranpers, well spoken of ; Londra), a town wi th

inhab.,situat ed on the Tundra in a marshy district , and re

markable only as a fort ified place. It was founded in 1168 by theLombard towns allied against the Emp. Frederick Barbsrosss , andnamedafterPopeAlexanderll] . A bronzestatue

, byMonteverde, was

erected here in 1883 to the statesman Urbano Rattan ! (1810a nati ve of the town .

—Alessandria being a junction of several lines ,carriages are generally changedhere. Railway to Vercelli v ii Valenza ,p. 60 ; to Novara andBelli nzona, pp. 160

,109 ;

‘

toMi lan viaMortars.

andVigevano, see p . 100 ; to Pavia viaValenza , see p . 178 ; toPiacenza, Perms , Bologna, etc., see RR. 44 and 45 ; to B ra, see p . 48 .

Bren t m s rs from Alessandria vi i Marengo to Sale and Tot-tons

,to

Oar

xuioq

ra to (p. to W M (p . and to Montanagno (p . 6 1) vi iA

Fnou Aau u snau ro Savor“ (vi i Acqu i), 06 1 , in hrs . (fa res11 fr. so, 8 fr. 80, 6 fr. 85 As far as Ca nto lupo the line is the sam e

as to Bra (see p. 21 ll . Ac also a s tati on on the railway fromAnt i to Ovada andGenoa (see p . The line ascends the valley of theBormida, passi ng through ten tunnels. S tations of li ttle in tance. 11.Ban Giuseppe dt Cairo , see p . 48. 86 M. Banana, see p .

The line crosses the Bom ida (p. About M. to theE. of

the bridge, in the plain between the Borm ida and the Scrio ia, lies

the village a! Marenpo, near wh ich , on i 4th Jo ne, 1800, Napoleon

to Genoa . CARMAGNOLA. 1 1 . Route. 4 7

defeated the Austrians in a battle momentous for the destinies of

Europe. 62 M . Frugarolo .

70M. Ravi (Hdt.Noni), a town with inbah.,commanded

to the right by hills wi th a belvedere- tower, was the scene of a

v ictory gained by the Austrians andRussians under Suvorov over

the French on 15th Aug ,1799 . Branch- line to Pavia and Milan

vi ii Tortona and Voghera, see R. 30. Steam - tramway to Ovada,

see p . 4 9 .

At (74 M .) Serraoalle- Scrio ia the train enters a mountainous

region. 77 M. Arquata- Scrio ia, with a ruined castle. Between this

andGenoa there are twenty- four tunnels. The train threads its waythrough rocky ravines (la Bocchctta) and over lofty embankments

,

crossing the Scrio ia several t imes. Scenery imposing. M. Isola

del Can tonc ; on the hill to the right a ruined castle. 86 M.Ronco

is the junct ion of the old line to Genoa v1a Pontedecimo.

The train enters the Rom a Tunnel,upwards of 5 M . in length,

and then descends through the narrowPolcevera Valley wi th the helpof numerous viaducts and cuttings . Opposi te we see the old line

ViaB usalla. 9 1M. Mignanego M . San Ouirico. The valleynow expands ; itswell

-cultivated slopes are dottedwi th the summer

vi llas of the Genoese.

101 M. Samp iérdaréna (p . where through- travellers to orfrom San Remo andVentimiglia change carriages (Rail.Restaurant,dej . wi th wine On the right are the lighthouseandci tadel,belowwhich the train passes by a tunnel.

103 M. Genoa, see p . 64 .

b . Via.Bra and Savona.

Pnou Team TO Savona , 91 M . ,in -5V2 hrs. (fares 16 fr. 65, 11 fr. 65 ,

7 fr. 50 c . ; express 18 fr. 30, 12 fr. 80 thence to Genoa , 27 M . ,in

i l/z-2 hrs . (fares 4 fr. 90, 3 fr. 45, 2 fr. 20 c . ; express 5 fr. 46, 4.fr. 75

Finest v iews to the right .

From Turin to Trofarello , 8 M .,see p . 4 5. M . Villa

stellone.

18M . Cnrmagnola, wi th 2900 inbah.,was the birthplace (1390)

of the famous Condottiere Francesco Bussonc, son of a swineherd,

usually called Count of Carmagnola ,who reconquered a great part

of Lombardy for Duke Filippo Maria Viscont i , and afterwards he

came Generali ssimo of theRepublic of Venice. At length hi s fideli ty was suspected by the Council of Ten ,

andhe was beheaded inthePiazzet ta (p . 258) on 5thMay , 1432 . Bussone

’

s fate i s the sub

jcet of a tragedy by Manzoni. The ‘Carmagnole’

,the celebrated

republican dance and song of the French Revolution,was named

after thi s town ,the home of most of the street- musici ans of Paris.

S team - tramway to Carignano (p . 38) and Turin. To Cuneo

{Ventim iglia), see pp . 4 1, 42.The line continues towards the S .E . 24 M . Sommuri'cu del.

Boa -o ; 26'

M . San/rel ; 29 M . B andi to.

48 Route 11. From Turin

31 M. Bra wi th a busy trade in wine, cattle,

truffles,and silk. Branch to Cavaliermaggiore, see p. 4 1.

Fnox Baa ro An n /rituals. 63 ra i lway in 8 hrs. (fares 9 fr.66, 6 fr. 76 , e tr. all: M. Santa Vittoria ; pleasant excursion thence

to the royal chi teau of Panam a, w i th the remains of the Roman town of

h i im tia . i l l/g ll . Alba.wi th inbah.; the ca thedral of San Lorenzo

da tes from the l5th century . 190: ll . Castagnole'Lw e: branch- line to

Ad i (p . We nex t traverse a ferti lewine-country . M. Santa S tefanoBethe, on the Bell», the valley of whi ch the train traverses (or m e

di stance. 84 M. N in a I on/errata , also on the Asti - Ovada -Genoe line

(p. m). 53 I . Alesm aria, see p.

36 M. Chcrasco , at the confluence of the Tunas-o and 8m m, i s

not seen from the line,which ascends the former. Stations : Nan ak ,

Manchicro-Dog tiani , Far-iguana, Carrit . 53 M. Bastia Handout,

the juncti on of the li ne to Cuneo (p .

M . Nicua ,’ 60M. Casteuina Tanara.

— 62 ‘/g M. Own,an

the Tanaro.

Fl oat Cava t o Oahu , 22V: M.,railway in i lk- l l 2 hr. (l fr. 10.2 fr.

1 fr. 815 The train ascends the valley of the anaro. Intermediatestati ons unimportant. 15V: M. Guru s/to (1670 ft. ; Leon d

‘Oro ~ Rosa Roasa).

wi th 1000 inbah. and marble quarries, is connected w i th M.) Ail

in

g(a

. 86)aa road cross in the pass o f Ban Bernardo (8166

ea ft. ; Grand Old , w i th h athic ; AM O Nat ionals) , an

anci ent and p icturesque li ttle town , v i m arble quarri es. i t is (re

qnented as a summer s-wart ; and pleasant excursions may be made to

the imposing stalacti te cavern o f Nova (discovered in 1886) to the ro ckv

gorges of the Negroes, to the Km »d’Om ea (8126 ft . ; Sl/a and vi i

Worm s 1: hrs . two inns ; guides) to the top of the Ma rvin'

s W it ;not di iflc t). m Ormea a picturesque road (railway proj ected) leadsacross the fort ified Co l di A

’ava (sou ft.) and past the pretti ly si tua ted

vi llage of Prm to (81 ll .) Oncolia (p .

The train passes under the old castle of Ceva by a tunnel and

begins to cross the L igat ion Alps, the most imposing part of the

line. Between thi s andSavona are numerous viaducts and28 tunnels.The train qui ts the Tanaro and ascends. Beyond (66V; M .) Saledelle Longhe is the Galleria dei Beibo, a tunnel upwards of 3 M . in

length , the longest on the line. B9V, M. Saliccta ; 7373 M. Georg ia,in the valley of the Ban nida di Mides ima.

79 M. San Giuseppe di Cairo, on the Bonnida di Sp igno , throughthe valley of which the Acqui rai lway descends (see p.

Interesting journey amid the deep ravines and precipices of the

Apennines . Tunnels and viaducts in rapid succession. 86V; M.

Santuaria di Banana , a pilgrimage-church , founded in 1536 .

9 1 M. Savona, and thence to Genoa, see pp. 84,83 .

c. Vi i .Acqui and Ovada.100M. Bau war in W ].hrs. (fares 18 Ir. 10, 12 fr. 70, 8 tr. i f)

From Turin to (36V? M .)Asti, seeB . 11a . Our line here di vergesfrom that to Alessandria and crosses the Tansro. Near (39 M .) SanMan anotta-Riv i we reach the ferti le andwine-

growing hill- districtof the comAstigiani . On the heights is the old chateau (1dlo am . 4 1 M. Mangardino. We thread a tunnel and enter the

50 Route 12. wuss . From Turin

22 M. Mantaub'

ro g25 M. M um- 27 31. (Balzi co -Gunmen , 29 M.

Candia : 31 M. Mercenasca ; 33 M. 8trambirso.

Universe; Corona

d’Iiai ia) , a town wi th 5400 inhab .,is picturesquely si tuated on

the Dora Baltea (Fr. Doire), on the slope of a hill crowned with an

extensi ve and well - preserved old Castle , wi th three lofty bricktowers, now a prison. Adjacent is the Cathedral, a building of ah

cient origin , but frequently restored. An ancient sarcoph s

adorns the adjoining Piazza. A monument was erected here in 1to Ettore Per-cane, general and minister (d. Ivrea, the an

cient Eporedia , was colonised by the Romans , B1 3. 100, in order to

command the Alpine routes over the Great and Little St. Bernard.

Pleasant walk to the Madonna del Monte (pilgrimage- church) and

the lake of S. Giuseppewi th a ruined monastery (1Steam -tramway from lvrea in 1'Iahr. to (1811; Sam (p. 60; fares

2 fr. 10, 1 Or. 50

The train netrates the hill on which lvrea stands by means of

a tunnel. 11 yds . long , and enters the ferti le valley of the Dora.

4 1M. Montana . on a rocky hill to the right stands the ruinedbat tlemented castle of that name. Borgofi

-anea (840ft ) ; 45 M.

Tommaseo ; 47 M. Ouincinetto.

49 M . Pant -Bt -Martin. The village (1030 ft. ; Rosa Rassa. 0coaiio Bianca), wi th a ruined castle, foundries , and an oldRoman

bridge over the Lys , is very pict uresquely situated at the mouthof the deep Val Grcssartey, 1 M. from the station (see Baedeker

’

s

Swflscrlartd).We next cross the Lys and follow the broad valley , flanked

by fine mountains to M.) the pretti ly - situated Danna.

(1066 ft. ; Ross). The train new ascends a rocky defile and passesthrough a tunnel 660 yds. long underFort Bard (1282 whi chwas buil t in the beginning of the 11th cent . and was taken in 124 2by Count Amadeus of Savoy after a long si ege, while in May. 1800,before the battle of Marengo, it was gallantly defended by 400 Austrians , who kept the French army in check for a week. The train

then crosses the Dora to (52 M.) Hone- Bard, beauti fully si tua ted.

On the left opens the Val di Campos-cia o, or Champarcher. with itsfine rocky peaks (p. to the N.W. towers the B ecca (ii Lun acy

At Campaynola the train crosses the Dora and intersects a promontory of debris. 55 M. Arm s

,wi th a m ined castle.

M. Verres . The vi llage (1207 i i. ; Italic ,Ecu de France),

with 1100 inbah. and the old castle of Race" . belonging to theformer Counts of Challant (bui lt in 1390, reforti iled in lies

picturesqnely at the entrance of the Vat Chatter“, M. from thestati on. Opposi te, on the right bank of the Dora, lies Is'agrte, alsowi th an interesting chi teau of the Counts of Challsnt (end of the1am cent ) . To the N.E .

,between the Challsnt and Gressoney

towers the rocky pyramid oi the Becca di Vice.(93770

to Courmaycar. CHATILLON. 12. Route. 51

The valleys of Aosta and Susa (p. 2) were alternately occu ied bythe Franks and the Longobards, and belonged to the Franconian Bmpire,in conse uence of which the French language still predom inates in theseItalian (1 stricts. The v i llage of Bard (below the fort) is the point of

transi tion from Italian to French, while at Verrés the latter is spoken al

most exclusively .

AboveVerrés the valley expands, but soon contracts again. Ex

tensive v ineyards are passed. We cross the Evancon and the Dora.

On the slope to the left is the village of Champ de Praz. lying at

the entrance of the Val Ohalamc, the torrent ofwhi ch has overspreadthe valley of the Dora wi th detri tus. Farther on lofty walls of rockrise t o the left . Near (60M.) Montj ovet appear on the right ,high above us , the extensive ruins of the chateau of Montjovet or

St.Germa in . Tunnel . The train crosses theDora by means of a longviaduct and enters the picturesque *Defile of Montjovet , the grandest part of the line, with a succession of tunnels and buttresses of

masonry , and thebrawling Dora far below.

6 3 M . St. Vincent (1415 To the right , 1 M . above the

station , at the end of the defile and the foot ofMt. Zerbion (8925lies the v illage (1886 ft .

*L ion d’Or; Corona).with a mineral spring

and b aths. Two short tunnels. Lofti ly perched on the left is the

old castle of Used , belonging to the Counts of Ohallant .

64 l/2 M . Chati llon (1807 ft . ; Warezdc Londrcs, R., L . , A.

ir. ;‘ Pens. Suisse; Hot. dcs Alpes, at the rai l. stat ,

new), with900 inbah.

,i s beauti fully situated 1M. above the rai lway , at the en

trance to the Val Toum anchc. Its houses are picturesquely scatteredover the gorge of the Matmoire or Marmara, a torrent descendingfrom the Matterhorn ; and in the m iddle of the town i s a bri dge

spanning the ravine i n one fine arch. (To Val Tournanche, and over

the The’

odule Pass to Zermatt,see B acdekcr

’

s Sw i tzerland.)The l ine crosses theMatmoire, traverses a deep cutt ing through a

deposit of debris , threads two tunnels , and reaches M.) Chambave

,noted for i ts wine. To the W. Opens the view of the beauti ful

valley of Aosta , rich in fruit and surrounded by lofty mountains ,wi th the three-

peakedRutor (p . 58) in the background.

Beyond a tunnel the line traverses a mass of debri s at Diem oz

(viaduct 107 yds. long), and crosses the Dora. To the left l ies the

picturesque chateau ofFe’

n is (w ith oldmural paintings), at themouthof the Clavalité Valley , through whi ch peeps the snowy peak of the

Tcrsiva The train crosses the Dora tw ice and reaches(72 M .) Nus, with a ru ined castle

,at the mouth of theVal St. Ba rthe

kmy. We then recross to the right bank of the Dora. On the SIOpe

above (73 M .) S t . Marcel, whi ch lies at the mouth of the valley of

the same name (p. is the much- frequented pilgrimage- church

of Plan. We again cross the Dora to M .)Quart Villcfranche,with the chateau of Quart on a hill to the right (2485 We than

cross the Bagnére and the B uilder.

80 M Aos ta .‘HO

’

TEL ROYAL VIC TORIA, oppo site. the stati on ,

R . ,

L., l 4 4 1A?! 3 defi . 372, D 5. Pens . 9 -12 frn, Hd'

r. Du“ Qua ran tine ,

52 Route 12. AOSTA. From Tw in

(an .L.,a A. 3 Omnibus

Aosta (19 10 with 67

comm of the Romans and no

Aceta, lies at the confluence of the Batista and th

Balteo. The valley was anciently inhabited by therace

, who commanded the passage of the Great

St. Bernard, the two ch ief routes from Italy to Gaul.harassed theRomans in various ways , and on one cos

the ocu'

ara of Cl ear himself. After

was finally almost exti rpated

vi vora,

in number,and

Near the railway-s tation ,which lies on the 8. side of the town,

sporting expedi tious amid the Graian Alps .

us to the ancient Town Walls, flankedwi threstored) , which form a rectangle 790 yds.preserved in their entire extent

,and on the S .W. aide the ancient

facing and cornice are still in aim.

The walls of the old Theatre and the arcades of th

are visible above the houses i n the market- placeAlberto), where the main streets of the town

,sti ll preserving the

oldRoman arrangement , intersect each other.The principal street leads to the through the anci ent three

arched ‘Pon'ra Pu ronu

,the only well- preservedRe

the M.) handsome ”Ta tum “ .Anon or Auousrus,Corinthian pilasters. It then crosses theBnthier, whichi ts channel

,to the beauti ful arch of the oldRoman

half-buried in the earth.In the suburbs lies the church of Sr . Ouns or

the choir of which contains the tomb of B

finely carved stalls of the 16 th century.

i s borne by Roman columns . The cloisters contain

esque colum

church rises

54 Route 19 . PRE-ST-DIDIER.

valley wi th several small tam e and a few chalets, and thence by etc

on the left side of the Amelie wi th i ts numerous falls , to (2 hrs .den s»Ollie at 80m (6748 the hi heat hamlet in the valley of the On e.

Part er on we ass the beauti fu ly situated Par-roam or parish-church

mason.) and fin ly reach the ho tels of (2 hrs.) Ceresole Beale (p.

Beyond Villenenve we cross the Savaranehe and ascend rapidlyto M.)Arvier (2646 ft. ; Croce Bianca). High up on the precipi tous cliff to the right stands the church Of S t. Nicolas (3926In front of us i s the snowy Rutor (p. Near the beauti fullysi tuated but dirty vi llage of M.) Liverogne (2396 ft . ; Hdt . daCot da Mont, plain)we cross the deep gorge of theDora di Valpri

sanche, a S. affluent Of theDora Baltea (p. and traverse a rockygorge to Ra ina: (2680 ft. ; Croix, poor). Opposi te lies Arrive, witha ruined castle andan old church . Mont Blanc now comes in si ght .The road passes through another wi ld defile (Pierre Tattle? ) and

crosses to the left bank by the (2 M .) Pent d‘

Equitive (2670The valley expands . On the righ t bank is the pretty Cascade dcDerby , descending in several leaps. M. Morgen: (3020 ft. ; ChaneVert ; Ange). The road now follows the lofty slow for some di s

tance, with a fine retrospective view of the Oricola (p. and

crosses to the right bank of the Dora Baltsa before (272 M.)Pré-Bt-Di dier (3260 ft.

‘Hdtei dc t’

Uni vers ; Restaurant dc Lon

dres), a picturesquely situatedvillagewi th baths, where the road tothe Li ttle St Bernard diverges to the left .

Excuns to s s . The ascent Of the "rm de Orn ament (3966 4 hrs. tothe W . of Pre»St-Didier, is highly interest in (riding practicable to wi thinhr . of the tap). Follow ing the S t. Barnard

groad to a po int abo u t 6 m in.

above the first tunnel (shorter foo ath in 20 we thence ascend to

the right to the (2 hrs.) ham let o f ha sten (69 70 ft.) whence we reach thesumm i t in 11 hr. more. Splendid view of Mont Blanc and the GraianAlps. About m in. below the tap is the Pavilion Straw s

, a refuge-hu t

o f the Italian Alpi ne C lub. Another and easier route di verges to the rightfrom the St. Bernard road at E lm s

, 8 hf. from Prc~8t -Didier, j oin ing theabove rou te before the final ascent. Experts may dispense w i th a guide.

TO BOUROc ST' l AUN OB Oven run Ltrru Sr. Bu t an e, 24 It . a route

preferred by some to the Col de la Seigne. The line new road (foo tpathshorter) ascends the valley of the Thrills vii Ba lms and (8 La Thist le

(4728 ft . ; Alb. Nealonale, Alb . della Go let ta , bo th primit ive), where we

have a v iew of the great ier of the Rater (p. which may be as

caudad hence (2 hrs. to the are the beautiful ‘Rulor Waterfalls) to (3‘ 4Ponta Ser-rand (L616 and pas t the (3 M.) Concise dee S our -8 0mm (67 fl.)to the ( i ll. ll .) pass o f the Li tt le St. Bernard (7176 The boundarybetween France and Italy is on the 8 . side. abou t a), i t . beyond the mar

w i t and near a Hospi ce ft .) all‘ordln%g

ood accomm oda ti on . [T heR t. Valaimn (9456 (Lt, ill/e hrs. to the the Bend ers (9666 ft .)W: hr. to the E ., and the Laneebranlette (9606 it.) 8 hrs. to the W .

, allafford adm irable v iews of the l ent Blamz cha in.) We now descend gradu

Bey ond Pré- St-Didier the road ascends the left bank to (11, M.)P a/eas r

'

eax, and winds through a wooded ravi ne to (d“A

VAL DE COGNE . 13 . Route. 55

Courmayeur.‘ Hdrm. RoxAL,

‘As cnno , in both R.,L ., a A. 6 6,

B . i l/g , dej . D. 6 fr. g‘ Us ron ;

‘Monr BLANO, M. to the N . Of thev illage, B . JrA. D . wi th wine 4 fr. Restaurant Europe (also rooms) ;Cafeda M onlblanc. D i ligence to Aosta, see p . 49 ; carr. with one horse 16 ,wi th two 26 fr. English Church Service in the Vaudo is Church .

Courm ayeur (4360 a considerable vi llage, beauti fully si tu

ated at the head of the Aosta valley ,i s much frequented by

Itali ans in summer. The highest peak of Mont Blanc is concealedfrom Courmayeur by the Mont Chetif (7686 but i s seen from

the Pre- Si - Didier road, M. to the S. About 1 M. to the N.

are the small sulphur baths of La Same.

The ‘Hont de In 881 0 (7736 ft . ; 2‘ a-3 hrs. ; gu ide, 6 fr., unnecessary)aflords a complete v iew of the S.E . si e ofMont Blanc w i th i ts numerous

glaci ers, from the 001 de la Seigne to the 001 de Ferret , the Col duGéant and the Jorasses being prom inent. A good bridle - path ascendsfrom Courm ayeur, by La Saxe (see above) and Le Villa ir, to the (2 hrs .)Cha lets da Pré (6480 ft .) and the (1 hr.) summ i t. The descent may bem adeby the Cha lets de Lecchi into the Val de Ferret. Excursions in the MontB lanc chain

,to Chamonix ,

etc.,see

,

Baedeker'

s Switzerland or South

Eastern France.

13 . From Aosta to the Graian Alps.The GRAIAN ALrs , an extensi ve m ountain- system culm inating in the

Grand Paradie ft.) and the Ori cola lie between the

valley s of the Dora B altea and the h ere on the N and those of the

D ora Riparia and the Arc on the S . We here describe a few of the m ost

i n teresting routes through the E . part Of this grand m ountain -region ,in the form Of a circular tour of four days from Aorta , taking in Cogne,Valsavaranche, Rhemes Notre

-Dame,Va larisanche, and Lioerogne. Cogne i s

th e b est centre for excursi ons.

The m oun tains Of Cogne form a favouri te chasse of King Humbert ,as they did of his father V ictor Emmanuel (p. and the mountain

g o at Ital.‘stambecco

’

, Fr. elsewhere nearlyex tinct , i s sti ll found here. Several excellent bridle paths, leading to the

r o yal shooting- lodges , are a great assi stance to the pedes trian. The

Guida delleAlp t'

Occidentah'

, by Bobba and Vaccarone (Vol. II, Grate e Pennine ;published by the Italian Alpine Club, m ay be recommended.

1st Day. From Aoe'

rA TO COGNB As far as (6 M .)A ymav ille (2120 ft .)we may follow the hi ghroad (p. but it i s

p referable to cross theDoire nearAosta , and to goby Gressan andJo

c encun , across meadows and fields . The bridle-

path then ascends

rapidly past the church Of S t . Mart in to Poia (2790 and enters

the monotonous Val de Cogne at a great height above the rav ine Of

the brawling Grand’ Eyv ie. Far below we soon Observe the houses

o f Pou t d’

El (2866 wi th i ts admirably preserved*Roman

B ridge (formerly an aqueduct), 60 yds. long and 171 ft . above the

s tream. It was erected in the reign Of Augustus . The valley con

t racts. Near the bridge by which we cross the stream we Obtain a

v iew of the Crivola for a short t ime. We next reach (l l/2 hr.)Vieyes (3714 ft . ; cantine), at the mouth of the Combs de Nomenon

the Grivola and the Gran Rom aine“

und. Beyond(114 hr.) Siluenoire (on th e

n’

gba and a deserted iron - foundry we again cross th e‘oxeeh h a

56 Route 13 . OOGNE .

the Pont de Laval (4480 where the mountain ot Oogne are

revealed. We thenthe loft y Punta dot

the right.

Gen e (0083 ft. ;‘Hdt.Grivota, R 2, pens. Mont Emi lia“,

R. primi tive), charmingly si tuated, with a beautiful view of

the Grand Paradis and t he Tour du Grand St. Pierre, wi th theirglaciers (Glaci er de la Tri bulation, du Graucrou, de Money , etc.)to the S., and of the Mont Blanc to the N.W.,

is an excellent. start

ing-

point for excursions. Three valleys converge here : the Val

lonc dl Vatnontey from the S., the Vattone d’

Urtier from the S .E.,

and the Valtone di Graham from the N E.

h ect are as h Pacers . (Gu ides, Louis and Joseph Jena-tel.)‘ Punt a dal

Pennant (99 3i ft .; dl/ebra ; guide 6 , wi th mu le 12 la ), a superb po in t of View.

A i Greta: (seeabove) the bridle-path cro sses theValnon tey and on awoodand then ascends grassy slopes to the chalets of Poun d -Deu c es an (8 hrs.)Peanu t—Da m or Bup srtort (8385 Thence a sleep clim b o f l l]: hr.,p ass ing a very giddy place near the top, bri ngs us to the rocky cres t of thePas ta del Pousset. Close to us1 above the i raj o Glacier , towers the

G rivola which is hardly infer io r in boldness to the Mat terhorn , and o ther

m oun tains o f the Pennine and fi n ish Alps are also visi ble. arri vals

f t . ; from Cogne 9 hrs. ; two gu ides a t can. each), difficu lt, and ht

or experts only . Ascen t from Valsavaranche still more dirh cul t .The ‘Puh ta Terai va ft. ; 7 hrs., wi th guide) presen ts no dif»

tically to adep t-e. We proceed through the Volume di Gro s ses to the

ln1.hrs.) chalets of Gros s“ (7460 i t.) and to (‘Is hr.) ‘M fl (3m “05thence pu sh: the li ttle Lac Doriérss, to the (1 hr.) Passe d

'

lm ergaw(9480 it.) and y theW . aréte to the (2 313 hrs.) summ i t . Magnihccn t Viewof the Graian and Peunine Alps and or the p la in or

“

Piedmon t (Turin), etc.The ascent may be also made from the 8. from the Vat d

‘Urti er vii the m

ton Atp , or from the ll . (m o re difficul t) from the Vat do Ctaoati te (p . hi ).in the l one di Valhon tey. opening to the 8 . o f Cogne, he the (6 ha .)

chalets of Le Haney not»1L), whi ch command an adm i rable View of theGrand Paradis wi th i ts glaci ers (ascent , see p . Two di fficult glacierasses, the Coi ls Granorou (1 between the Grand Parades andseen 4“ Gay , and the Oolle h ey between the Baccio Vin

and the Tour do Grand 81. Pierre, lead from the head of the Vallet ta dc

Valh onlcy to Ceru ote (p . 38 ; guide 16

Faoh Coon re 803m on e run Fian n a o r Cam eron“ .114 2 hrs ., a t trac ti ve and no t difficult. A bridle-

path (ro yal hun t ingcrosses the Ortur a t (11.hr.) Champtong (8186 and seconds the valleythe s tream wi th i ts abundant flowers andwaterfal ls , commandi ng fine new!of theW h o le to the W . and of the Comes do Volatile (see p . 6 1) to the&We nex t w e the chapel of cm to the (3 hrs .) chalets of ana em ia, whenceWe may clther fo llow the lower path to the ri gh t by B roufllot and mor that to the left along the slope o f the Terswa (see above), vii M 4 !and M an

, wi th as li t tle lake, and along the M r do Pom W it -2.0to the (2 hrs.) ainu tra dl Channporeher 3811 between the TourPout-on and the fl eece Costau a . We deséend 123:

Fan Coorla 1 0 Sr. Manon . om run Co r. ordifficul t (prac t icable tar mules). The rou te leads

58 Route 13. VALGRISANOHE .

m Gonna D’Em naon Thebridle- path ascends

from Valsavaranche by first somewhat steeply , to(2 hrs.) a royal shoot in and thence leads in z ig

the W., and of the Grand Paradis andGrivois to theE . Descent

rather stee through the Vallone d‘

Entrelor,wi th the Becca dt Sam

bcina (10, 70 ft .) on the leit,to (2 142

hrs .) t mes Hutu -Dame

(6016 ft . ; poor cantine, or a bed at t e curé’s), the chief place inthe Vol dc Rhcmcs, which is enclosed by imposing glaciers. Notre

Dame is 6 hrs. from Villeneuve. The route down the valley passesRhémes St- Georges and Introd (2886 wi th the chateau of thatname

, where the Val de Rhemes uni tes wi th the Val Savaranche(p. In descending we obtain a fine view ofMont Velan and the

GrandOombin to the N.

A shorter but more toilsorne route than the Col d'Butrclor leads from

Valsavaranche to t nes Re tro-Dame across the Co lts dl Sort (9780whi ch lies to the 8. o f the I t. Rolctta

4 th Day. Fnon Re t urns Norrie- Dane om m Fu s am

p m.Tow n ro Vam nrsm m arm ro Liverworts (6 hrs. to Valgrisanche ; guide 6 i r. ;

hrs.) FinestraB ecca di Tet on the right , andthe Becca dcll

’

Issuer-gums

on the left , with fine view of the Ormelune and the

Butor. The path descends through the stony Vallone del Bouc.

Where it di vides , we keep to the left . On our left are the Glacier

dc Rabu ignc and Mont Forciat. Passing (i i/g hr.) the Alp Norm a

(7020 we descend and cross the brook to Fom ct (6676 ft. ;small inn), the highest hamlet in the Vol Grisancltc ; then to Seveyand hrs.) Valgrisanche or L

'

Eglisc (6170 ft. ; poor accommo

dation at the Cont ine, or a bed at the curé’s), the chief village in

the valley, prett ily situated at the base of the Ro tor.

The ascent of the Rotor, an extens ive, glaci er-clad moun tain wi thseveral

‘peaks (8. and highest ak 11336 11 ; N. peak 1 Oft ). ei ther

from V

granul e, or better rom La TM “ on the Li t e S t . Bernard

rou te (p. presents no seri ous di fficulty (gu ide 10 From l.a Thuilea bridle-

path leads through the deep and narrow Ro to r valley to the

(2 hrs .) grand‘ Falls of the Ro tor (8316 ft .) whence we ascend to the left

bg

a new path to the (l ily hr.) Com a Santa li ar-g lam situateda ove the small Rotor Lake (now drained Thence acro ss the large RasterGlacier to the (3 hrs .) rm do Ro tor (l i , t which commands a most

{Iplendid panorama (refuge-hut o f the i talian Al ne Club on the top).no n Vu enres s cn ‘

ro Bo cao-Sr- lfauni cn (p . t 16 hrs. from Aostaover the Col du Kent (8650 a tolerable bridle-

path.

The bridle- path from Valgri sanche to Livemgne (3 hrs.) leadsthrough the beauti fully woodedVal Grisanche, on the left bank ofthe M a dr

’

Valgrtsanche, to Ceres or Sec-re(Hot. Fu ssy , rust ic) and

Revere, where the ri ver disappears (or a short di stancenetherreeks .

BIELLA. 14 . Rout e. 59

The hamlet of Planaval lies to the left. The valley contracts to a

wild ravine. The path on i ts left side skirts a precipice high above

the roaring torrent. On the opposi te bank,on an apparently i h

accessible rock , i s perched the ruined castle of Montmaj eur or

Tour d’

Arboe’

. Liverogne, see p. 64 . Near’ Li verogne the pathquits the gorge anddescends to the left through meadows andgroupsof trees to the road from Courmayeur to Aosta (p.

14 . From Santhia (Turin) to Biella.

M. Ra rnwar in ca. 1 hr. (fares 4 fr. 10, 3 fr. 10, 2 fr. 6

Santhid,see p. 60. The intermediate stations are unimportant .

M. Biella Tesla Grigia Angelo ; Leon d’Oro ; Alb. Centrale,

all in the new town ; GrandHotel, wi th hydropathic establishment,

inthe old town ; photographs ofmountain- scenery at VittorioBella’

s),an episcopal seewi th inbah.

,lies on the Cervo and is divided

intoB iella P iaszo (1668 the high- lying oldtown, andB iella Piano

(1410 the new town. The power for the electric light ing of the

indusrrial new town and for its factori es i s furni shed by the falls of

the Chiusella,12 M. to the S .W. The new town possesses arcaded

streets and a line Cathedral of the beginning of the 16 th cent., withafacade of 1826. The latter stands in a spacious Piazza, where the

episcopal palace i s also si tuated. Near the cathedral is an early

Christ ian B ap tistery . The church of S . Sebastiano is a line Renai s

sance structure of 1604 . The Giardino Pubblico contains monuments

of Gen . Alfonso La Marmara (p. 32) andGaribaldi , while the Piazzadel Teatro has a statue of Quintino Sella (1826 the statesman,by Ant. Bortone The palaces of the old town, rising

picturesquely on the hill and reached by a Cable Tramway, are now

tenan ted by the lower classes. About 3 M . to the N .E . of Biella,

near the village of B ioglio (2236 lies the Villa Sella . wi th a bean

tiful garden and a splendid v iew of the Alps (vi sitors adm i tted).From B iella STEAM Taauwars run to (13 M.) Valle Mosso v ia (7 M.)

Cossa lo,and to M ) Mongrando V 13 (2 M .) Occhieppo (see p . A

third li ne ascends to the N . through the valley of the Ceroo to (6 M .) Ahdorno (1806 ft. ;

‘ GrandHatel, pens . 12 16 fr. , CroceRossa ; Engl. Ch. serv ice

at the G rand B étel), a charm ingly situated v i llage, w i th two water- cure

establi shm ents,which has recently becom e pOpular as a summer-resort w i th

English and other v isi tors . The G o th ic church (1304) has been m oderni zed.

Numerous pleasant excursions m ay be m ade in the nei ghbourhood.

Beyond Andorno the tramway goes o n to (6 M .) Sapliano, w ith a m onument

to Piet ro M icca (p . and (9 M .) Ba lma ,whence om nibuses (26 run

to Camp ig lia (2160 ft . ; albergo). From Cam piglia a road ascends to the

Sanluario di 8 . Giovanni (3346 s i tuated on the height to the left . Another

leads v idRosan a (Alb. della Gragliasca) to Piedicavallo (3406 i i . ; Alb. Mologna , well spoken o f), whence M te. B a (8386 ft. ;

°View) may be ascended

in hrs . (gu ideA pleasant excursion may also be m ade v ia (ll/4 M .) Cossi la (1970

w i th i ts water- cure , and l'avaro (2160 ft .) to Oropa , 6 M. to the N.W . o t‘

Biella (om n. live times dai ly ir., down 1112 ir. carr . wi th one.h orse.

6, w i th two 12 Here s tand a large S tabi limento Idrote'raptco “5118“founded in 16190 (op en June-Sep t ; R.

-3, A . 1, pens . 6 , water-trea tm en t.

60 Route 15. m useum.

2 fr. daily ; En Ch. servi ce in June and July), and the famous pilgrims”church oi H J

’

Oropa (8820About i t . to the W. of Bi ella (road vi i Ocehicppo , see p. 69 ; omn.

from the Leon d‘

Oro in ; carr. with one ho rse 8, wi th two lie

the pilo image church and hydrOpathic establishment of Grag tia (2626 ft.situated 2 11. abov e the. vi llage o f that name, in the m ids t o f a spiendarra

yof mountains. Comp. M ust-Betti ,

'Guida pel Villeggiante nelB iei ese

‘

(Casanova, Turin).

15 . From Turin to Milan viaNovara .

93 1 . B au war 7 fr. 66 e. ; exrose 18 i

‘

r. 66, 13 i'

r. 10 G limpses of the Alps to the le Sta tions at

urin, see p. 26 .

The Dora Riparia is crossed,then the Slur-a between (6 M .)

Succursaledi Torino and M.) Settimo Tbrinese, whence a rail

way runs N. to Riearolo,wi th branches thence to Cuorgnl (p.39) and

Costellamonte. We cross the Oreo and the Motors. 16 M. a diaso.

18M. Chivasso (600 ft.; Alb. delMoro), a town with 4300 inhab.,

near the influx of the Orco into the Po. Branch- lines hence to Aorta

sulphurbaths (Gr. Hot . 8. Genesio ; pens .

May to i st - 20M. Castelrosso ; M. Tarrazu di Vorotan.

Near (26 M.) Salugg ia the train crosses the B orn Batten (p.M. Licom a l

'ercellese; 32 M. B land ; M. Transom .

7 M. Sanlbib (Alb.delPallone ; Bai l.Restaurant), wi th 3600 inhabi tants . The church, restored in 1862 , contains an altar-pi ece byGaud. Ferrari . Railway to Biella, see p. 69 ; steam- tramway to

lvrea,see p. 60.

The train skirts the highroad. 401 2 M . San Germano Vercellese.

M. Vercelli (4301‘

t ; Tre e ; Leon d‘Oro), an epi scopal

town wi th inhabi tants . From the station we see the impos

ing church of 8 . Andrea , founded in 1219 , wi th a dome andW.

towers like those of northern churches. i nterior early-Gothi c. Adjacent is a NurseLap idarlo, with Roman inscriptionss nd sculptures.The church of 8 . Crista/bro contains frescoes by 0 . Ferrari (1632- 38)and B . Lanini ; by the high - altar

,

‘ Madonna and donors in an

orchard,by Gaud. Ferrari. 8. Ca terina

,S . Paolo

,and the latituto di

B elleArti also contain works by Ferrari . In the cathedral- library aresome rare oldMSS . The town possesses statues of CancerVictor Emmanuel andGaribaldi . To the 8. ol

'

Vercelli lie the

Camp i Bandit, where Marius defeated the Cimbri in B .0. 101.8team ~trarnways ply from Vercell i to M ao on the S.W . , to Onco lo

l lonfm to (see below) on the 8 . and to the N. to Am eo in the valleyof the Ba its and to Blonds-ate andPam .

Faosr Vaac aaarro Aasssu na u, 86 M.

,railway in 2 hrs. (fares 8 fr. 36 ,

4 tr. 2 fr. Sec. l. The chief intermediate stati on is (14 01.M.) caes iu mfsrrs togl

‘

l ft . ; Ro ta Basso . Angeto ; Leos d‘Oro), on the right bank of the

Pb, v i inhab.,

the ancient capi ta l of the Duchy o f Mo nies-raw,Whi ch afterwards belonged to the Gonsagas . The interes ti ng Romanesquee c l

,a vaulted bas ilica w ith double aisles auu a. tine atflm ,

was

62 Rou te 16 . MAGENTA.

Farther on we cross the Nav iglio Grands (p . On the

right , near M.) Magenta stands a monument erected to Napoleon III. in 2

, to commemorate the victory of the French and

Sardinians over the Austrians on 4 th June,1869 , which compelled

the lat ter to e vacuate Lombardy . Opposi te the station are numero us

graves of those who fell in the struggle, with a small chapel on an

eminence, and adjoining i t a charneI- house and a bronze statue

of Macmahon, by Luigi Secchi Tramway to Mi lan.

The line intersects numerous rice- fields , which are kept underwater two months in the year. 79 M. Vittuone ; M. Rbb

(p . where the line unites with that from Arona.

93 M. Milan (see p .

III. Ligu'is .

TheMari timeandLigurianAlps and the contiguousAp ennines (the boundary between whi ch i s some 20M. to theW . of Genoa) s10pe gently northw ards to theP0 in the form of an extensive rolling country , and descend

abrup tly towards the sea to the S . The narrow Rrvmxa , or coast-district,expands at a few points only into small plains. The cultivated land climbs

up the hillsides in terraces, sheltered from the N. wind, and e°

oying a

fine sunny aspect . While the mean tem perature at Turin i s Fahr.,i t is no less than 61° at Genoa; and again, whi le the temperature of Jan

uary averages 31°at the former, and occasional] falls below zero , i t

averages 46°at the latter, and i s rarely lower t an The climate

of the Ri vi era is therefore m ilder than that of Rome, and i s even favour

able to the growth of the palm .

As the country di ffers in many respects from Piedmont , so also do i ts

h m xrart'rs , while their Genoese dialect , which i s di fficult for forei gners

to understand, occupies a m iddle place between the Gallic patoi s of UpperItaly and that of Sardinia . The historica l development of the two countries

has also been w idely difl’

erent . The natural resource of the Ligurians , orthe inhabi tants of theRiv iera, was the sea, and they were accordingly knownto the Greeks at a very early peri od as pirates and freebooters. To what

race the Li gurians belong has not yet been ascertained. As the Greek

Massali a formed the centre of trade in 8. France, wi th N ice as i ts extreme

outpo st towards the E ., so Genoa consti tuted the natural outlet for the

traffic of the Riviera. During the 3rd cent . B .C . Genoa became subjectto the Romans , who in subsequent centuries had to wage long and obstinatewars w i th the Ligurians, in order to secure the possession of the m ili tarycoast - road to Spain. As late as the reign of Augustus the Roman cultu re

had m ade li ttle progress here. At that peri od the inhab i tants exported

timber. cattle , hides. wool, and honey , receivi ng wine and oi l in exchange.

In the 7 th cent . the Lombards gained a footing here, and thenceforth the

poli ti cal state of the country was gradually altered. The W . part w i thNice belonged to Provence, but in 1388 came into the possession of the

Counts of Savoy , form ing their only access to the sea down to the eriodwhen they acqui red Genoa After the Austrian war of i Nice

(1612 sq . M .) and Savoy (3889 sq . M .) were ceded by Italy to France in1860 as a compensation fOr the serv ices rendered by Napoleon III. Thedi stri ct of Ltgrm

‘

a , consi sting of the provinces of Porto Maurizio and

Genoa ,wi th an area of 2040 sq . M . and inbah., once formed the

e uamc or Genoa , which in the i 3th cent. becam e m istress of the W .

part of the Medi terranean , and afterwards fought against V eni ce ier th e

suprem acy of the Levan t. Genoa’

s greatness was founded on th e ru\n 01

Pin . The Tuscan hatred of the Genoese was embodied in th e eav'

m t

65

M a. Ra na , Via Roma and Galleria Mau ini (also luncheons) ; Conwrdia, Via Garibaldi , opposite the Pal. Rosso (Pl. E , 4 ; p. w i th a

wdcn, leasaut and cool (music in the evening) ; M ttaao, Gall. Mazz ini ;

Andres Via Rom a, on the groundfloor of the Prefecture ; Pasta , ViaGarlo Felice ; Labb Piazza Deferrari .M ut an ts . M 0 in the Teatro Carlo Felice (Pl. E , F, 6 ; p .

Gu cci-ah (see above), ddi. 8, D . 4 fr., both incl. w ine ; Labt) , V ia Carlo

Felice7,well spoken of ; Hilario, see above ;

‘ Cambt‘

o,Piazza delle V igne,

Italian ; Aqui la d'

Oro, at the Exchange (p. Hat -Restaurant Right, see

p.81. Beer : ‘ Gambrim ,H onech, both in the Via S . Sebasti ano (Pl. F ,

also cold viands ; A finer Brduhaue (formerly Jensch) , Piazza Corvetto

G, W hat-at,

ia Carlo Felice ; Munich beer at all these.

Osha (a tarifi in each) in the Tw o which extends to the B isagno on

the E . and to the lighthouse on the WOne-horse cab Two-horse cab

B da By day At ui ht

Per drive I—y 2—g

3

trunk 20 c . N ight- fares are reckoned from

ps are lighted.

Electric Tramwaya : 1. Piazza Deferran’

(Pl. E , 6)-Piazza Corvette (Pl.

G, 6) -Piazza Zecca -V ia.Balbi - Acqua.verde

-Piazza Principe (Pl. B ,

Part of this line w as through a chi lly subway , which m ay easily cause

a cold to the unwary . 2. Piazza Deferrari Piaz za Corvetto Piazza Brignole

(Pl. H , 6 , 3. H an a Deferrari - Piaz za Corvette - Corso Andrea Podesta

Via dt Oirwrwauaziom a Mare(Pl. E ,F , 9 ; p .- 4 . Piazza CavowrGAS ,

“Si)Via di Ci rconvallaz ione a Mare - Bisagno Bridge (Pl . H , 1 ,

"

fl Campo Souls

(p. 5. M 1 4 fi g‘

m afl -Piaz za Corvetto - Via Assarotti -P‘

i am a h mmM m . ItaIy I. 11th Edi t 5

68 Route 16 . GENOA.

glory render a vi sit to Genoa very attractive. lnvalids however,must be on their guard in winter against the raw winds and the

abrupt changes of temperature.

From the earliest t im es Genoa has been lem ons as a seaport, and it

is believed to derive i ts name from the fact tha t the shape o f the coast

here resembles that of a knee (gene). The Roman form of i ts m uni

governmen t was maintained throughout the period o i’

the barbarian

vesi ons, when a new feudal nobi li ty sprang up alongside of the nati ve

nobieesc . The smaller towns on the Ligurian coast looked up to Genoa

as thei r champion ainst the Saracens, who ravaged the country fromFrass ineto ,

and office even plundered Genoa i tself. In 1015 the Gen oese

made them selv es masters of Corsi ca, and in 1119 the waged a victori ous

war against Pisa , then mis tress of the Tyrrheni an ca. From that date

the ri val ci ties were almost permanently at war down to 1286, when a

terrible naval battle took place between them at Melon-l on which or»cas ion the Genoese captured 29 Pisan

cgalleys, and sank others. h orn

this disaster Pisa never recovered, an Genoa now obta ined the suprem

acy over the W. islands , Corsica , and nom inally over Sardinia also .

At a still earli er period Genoa had art icipated in the Crusades , and se

cured to herself a busy trade wi th t e Levant. She also possessed settle

ments at Constantin?

“ and in the Crimea , in Syria and Cyprus , at

Tunis and liaj orca . he rivalry of the Genoese and Venetian was a trd tin] source of wars and tends during the l2-l i th centuries whi ch at lengthwere terminated by a decis ive vi ctory gained by the latter in 13m.

The internal hist of the ci ty was no less chequered than the ex

ternal. The party o co icts between the great families of the Doria and

Spfitola (Ghibellines) on one side, and the m m and M M (Guelphs)

on the other , led to some extraordinary results. The defeated

used, at the expense of thei r own independence , to invoke the d of

some lbreign co , and accordingly we find that after the 14th cent.

the k ings of aples and France, the counts of hi ontt'

errat , and the dukes

of M ilan were alternately masters of Genoa. Nor was this sta te of

affairs materially altered by the revolu tion of 1889 , by whi ch the ex

elusi ve sway of the nobili ty was overthrown , and a Door invested wi ththe supreme power. In the m idst of all this confus ion the onl s tableelement was the mercanti le Borneo a“ 8. Giorgio , which had acqu red ex.

tensive ons , chiefly in Co rs ica, andwould, perhaps, have eventuallyabsorbs the whole of the re ub i ic and converted i t in to a commerci alari s tocracy , had not Genoa los i ts power of independent development bybecoming involved in the wars of the grea t powers. Andrea Doria (p.the adm iral of Empero r Charles V . at length restored peace by the eslishment of a new oil chic constitution and the unsuccessful con

spiracy ol Fiasco in 7 was one of the last instances of an attemm tomake the an rcme power de

pendent on unbridled personal ambition . Bu t

the ower o Genoa was a ready on the wane. The Turks con neredi ts enta l possess ions one after another, and the ci ty was subjee tosevere humilia tions by the French ,

who took Genoa in 1884 , and by theImperi al troops by whom Genoa was occupied for a few days in 1746 .

These last were "

gelled by a po ular rising, begun by a stone thrown

by Bali lla , a lad at l years . In 1 the amb i ti on of Theodore dc Nmkof ,a Wes tphalian nobleman

, occas ioned great diaquietude to the republi c.

He was created ki ng by the Corsi cans, who were subjects of Genoa, bu tthe usurper was expelled wi th the aid of the French

, who ,afterwards

(1788) took possession of the island on their own behalf. Alter the bat tleof Marengo (1m Genoa was taken by the French. In lab i t was formallyannexed to the Empire of France, and in 1815 to theKingdom of Sardinia.

To the studen t of art Genoa offers much of interest. Some of thesmaller churches are of very ancient origin , thou h usually altered in theGothic period. The Renaissance palaces ot

’

the case noblesse are, onthe o ther hand, of the greatest importance, surpassin in number andmagnificence those of any other ci t in i tal llany of t can palaces wereerected by Galmm sum (a pupi oi l ie Angelo , born at Perugia

Harbour. GENOA. 16 . Routc. 69

1500, d. 1672) whose style was followed by subsequent archi tects. Insp i te Of occasional defects, the archi tecture Of the ci ty i s Of an imposingand uni form character, and great ingenui ty has been displayed in mak ingthe best Of an unfavourable and lim i ted si te. The palaces, moreover, con

tai n a considerable number of works Of art, whi le Rubens, who residedat Genoa in 1606 -8, and Van Dyck at a later peri od, have preserved themem ory Of many m embers Of the noblesse. The native school Of art

,

however, never rose to importance, and was far from being benefited bythe zeal Of i ts artists in painting facades. The chief painters were LucaCambiaso (1527 Bernardo S tron i , surnamed It Capp uccino or Prete Ge

nooesc (1581 Gioo . Ba it. Paggi , and Benedetto Oastig tione.

a. The Harbour and the Adjoining Streets.

Unti l recently the harbour consi sted solely Of thePorto or inner

harbour,which was closed on the S . by the M010 Vecchio (492 yds.

long), said to have been constructed in 1134,andby the Molo Nu.

Ovo (722 yds. long) dating from the 18th century . In 1877- 95,

however, very extensive additions were made,a sum of 20mi llion

francs having been presented to the ci ty for the purpose by theMar

chese Rafi'

aele Deferrari , Duke Of Galliera (d. The M010

Nuovo was prolonged to the S.E . by the M010 Duca di Galliera ,and on the E . side a new breakwater, the M010 Giano or Orientals

(547 yds. long), was added, creating a new harbour(Porto Nuovo) andan outer basin (Avamporto) forwar- vessels (comp . the Plan

, p.

The total expense was 63 m illion francs. The aggregate water area

of these different basins i s 555 acres ; the length of the quays i s5 M . In 1895 the harbour was entered and cleared by ves

sels , of whi ch 6665 were steamers . The value of the imports

tons) was ir.,that of the exports

tons) was fr.

To reach the harbour from the rai lway—station ,

we traverse the

P iazza Acquaverde (Pl. 0, 2 ; p . 78) and descend the narrow VIA

SAN GIOVANNI (Pl . 0 ,2) towards the S . TO the right , at the corner

Of the Piazza della Comenda,is the small early- Gothic church Of

8 . Giovanni Battista or di Fri: (i 3th which originally be

longed to a commandery of the Knights of St . John. Since a recon

struction in the 17th cent . the entrance has been at the E . end.

The busy VIA CARLO ALB ERTO (Pl . 0 ,D

,3,

skirt ing the

Pi azza della Comenda,leads to theW. to thenew Dogana (PI. B ,

or custom - house,and to the Ponte Federigo Guglielmo (p . the

landing-

place of the oceani c steamers. Farther on are the Palazzo

Dori a (p . 78) and the large lighthouse (p . TO the E . the

street leads past the Magazzini della Ddrscna ,the former marine

arsenal,and the Old Darsena (Pl. 0, or war- harbour

,in which

Fiesco was drowned in 1547,to the PIAZZA CARIOAMBNTO (Pl . D ,

4,

in which a bronze statue,by Rivalta, was erected in 1893

to Rafl‘

aclc Rabattino (1809 the Genoese steamship- own er .

On the S . side of the square is the building of the i crmer B tmle. ofS. Glory /o p . occup ied unti l recently by the Dogm a . Th eh fi .

“

70 Route 16 . GENOA.

hall is embellished wi th 21 marble statues of men who havedeservedwell of the ci ty, partly of the i 5th century. On the upperfloor are the Archives. Farther on i s the Porto France ,

or free

harbour, wi th extensive bondedwarehouses (vi si tors admi tted no

The Via del Commercio and the VLA Vrrronro Exam nn (Pl.D, skirting the B . side of the free harbour

,lead to the S .W.

to the Piazza Cavour the S. Of whi ch begins the Viadi Oirconvallaz ione a To theW. i s theMole Vecchio,

a gateway bui lt in 1550 by Gal.Alessi .

A Row rs run Hw ona (tari ff, see p . 66) is very attractive when the

sky is clear and the sea calm . We firs t pro ceed to the end Of the HoleVcc o

, onwhich stands a small Fannie or lighthouse (Pl. A, 6 ; no ad

m ission). Thence we cross to the Baciei di Corm ato (Pl. 0 , D ,7,

large dry docks constructed in 1893-96 . After seeing these, we rowthe end o f the Halo Gi ana (lighthouse) to the Halo Duca di Gamers whichcommands a fine v iew Of the ci t and mountains . Hence we return on

foot , passing the Quarantine Stat on, and traverse theMole Nuo vo to thelarge it hthouse (p. which may now be visi ted. Then by trunm yto the arsena (p.

The following route avoids the noisy and crowded streets near

the harbour. From the S.E . end of the Du ncan (P1. 0, whencethe Via delle Fontane leads to the left to the Annunziata (p .

we pass through the flue Gothic Porto dei Vacca,erected on

site of the Old gate of 1159 and adorned wi th i ts medieval soul

tures and towers of the i 6 th cent ., to the Via del Campo (Pl. D ,

X)and the Pi azza FOSBA‘I

’BLLO (Pl. D, [From this piazza the Via

Lomellina, with the Palazzo Centurionc by Alessi , and

the house in which Mazzini was born (NO. leads to the left to

the Annunziata (p . Then through the Via di Fossatclio and

the Via S . Luca to the Piaz za BANOHI,wi th the e (Loyola

dc’Bandi t

,Bon d ; Pl. D, erected at the end of the 6 th cent .

from plans by Aural, and adornedwi th a marble figure of Caesar

by Vino. Vela (business- hours,11 [in the small Piazza S. S ire

,

to the left of the Via S . Luca and Opposite the North German

Lloyd Agency, is the Old cathedral of S . Sm o (Pl. D,E, rebuilt

about 1580, with a facade of 1830, containing statues by Taddeo and

frescoes by Gian . Bait . Carlene ] To the left of the Exchange,the narrow VIA Onnrrcr (Pl. D,

E,

wi th numerous goldsmi ths’

shop s (a door on the right i s adornedwi th an Adoration Of the Magiin relief

,15th and then the Piazza Sosiglia and the Via

Luccoli,lead to the Piazza delle Fontane Marose (p.

To the N . Of

(Pl. B , contain

M m the Ex change the Vi a S . Pietro de\\a Yet ta , new

72 Route 18 . GENOA.

choi r, a‘C rucifixi on with saints anda a(covm dm e

terpiece of Fed.

Barocdo the statues by P. h em atite . the choir, stalls wi th im

laidworlI. in the chapel to the left of the choir, six pictures and a sta tue of

Fides by L. Combines . i n the left aisle seven statues by Gael. della Forte.

The second cha el to the left of the en rance, that of‘ S . Gi ovanni Em m a

,

erected in 1451 contains in a stone area of the 13th cent . (below the al»

tar) relics Of John the Ba tisi, brought from Palestine during the Crusades .The six sta tues at the si es and the reliefs above them are by N ame a .

vi ta“ (p . the Madonna and John the Baptis t by Andrea 3m m(1508) the canopy and the o ther sculptures by Giacotno and Guamdella Ports: The external decoration of the chapel , wi th adm in

able reliefs above (best li ght in the afte rnoon), was execu ted

39the

Lombardic masters, Dam. and Ella Oas is“ and 0400. do Bin ons (l m).In the sacris ty is the Cs rnnnnaa Taaa suar Among the

relics here are a silver shri ne for the Procession of rpus Dom in i ex

ecuted in 15034 611 by Franc. Rocchi o f Mi lan and o ther arti sts ; and (tothe left) a cross from Ephesus, captured at Phocaa in To the ri ght is

theBacro Guano , the vessel out ofwhich the Savi our andhis disci ice are saidto have partaken of the paschal lamb , and in whi ch Joseph of thea is

said to have caught some drOps of the blood of the Cruci iied (a fine glassvessel , captured by the Genoese at Cesarea in 1101 and supposed to he

made o f a large emerald, unti l i t was broken at Pari s whi ther i t had beencarried by Napoleon The setting dates from Beneath is a s ilver

altaM’

ront by the German goldsm i th Melchior Sun opposi te is a

si lver shrine for the

‘gmcession on Ash Wednesday , by Teramo di Danish

a casket fo r e rel ics of John the Baptist , probably a Floren tine

work of the end o f the 16th century. On the thi rd wall are two choir

vestments (15th and l6 th cent.) and costl vessels ; beneath is a modern

altar front, wi th a «my of Leonardo da nci‘

s Last Supper

To the left of the cathedral are Romanesque cloi sters of the

i 2th century . Farther on,in the Pu zza Nuova, is 8.Ambrog io

(Pl. E ,a church of the Jesuits , of the close of the i 6th cent .

,

profusely decorated.

3rdAl tar on the right : Assumption by M o Rm (covered). High-altar“

piece, Presentati on in the Temple, by Rubens . The four black monoli thcolumns are from Porto Venere (p. First chapel on the left, liafl yrdomo f St . Andrew

,by Semino the Elder. Third Altar on the left :

°Bubsns,St .

Ignatius hea ling the sick (ca. 1620, restored in 1896 ; covered).

The house Visa dei Notari No. 1, to the righ t of the church, hasa fine Renai ssance portal. In the Piazza Nuova i s also si tuated the

Palazzo Ducals (Pl. E ,the grand old residence of the doges ,

originally a building of the i 3th cent. , to wh ich the tower on the

left belonged, but completely remodelled by Rocco Pcnnonc in the16 thcent .(tinestaircase), andmoderni sedafterafire in 1777 . Facade

by S imone Content. It now contains the telegraph- office, law-courts,

and police and government offices.

From the Piazza Nuova the Via Sellai leads to the left to the

busy Prazza Dnrnansnr (Pl. E ,5,6 ; 78 ft. above the sea ; start

ing-

point of the electric tramways ment ioned at p. whi ch isembellishedwith a large Equestrian S tatue of Garibaldi, by Aug.Rivalta , unvei led in 189 3. On theN .W. side of the piazza standsthe Palazw Dcfcn ari ( i8th cent ). Opposite are the Teatro Carlo

Felice (Pl . E, F, 5 ; see p . 66) and the Aooannm Danna Banal

A8 27 (Pl. E .F, on the first floor of which is the B iblioteca Ch ina[about vols . always accessible) , on the secondhear a mt

8. flatt'

eo. GENOA. 16 . Route.

lection of casts and a few paintings. The Via Venti Settembre

leads from the Academy to the S.E. to the old Porta d’Archi (p . 80)

and to theBisagno bridge, where the Via di Circonvallazione aMare

d’

Albaro and Nervi

ds from

in 1530 by the Florentine Hontorsoli,who was invi ted to Genoa by An

drea Dori a, and, wi th hi s assi stants, executed the whole of the sculptures which adorn the church. The balustrade of the organ

-loft i s par

t i cularly fine. Above the hi gh-altar is Doria’

s sword,and his tomb i s in

the chapel below . To the left of the church are handsom e cloisters w i th

double columns in the early-Gothic style (NIB w i th 17 ancient in

scriptions relating to the Dorias , and rem ains of Montorsoli‘

s statue of An

drea Doria, whi ch was muti latedduring the Revoluti on in 1797. An ancient

sarcophagus-relief , wi th an inscri pti on in honour of Lamba Doria ,

who

defeated the Venetians at Curzola in 1297, is bui lt into the ri ght side of the

facade. The li ttle pi azza in front of the church is surrounded w i th

Palaces of the Doria Fami ly , one nearly opposi te, the lower half of whichi s covered wi th black and yellow m arble , bears the inscri tion ‘Sena t.

Com . Andreae dc Oria , p a triae libera ton'

munas p ublicum’ No . 13 ,

to the left of S . Matteo , i s the Pa lazzo Centurione, wi th a colonnaded court

of the early Renaissance.

0 . From the Piazza Deferrari to the Main Railway Stat ion and

to the Lighthouse.

From the Piazza Deferrari two broad streets lead to the N .E

to the right theVia Roma,to the left the short Via Carlo Felice. The

la tter leads past the Palazzo Pallavicini (No. now belonging to

the Durazzo family (p . to the Prazza B ELLE FON TANE Mano sn

(PI. F,4,

No . 17 in thi s piazza i s the Pal. della Casa ,orig

inally Sp ino’

la (15th cent .,but restored in the 17th), adornedwi th

fiv e statues in niches ; No . 27 i s the Pal. Lod. S tef. Pallav icin i ,sumptuously fitted up in modern taste.

From the S .E . angle of the Piazza delle Fontane Marose the Salita S .

C ateri na leads to the P iazza Corvetto (p . Through the Via Luccoli

to the harbour, see p . 70.

At the Piazza delle Fontane Marose begins a broad line of 16 th

cent. streets,extending to the PiazzaAcquaverde (p. under the

names of Via Garibaldi (formerly Nuova), Via Cairdi i (formerlyNuov issima), and Via B albi . In these streets

,which form one of

the chief arteries of traffic,are the most important palaces and

several churches. Some of the former shouldbe v i sited for the sakeof their noble staircases

,one of the sights of Genoa .

The first of these m ain streets,

*V1A GARIBALD I (Pl . E ,i s

flanked with a succession of palaces . On the right , No . 1,Palazzo

Ces . Cambiaso,by Gal. Alessi . On the left, No . 2 , Pal. Gambaro ,

formerly Cambiaso . Right , No . 3,Pal. Parodi

,erected in wan-ex

by Gal. Alessi forFranco Lercaro, containing frescoee‘

oy L u ca Cram

biaso and others . Left, No. 4 Pa l. CataLdi former“ Gu ess ,

74 Boo ts 18. GENOA. Pet. Basso.

erected about 1660 by Giov. Batt. Castello. Bight , No. 6 ,

‘ Pai .

Spindle , by Gal. Alcasi , containing pi ctures of the Genoese school,a portrait of Cambiaso by himself, a Madonna by Luini , an eques

trian portrait and a Madonna by Van Dyck. Left , No. 6 , Pal.Giorgio Doria (not always open), by Alessi , adornedwi th frescoesby Luca Cambiaso and other pictures (Castiglione Shepherd and

shepherdess ; Van Dyck , Portrai t of a lady ; P. Veronese, Susanna).Left

,No . 10

,Pal. Adam o (accessible by introduction only), also

by Gal. Alessi , contains several good pictures : Rubens, Herculesand Dej anira ; three small pictures attributed to Mantegna, thoughmore in the style of 8. Botticelli (Triumph of Am0r, of Jugurtha,of Judith ; comp . p . 31, No. Cambiaso

,Madonna and sain ts ;

Clouet,Portraits of four chi ldren ; Pioia, Frieze wi th children ;

Perino del Vaga, Nat ivi ty of Mary.

Left No. 12 , Pat. Serra , byAlessi ; interiorrebuilt by DeWai lly

(a. 1796) andTaglisflco, wi th a magnificent hail.Right , No . 9 , Palazzo Muni cipale (Pl. E ,

formerly DoriaTrm i, by Rocco Lw ago (16 th has a handsome staircase and

court,skilfully adapted to i ts slo

ping site.

bThe Vasm uu is adorned wi t vs frescoes from the li fe of the DogsGrimaldi , the Cover wi th a marble statue of Mancini , and the Gramua aa w i th a statue o f Oa taneo Pinelli . i n the large Counon . Charmon the upper floor are m osai c portrai ts of Co lumbus and l at-cc Polo . Inthe adjacen t room are facs im iles of letters of Co lumbus (the ori ginals are

in the pedestal of his bus t in the Sale della Giun ta) ; large bronze tabletof B .C . 117, recording the judgment of Rom an arbiters in a betweenGenoa and a nei ghbouring castle. A cabinet to the left con Paganini

‘s

violin (a‘Guarneri

'

l

Left , No . 18 , W e Basso (Pl . E, by Aissat, so namedfrom i ts red colour , formerly the property of the Brigade- Sale

family , was presented to the ci ty of Genoa in 1874 , along with itsvaluable contents , library , and Picture Gallery (adm.

,see p. 67 ;

lists of p Brignoie- Sale,Duchess

Ascending the staircase to the third story , we pass to the righ t intothe Sranza Danae Ann La m ar (B . I), named

,like the follow ing

after the ceiling-

pai ntings (by Carlos Parodt, Dela-raf t, and others),containing three rtrai ts of Dogea the Brignols fami ly (17- 18thThe ceil ing ain i ngs are sometim es continued by the relief-work o f theeorniees . o the right, the ALOOVA (R . ll ) : Rigaad, Lady and gentlem an

of the Bri gnole fam ily . i l l. Grant s onu s G i ovann i). Over the deor :Car lotta a tti c-i, Martyrdom o f St. Justina. Adiacen to the ri t : Guer

dno Cleopatra ; 8 . 8m m ‘il Capp acetno‘

, Chari ty after Cam iaso) ; L.

cautio n , Holy Family ared) a . m a , Cook wi th pan) ; 4 . delSarto, H oly Fami ly (copy). IV. Bans (insane , wi th cei ling secretedwi th the arm ori al bearings of the fami ly. Exit-wall : M ou se 4 6 BoomLot and his daughters ; Valerie Cas tsllo , Ba of the Sabi nes . Entrancewall : W m , Lo t in captivi ty ; D . Pis te , ti n -chariot of Apo llo ; Outdobolse, Abraham dism issing Hagar. V . St anza m as Pan am a : W e

0 Paris Bordon ,Venetian woman ; H oratio Physician Van

archese Antoni o Giuli o Brignole-Bale on horseback ; 4 . Di m ,Portrai

$1008; ruined) ; M all (school-piece), Philip II. of Epain. Exi t-m all : Van

Prince of Orange, Portrait of a father and son . On the entrance7 3 11 : l a. 3mm , Flute-player ; Van Dyck, l archeaa M a EM A

;

76 Route 18.

Collection o f coins made by Prince Odone of Savoy .

R . VIII. Italian alu tin

bed of the B ri guo le amm i ly i 7th Gallery II.m an ta (i 7th cent . m in iatures, and sm all sculptures.

B . IX . Mo dern p .aintings In the cases are anti qued the like. R.

p.x Maj olica from Savoua and cl

o f porcelain .

Crossing the smell piazza in front of theseAt the end of this

marble. This i s the most sumptuous church in Genoa.In the nave are fre scoes by the (farm

altar-piece i s a colouredwooden group of the

by Alam guano781328) The sacrie contains a Descent

Nay-apnoea (17 the colouring modern.

Carriage- roads and footpaths ascend t om the Piazza Annun

ziata to the (5 min.) Albergo dei Poveri on the

lazioue a.Monte (p .

In the handsomeVIA Bu m (Pl. D , 0,

i 8th century. On the first floor is the‘ Galteria Duwum

(adm., see p .

The M ala contains huate of the Dun n o Pallevi cinl

Pal. Balbi-Sencm ga. GENOA. 16 . Route. 77

Born. S tron i , Portrai t of a bi shop ; Guercino, The tribute-money ; Ti tian,

Magdalen (school-piece) ; Zanchi , Jephtha‘

e daughter. IV. B oon. L. Car

racci , Scourging of Chri st ; School of Andrea del Sarto, Madonna and Child,a round picture ; Guido Rent Cari ta Romans ; Paolo Veronese, Marriage of

St. Catharine ; Guido Rent , gt. Jerome,‘ Vestal Virgin , Cleopatra ; Rubens ,

Portrai t , a round picture ; Ribera , St . James ; Tintoretto, Portrai t of MarcheseAgostino Durazzo ; Gui do Rent , Porcia Romans . Adm irable porcelain vases

in the centre of the room . V . PRINCIPAL B oon . Paintings relating to

the m y th of Achilles by unimportant Genoese m asters. Beauti ful Chinese

porcelain. VI. B oon . Domenichino , Risen Christ appearing to hi s mother ;Van Dyck, Boy in whi te satin ; above i t , Van Dyck, Young Tobias ; Domenichino , Venus m ourn ing the death of Adonis ; Van Dyck, Three children

wi th a dog ;°Rubens

,Phi lip IV . of Spain , full

-length ; Ribera, Heracli tus

(weep ing phi losopher), Dem ocritus (laughing phi losopher) ; Van Dyck, Ladyw i th two chi ldren ; Ti ti an Ceres w i th Bacchus, nymph , and Cupid.

VII. B oon . Unimportant. VIII. Ro om. To the left , Unknown Dutch

Master (ca. Pieta; Gerard David Flight into Egy t ; Fr. Fourbus,Garden of Flora ; Flemish School (ca. 1 Madonna an Chi ld wi th St .Francis and the donors ; Flemish Master (i 7th Féte Champetre.

IX . B oon . German School (attributed to Lombard Crucifixion ,wi th saints ; Rubens , Ambrogi o Spinola . The Library contains 7000 vols .

,

including many Specimens of early printing.

On the left side, No . 4,i s the*Palaz zoBalbi -Sew age.(Pl .D ,

begun early in the 17th cent . by Bart. B ianca, and enlarged by Pier

An t . Corradi . It sti ll belongs to the family who built i t , and after

whom the street is named. The superb court , wi th i ts Doriccolonnades, affords a glimpse of the orangery . The interesting Pic

ture Gallery on the first floor i s shown on introduct ion only.

1. Room, adorned like the others w i th cei ling-

paintings by Genoese

artists . Van -Dyck , Francesco Maria Balbi on horseback ; Bern . S trozzi ,Joseph interpreting the dream . 11. Room

,to the left : Titian, Portrai t ;

Rubens, Portrai t ; Van Dyck, H oly Fam ily ; Garofalo, Holy Fam ily ; Fi lipp ino Lipp i (m ore probably Sandro Bo ltzcelli). C ommunion of S t. Jerome ; Dutch

S chool, Cruci fixion ; Ag . Carracci , Mary Magdalen ; Perino del Vaga , H olyF am i ly , four Figures of Chi ldren (on di tl

'

erent walls). W e return to

R . I and proceed straight on to the III. Ro om :‘ Rubens , Infant Chri st and

John the Baptist ; Guido Reni , Lucretia, Cleopatra.° Ti tian

,Madonna wi th

88 . Catharine,Dominic

,and donors : ‘

charm ing p icture (about thrown

o u t of focus by abrasion ,washing , and repainting ; but still pleasing on 8 0

c oun t of the grace of the atti tudes and the beauty of the landscape‘

Growsat: Caca lcasellc) . Gaud. Ferrari , Holy Fam i ly ; M ichael Angelo Geth

sem ane ; Van Dyck , Madonna w i th the pomegranate (della Melagrana) ;A . Carracci , St . Catharine.

—IV . Ro om. Three “Portrai ts of the Balbi fam i lyb y Van Dyck (in the equestrian p iece the head of Phi lip IV . is sai d to have

b een substi tuted by Velazquez for that of the Balb i , who had been ban~

i ehed). V . ROOM . Caravaggio, Conversion of St. Paul, triv ial in concept i on , but masterly in execut ion ; portrai ts by Jae. Tm toretto Bronz ino

,

and Allori ; then , Lower Rhenish Master of the Dea th of the Vi rg in, H olyFam i ly and Adoration of the Magi ; Gu ido Reni , St . Jerom e. VI. ROOM .

Sm all pi ctures by Andrea Schiavone; Jac. Bassano, Market .

On the right side of the street , No. 5 ,i s the *Palaz zo dell’

Universita (Pl. D ,begun as a Jesui t college by B art. B ianca in

1623 , and created a universi ty in 1812 . The ”Court and stair

case are probably the finest at Genoa. The second floor contains a

library , a natural hi story museum ,and an aula with six allegorical

bronze statues and reliefs by Giovann i da B ologna . A staircase

leads hence to the high - lying B otan ical Garden oi the“t h a n“(ring at the iron gate; side- entrance, Corso Dogal

’

i, p .8XX

78 Route 16 . GENOA.

On the left,No. 6 , Pal. Durasso , with colonnaded court. Right,

8. Carla, wi th sculptures by AlgardiLeft , No . 10, Palazzo Beale (Pl. 0 , erected in the i 7th

cent . by the Lombard archi tects Franc . Cantone and Gian. Any.

Falcons for the Durazzo family ,and extended at the beginning of

the i 8th by Carla Fon tane of Rome. It was purchased by the royal

fami ly in 1815, andrestored in 1842. The palace contains handsomestai rcases and balconies (fine views), and is sumptuously furnished(adm .

,see p . The pictures andanti qui ties are of no great value.

Ante-Chamber : Battle’

pieces by Bus-m ew . Room on the ri ght : Van

Dye): Portrai t ot‘

Marchesa Durant e ; good portrai t of the Lombard School,attributed to Leon. do Vind ° Pa tna del Vega ,

Holy Family . T o the

right , a handsome geliezwi th rococo ain tin and a few ancien t and

modern statues : on the ght, A 0110 an Apo 0,on the left, Me

at the end,Rape of Proserpine y Schiaffino. On the left , Crucifixi on

Van Dyck ; Adulteress, M oretta. Sibyl Guereino . In the thronen room,

large pictures by Luca Giordano.3View of town and harbour from the

terrace.

The Via Balbi ends at the Pi azza Aouuavannn (Pl. 0, the

large square in bou t of the railway- stat ion, the terminus of the

electric tramway along the Via di Circonvallazione a Monte, and a

station on the electri c line to the Piazza Deferrari (comp. p .

On the N. side of the Plan

marble Statue of Columbus

born,of Spanish parents, at

pedestal is adorned with ships’ prows. At the feet of the statue ,

which leans on an anchor,kneels the figure of America . The sur

rounding allegorical ilgures represent Religion, Science, Strength,andW isdom . Between these are reliefs from the history of Columbus. Opposite is the Palazzo Farraggiana , with a marble

relief in the pediment representing scenes from the li fe ofColumbus .

To the S.W. of the station is the Piazza DBL Pam clra (PI. B ,

which commands a good v iew of part of the old forti fications .

A large Bronze Monument, 40 ft. hi gh , by Giulio Monteverde, waserected here in 1896 in honour of the Duke of Galliera (p .

It represents Li berali ty , led by a winged geni us and handing toMercury treasures from her cornucopi a. On the pedestal is a me

lt was remodelled in 1629

from designs by Gioo . Ang. Montorsoi i, and adornedwi th frescoe sby Perino del Vega , a pupil of Raphael.

The long Latin inscription on the side next the street reco rds tha tAndrea d'Oria , admi ral of the Papal, Imperial , French, and nati ve fleets

,

in order to close his eventful career in honourable repose ,caused the

palace to be rebu i lt for himself and his successors. H is pra ises werethus sung by Ariosto : ues to a uel Doria ,

che ta dai pi rati sicuro i lv os tro mar per tu tti i ati

'. he entrance is by the last door to the

right, in the court. The finest of the Fau ce t s by Purine del V

(res tored in whi ch often recall the aintings of Raph are

scenes {mm Roman history on the ceiling,va ting, and lunettcs of 0 grea t

80 Route 16 . GENOA.

(l co,with collect ions of natural history (adm.

,see p . and

an incipient Zoological Garden . Winding promenades ascend fromthe entrance, near which are marble busts of Aurelio Sum(189 1)and Burlando to a high bas tionwhich aflords a noble surv eyof ci ty , harbour, and envi rons.

The direct continuation of the Via Roma i s the Via Assa

ro tti,leading to the hi gh- lying Piazza Mani»(p. From the

Piazza Corvetto we ascend to the ri ght to the park of AcquasolaG , 6 , 6 188 laid out in 1837 on part of the oldt acerts

,see p . From the 8. end of the park we next fol

low the electric line along the Cease Asmara Ponssri ,to the

chu rch of

F,G,

si tuated on a terrace near the former

Ports d’

Archi (p . This building preserves a Romanesque towerdating from the original church on thi s si te

,whi le the facade and

the outer columns of the choi rdate from a Gothic restoration of the

i 4th century . The cantoria (choir- gallery) on the entrance-wall

dates from 1499 . Above the high- altar,the ‘ Stoning of Stephen by

Giulio Romano,one of his best works (1523 ; covered).

In the neighbouring Via Rosco is the church o f 80 1mm Anem ia“:di PM om

‘

a 0 S anta Caterina (Pl. G ,w i th a line ortal (1021) and the

reliquary of t. Catharine of Genoa (d. A at ng i t is the Ospedaleat Pammatone, in front o fwhich is a foun tain w a bronze statue o f the

boy Bal illa (p . 88) by aw .

We now cross the viaduct above the Ports d’Archi (see abov e)and enter the 8 . part of the Corso Andrea Podesti (Pl. F, 7 ; lineviews). From the Piazza Galeazzo Alessi (Pl. F,

8) we follow theV ia Galeazzo Aless i to the church of

‘Banta Maria di Carignano (Pl. E ,8 ; 174 ft . above the sea),

begun by Galcazzo Alessi in 1562 , but not completed till 1603. It is

a smaller edi tion of the plan adopted by Michael Angelo and Bra

mante for St . Peter’s at Rome. Here

, however, a square groundplan takes the place of the Greek cross of St. Peter’s , and sm all

lanterns represent the m inor domes. Principal portal, i 8th century.Im an ou. Second altar to the right, Hora tio, SS . Blasiu s and Sebastian ;

l th altar, Franc. Vanni , Comm union o f Magdalen° 1st altar to the

left, Gc creino , S t . Francis ; 8rd altar use, Entomhrnent . B no

statues below the dome by Puget (80. Sebastian and Alessandro 8a i),Parodi (St. John), and David S t. Bartholomew).

The ‘ Vxnw from the hlg est gallery'

of the dome i t. above thesea ; 119 steps to the first gallery ,

thence to the top a easy and welllighted stai rcase) embraces the city , harbour, and fortificati ons, the well

peopled coast (W . the Riviera di Ponente, E . the Riv iera di Levante), andon the 8 . the vast

, ever-vary ing expanse of the Hediterranean . (Sac ristan

25a ; his attendance for the ascent unnecessary ; bes t li ght in the murmur )The Panic Carignano spanning a street 100 ft. below,

leads from the N.W. side of the church toD, 7) and the harbour. in the Opposite

Bixio leads to the Prazza Brxro (Pl. F, among the gardens ofwhich rises a large bronze statue of General Nina B ieio, by Pau l

Forte Costellaccio. GENOA. 16 . Route. 81

r To the E . of the Piazza Bixio , in a commanding si tuation, is the

Ospedale Bant"Andrea (Pl. G ,

establi shed in 1888 at the expense of

the Duke of Galliera (p .

The broadVra Consrca (Pl. F, the prolongation of the Corso

Andrea Podesti,descends from the Piazza Bixio towards the S .W.

to the‘ Via di Circonvallazione 9.Marc, a fine street , laidout in 1893

95 on the si te of the outer ramparts, traversed by an electric tram

way (No. 4 , p. and commanding beautiful v iews. It begins, as

the Via Odone, at thePiazza Cavour (Pl.D,6) andpasses the docks

mentioned at p . 70; then, under the name of Corso Aurelio Safli , i tascends gradually , skirts the sea beneath the hill crowned by thechurch of 8. Maria di Carignano (p. and finally bends round

sharply to the bridge over the Risegno (p . whence i t i s continnedby thenew Via Canevari

,leading to the Campo Santo (p.

e. From the Piazza Corvett o to the Piazza Marlin . Via di Cir

convallazi one a Monte. Castellaccio. Campo Santo.

TheVi aAssarotti (p. 80 ; electric line No. 6, p. 66) ascends from

the Piazza Corvetto to the N.E ., passing the new church of SantaMaria Immacolata (Pl . G , to the PIAZZA MAN IN (Pl. I, 4 ;330 ft. above the sea). On the W . side of this piazza begins the‘ Via di Circonvallaz i oneaMonte, a magnificent route laidout since

1876 on the hills at the back of the town (electric line No. 6,see

p . It skirts the hillside in long windings under various

nam es (Corso Principe Amedeo,Corso S olferino , Corso Magenta ,

Corso Paganini), and leads to the i tSp ianata Castellctto (Pl . E ,

commanding one of the finest v iews of Genoa. Here i t takes thename of Corso Firenze and runs to the N . to the church and cable

car stat ion (p . 66) of San Nicolo (Pl. E , It then sweeps round

above the poor-house (see below) and the charmingly si tuated Cas

tello d’

Albertis (PI. 0,D,

a vi lla in the style of a medias val

castle, to the Corso Ugo B asal, whence it winds down under various

names to the Pi azza Acquaverde (p . The electri c line avoids

som e of the curves by a tunnel.

From the Pi azza Zecca (Pl. D,3 ; p . 76) the cable- tramway

men ti oned at p. 66 ascends v1a S. Nicole (see above) to the lofti ly - si tuated Forte Castellaccio (1263 The site of the upper

term inus of the line (1160 3. li ttle below the fort,commands a

beauti ful ‘ View of Genoa,the valley of the Risegno, and the coast

from Savona to the promontory of Portofino . A still finer v iew i s

obtained a little higher up , at the *H6tel- Restaurant Right , withits terrace (dej . 3, D. 4 fr. , wine included ; room s heated in winter;concert on summer- even ings).

The older line of roads,di verging to the left at the Spianata Costel

letto (see above), i s known as the Via di Circonvallazione 0.Monte Interiors .

The first p art of i t, nam ed the Corso Carbonara , leads to the Albert o dei

PM or p oor-house [P] . D , E , 1, 2 ; 300 ft. above the sea) , wh i ch h as

BAE DEKER . Italy I. Edi t. 6

82 Route 16 . GENOA.

room for 131) persons. It then takes the name of Com [Menu and re

j o ins the mai n thoroughfare at the Oastello d’

Albertis , adjoining theper entrance to the Botani c Garden (p.

The ‘ Oampo Santa or Cimi tero di Stagttrno (open daily 9- 6 , inwinter 10- 6 ; elect ric line 6 , p . 66) is reached from the Piazz a Ma

nin (p . 81) by a new street , which leaves the ci ty by the Porto San

Bartolomeo (Pl. 1, 3 , 4) and then des cends (views) into the Valleyof the Bisagno and to the village of S tagttcno . About l/g M. fartheron (1 M . from the town) is the entrance to the cemetery, whi chwas laid out by Besasco in 186 7 and stretches up the slope on the

N. bank of the Bisagno. The fine monuments and the general ar

rangement of the cemetery are interest ing , as also the cen tral

rotunda, the internal gallery ofwhi ch is borne by monoli thic column sof black marble. Above the rotunda, to theN .E .,

close to the steephi llside, is the tomb of Giuseppe Mazzini (d. On one side

we observe a conduit and aqueduct belonging to thewaterworks of

the city . In returning, we may use the electric line (No. 4) alongthe Via di Otreoncatlaaionc a Marc (p .

To the W . to Psgli (‘ Villa Pallavlclui), by rai lway , see 89 , or in

hr. by carriage (there and back 10, wi th two horses lb in); tramwayevery 10min ., cem p . p . 66 . To theE . the Neroi Boad leads first to B.Mm oo d

‘Atbaro (omn .

, p. near whi ch are the ‘ Villa Cambiasothe Vi lla Paradi se and the house that Byron occup ied in m inAlbert) Then tollow Starla (near whi ch a small m onum ent marks the

point of embarkation o f till) Gari baldians for liarsala in W e,sta ti ons of the ordinary trains from the E . S tation to Pisa

(com p. pp . 64, 98 ; several sea

-bathing resorts on the way). Fine v iews o fNervi and the Rivieras. Net-vi (p. 98) is reached in 2lh hrs. (omn., p.To Beta or to 8 . H argheri ta (by rai l), and thence to Pot

-tom , see p.

17. From Genoa to Ventimiglia. Riviera di Ponente.

94 M . RAILWAY in “havehrs . (fares 17 i'

r. 10, 11 fr. 17 fr. 70m ; ex.

press 23 i’

r. lb, 16 fr. The ‘train do lnxe

‘

from V ienna to Cann es

(p . as) performs the journey in about 4 hrs. (i st class tare 28 fr. 6 a ).In winter a dining-car (dej . D. D]: fr.) is attached to the firs t ex

press from Genoa and the noon express from Ventimiglia.The Riviera (p . the narrow sea-border of Liguria, div idedby Genoa

into an eastern (Riviera di Leeann : p. 98) and a larger western half

(Riviera at M eats) , which belongs to France from Ventimi glia westwis one of the mos t pi cturesque regions of i taly . It ati

'

ords a deli ghvariety of landscapes, bold and lofty promontories alternating wi th woodedhills , and richly cultivated plains near the coas t. At laces the road

passes precl lions and frowni ng clifl‘

s,washed by the sur of the Medi tar

ranean,wh the summi ts are crowned wi th the venerable ruins o f

towers erected in bygone ages for protection against pi rates. At other

places ex tensi ve plantations of oli ves , wi th their grotesque and gnarledstems

,bright green pine

- forests, and luxuriant growths oi‘

figs, vines,

c i trons , oranges oleanders , myrtles, and aloes meet the vi ew and even

alms are occasionally seen. Many of the towns are charm ingly si tuateda fertile spo ts or on

picturesque hi lls ; others , commanded by ancient

s trong bojds , are perche like nests among the rock s . Li ttle W W

84 Route 17 . sevens .

grounds in the English style, the Villa Pignonc , the Villa Dorie

(permessi in the Pal . Doria in Genoa), and the ‘ Villa Pallav icim‘

,

a favouri te object for an excursion from Genoa (comp. p . 82 ; open

10 3,Sun. 10—2 ; closed on Sat

,Eas ter

,Whi tsunday , and Christ

mas ; fee 1 fr., for a party 2 Visi tors should insist upon pro

ceedi ng to the highest point for the sake of the view.

The v illa is on our left as we leave the station . The vi si t takes

2 hours. The grounds extending along the slepes of the coast d lay a

profusi on of luxuriant vegetat ion and afford delightful prospects o f en oa,

the sea ,coast , and mountains. On the highest point stands a cas t le in

the m edi e val style wi th a tower (N iew). Around i t are indi cat i ons ofa simula ted siege : mauso leum of the fallen commandant , ruin-st rewnburial-place o f his heroes . Farther on i s a stalactlte gro tto wi th a subterranesn piece o f water ; under the bridge a striking glimpse of theligh thouse of Genoa and the sea . There are also summer-houses inthe Pompeian , Turk ish , and Chinese styles , an obeli sk , tountaina etc .

The gardens contain tine examples of them iles , vani lla, cinnamon , per,and camphor plants , sugar

-canes, palms, cedars, magnolias , and as can.

7i/gM . Pro, a ship-building place ; M . Voltri (Gallo ; Vi lla),a town wi th 6400 inhab., at the mou th of theCa use, near which isthe Villa Brigade- Sale.

Numerous tunnels and bridges. 13 M. Arenzano , a ret ired

and sheltered spot,wi th the line park of Marchesa Pallavi cin i ;

beauti ful retrospect towardsGenoa. M . Cogolcto, erroneouslydescribed as the birthplace of Columbus (p . to whom a mon

ument was erected here in 1888.20 M . Varassc

,wi th 3600 inhab. , is a busy ship - building

place . The coast on both sides of i t i s rocky. Numerous cut t ings

and tunnels. 22 M . Cells. Zi i/g M. Albissola, at the mouth ofthe Sansobbia, where pot tery is largely manufactured

,was the bi rth

place ot‘

Popes Sixtus IV . and Julius II. (Giuliano della Rovbre).27 M . Sevens. (Rai l. Restaurant ; Alb. Se izu re

,R. 3

, A. fr. ,Roma, R. omn. l/g i r., both well spoken of ; Italic), a town

wi th inhab.,is charmingly si tuatedamidst lemon andorange

gardens. Thebusy harbouris commandedby a fort. ThePeninsular-toincorporates some remains of the old cathedral

,destroyed in 154 2 .

The new Cathedral (of 1604) contains some pictures by Lod. Breeand others and handsome Renaissance choir-stalls carved in 1609at the expense of Jul ius II. Opposi te is the Atenco (unfinished),bui lt for Julius 11. by Gini. da Sangallo. The handsome theatre

,

erected in 1863 , is dedicated to the poet Chichm a (1552 a

nati ve of the place. The oratory ofSanta Maria di Costello has a largealtar- piece by Pepps wi th a portrai t of the donor, Giulianodella Rovers. There is a small toture-

gallery in the OspedaleCio ico (adm. Sun. andThurs., i The

”

church ofMadonna dcg liAngeli affords a fine vi ew of the town . A Church Seaman

’

s Institute

forBriti sh sailors was Opened here in 189 1 (Rev. J. T . Christ ie ofGenoa ; serv. on Sun. and Tues .

,concert on Wed) .

m m , see p . «lS. From Savona to M , see no. i8, l7 ; to 4mm dfl a, see p . 46.

86 Route 77. SAN BEMO.

has since then been largely rebui lt (2000 inhab.) and is now a

winter- resort . To the right, inland, is Diana Costello.

enters a more extensive plain, in whi ch Oneglia andPorto Mauriz ioare si tuated.

M. Oneg lia (Rail. Restaurant . Hdl. Victoria ; Alb. del

wi th 7300 inbah . and a shallow harbour,carries on a busy

trade in oli ve- oil. The pri son near the station resembles a church.From Oneglia to Om en, v ii the Col (i i Nara, see p. 48. Tramway

to Porto Mauricio.

The train crosses the broad and stony bed of the Impcro , whichthe road crosses to the left by a suspension- brick s . 70M . Porto

Maurizio (Hotel dc France, at the stat ion ; Commcrelo, in the town),wi th 6600 inbah. anda goodharbour, i s most picturesquely situatedon a promontory amidst dense olive

-groves. Olive- oil is the staple

commodity ,the finest kinds being produced here and at Oneglia .

Porto Maurizio,with a fine domed church and a charming Gi ardino

Pubbli co,is visi ted as a win ter- resort and for sea- ba thing .

73 M . San Lorenzo alMore. The low,massi ve towers which rise

at intervals along the coast to the right of the line , some of themconverted into dwelli ng—houses, were erected fordefence against theSaracens in the 9 th and10th centuries. 77l/gM . Santa StefanoRioaligure. To the right on the hi ll i s the fortified 8 . Stefano ,beyond whi ch we enter the broad Val Toggle. The train crosses

the Taggia ,

(the vi llage

valley on the right affords a charming vi ew of Ban ana,romanti cally

perched on a rock. The ruins of thi s village, which was completelydestroyed by the earthquake of 1887 , are worth vi si tingruined church at Bussana Nuovo

,M . lower down).

opposite i s Poggio, which first becomes vi sible. Then a tunnel

under the Capo Verde.

84 1/ M. San Remo. The Railway Station (Pl . Restauran t)lies on the w . bay , a few hundred ards beyond the new town.

Hotels b Penaions . On the W. ide of the Town swarmafar

-no :

‘Wasr Earn B orax. (Pl. A Corso Panca le, wi th lift andpret tya

,rden B i l/2 .8 A 1 13 1

8

] p .en.s 10 not .

Bo rax.A.

‘

fPl

B.

.

0

1B , Gorso dell‘ Im pera t ce

,

D

w11hpelectric li ght, L .

‘

(gtAb

l/r: D . 6 , pens . from 9 fr. Ga. Bbr . nus As onara1. Corso

O

dell’

Im peratrice, wi th li ft and electric light ; Ga .

1161 .

b

o s s h as Barrans rquas (Pl. n A. close to the sea , li ., q A .

”new, B . l a dej .8117 , D . b, pens 114 5 fr. Ou. B dr. on Los nm (Pl. c ;A, 4) Cam onente ; all those o f the first class, the last three frequentedby the English.

— Bnrw Ham (Pl. 1 ; A Oorso Ponen te, frequented bythe En lish. Lesa retentious : ‘Pas sro s Tuarr (Pl.b ; A Cum Ponente

,

us . 1 fr.,‘Mdr. arts . Panama (Pl. f ; B Co rso Imperatrice B . SB 1A,

395, pens . 7-12 fr. Pans . Fa onsrron (Pl. d ; , 4) Corso Ponen te,‘xans

7-9 fr. well spoken 01; PansIiPas ha -Bo n u s

, Strada As

h

ql'uasciati

hG-lx

m

3 61 1’s“ . Barsro r. (Ph i Co rso lmperatrice, B Ir-Oft

Ba

It , déj . 2l/ D .

wilp

en 0 .ir Hbr . no Pavrtw a (Pl it ; A, CorsoPonen te, B .

l}; B . dé ,

a

D. 3‘h, pens. 0—s fr., wellof

, lheqaen ted/by the En Qurs tsaxa , above the Corso

Ponen te, wi th li ft ayndsheltering verundah .

aa

“ theVia Bertoo ,\u an aerated

88 Rou te 17 .

trice 4 .Climate. San Rom e is sheltered by

rising from the Capo Nero to the Hol e

in the Hos ts Cagg io (8675 ft .) and ”on“

January are usually calm and sunny . To consum pti ve and bronchi al

pati enn the E . bay is recomm ended on account of i ts sheltered si tua tion

andhum id atmosphere, whi le sufferers from nervous and liver com lsfi i ts

wi ll find the dry and stimulati ng s ir of the W . bay more benefic Anaqueduct, completed in 1886 , supplies San Rem o wi th good drinkinn utcr.

San Remo , s town of 19 ,000 1nhab.,lies in the middle of a

beauti ful bsy , M. long, embosomed in oli ve-

groves that coverthe valleys and lower slapes and give place higherup to p ines andother conifer-m.

The crowded housu of the old town occupy a steep bi ll between the short valleys of the Torrents d dConom to and the Tar

rm le (11 San Rovnolo. A smaller quarter named CastigtIuoli lies tothe W. of the latter stream. These older parts of the town consist

of a curious labyrinth of narrow but clean lanes,flights of steps ,

archways, lofty and sombre houses, and mouldedng walls. The

arches which connect the houses high above the streets are intendedto give them stabili ty in case of earthquakes. Vines areseen clambering up the houses and putting forth the

and leaves on the topmost stories. The houses ri sing one above

another receive light and air from the back only .

The new town , occupying the alluvial land at the

hill, contains all thepublic buildings. The long Via

nucle (Pl. 0,D,

with its numerous shops,is the

traffic. To the S.E . i s the text of S . t ta (Pl. D,

p ris on), constructed by the G i noese to deund the

to Ventim iglia . SAN REMO. 17. Route. 89

which is sheltered by a Bnm xwa'rsn 1300 ft. in length. A survey

from the parapet of this Molo will convey an idea of the shelteredposi tion of San Remo , which renders the climate as genial as that ofMentone and has brought it into notice as a health- resort (seep.

The Via Vitt. Emanuele leads to the small Giardino Pubblico or

Giardino Maria Vittoria (Pl . 0, 3 ; concerts , see p . containing

palm s,eucalypti , etc., and to the

‘ Conso 1 mm}

Imrsna'rm os (Pl. B ,

on theW. bay , whi ch i s plantedwith palms andpepper- trees.

Thi s magnificent promenade, the favouri tewi nter- resort of the v ia

itor,skirt s the railway- tracks and the sea

,terminating towards the

W. in the beauti ful Giardino delt’

Imperatrice (Pl . A,B,

named,

like the Corso itself, after the Empress Maria Alexandrowna of

Russia (d. Beyond the garden the promenade is continued

by the Corso Ponente (Pl. A,

A delightful drive (tari ff, see p. 87) is afforded by the ‘ Vra

Bamao (Pl. A ,B,C,4 which diverges to the

,N.W. from the

Corso Ponente and ascends the valley of the Torrente della Face.

It then turns to the E . and runs in windi ngs along the hi llside,flnally descending in a sharp curve to the Giardino Pubbli co (seeabove). About the m iddle of thi s road li es the Villa Thi em (PLA ,

bui lt in 1896 - 97 and containing a valuable ‘ Picture Gallery,transferred from Nieder- Schonweide, near Berlin . The collection

consi sts mainly of Netherlandi sh works and i s especi ally rich inportrai ts and sti ll- life pi eces by the great masters of the i 7thcentury . It i s open to the public on Tues. Thurs .

,11- 1 ; but

lovers of art wi ll probably obtain admi ssi on at other times also .

The Vestibule con tains two fine Persian carpets (l6th cent.) and theFaun

’s Secret , a m arble group by Ed. Matter . The Renai ssance Stair

case, w i th treads of carved walnu t and stuccoed walls , is adorned w i th

a relief by Luca delta Robbia , a Persian carpet (l6th and a Florentine

carpet of my thologi cal desi gn (l6th cen t ). A Renai ssance door (fromBolo a), hung w i th Persian tapestry of the i 7th cent. , leads into the

icture Gallery , which is lighted from the roof. Am ong the best pic

tures are the follow ing Roger van der Weyden ,Adoration of the Shepherds ;

‘Dtrck B outs, Crucifix ion , Woman taken in adultery ; S ty le of B . van Orley ,Annun ciat ion , Portrai t ; Ercole de

’

Roberto , St . Jerome ; Fr. Clouet, D iana

of Poi tiers ;‘ A. van Dyck, Marchesa Spinola (full- length) ;

v.l‘tembrandt

,

‘The

Con stab le’

, portrai t of an unknown Dutchm an L. Franchoys, Por

trai t ; J . Backer, Portrai t ;‘G. Terbarg , Young lady , Young m an ; Fr .

Snyder's, Cock

-fight, Ki tchen - table ;‘ Jan Fy t, Fish, Gam e, Dead b irds ;

0 . can Horst, Frui t ; W. Kalf , B reak fast- table (‘a symphony in

‘C'laesz Heda , Breakfast pieces ; H ondecoeter , Poultry ; A. van Beg/area , Fi sh ,

Break fast ; Rachel Rug/sch, Flowers ; A. M ignon, Dead b irds ; J . D. deHeem

(m ore probably Mahu f), Break fast ;‘ P. de H ooch

,Interior Jan

Vermeer can Delf t, Interior ; Jan S teen . After the break fast ; Tem’

ere the

Younger , Landscape ; Isaac van Ostade, Pig-k i lli ng, Laughing peasant ; Jan

van Goyen , Two landscapes ;“J . van Ruysdael, Oaks by the waterside

(even in g-light ; an early work , ca . Landscape (ca. Ribera ,Archim edes ; Franc. Gaardi , Four vi ews of Veni ce.

The Via B orgo, the prolongation of the Vi aBeri go, runs up one

side and down the other of theRomolo valley, passin g the Madonn a

del B ar/ o [P] . B, It then runs to the S.E . to th e wh i te dem e

m ered church of MADONNA DELLA Cos'ra (Pl . 0 ,i,

wh i ch Vs

90 Rou te 17 . ospsnm m .

perched on the t0p of the hill as the keystone of the oldtown . The

church i s approached by alleys of cypresses and commands a thi s

v iew of bay andmountain. In front there is a large hospi tal . On a

more prom inent point, in the grounds of the Villa Carbone (Pl. 0,D,

rises a low octagonal tower (fee l/g which aflords an ex

cellent survey of the environs .

From the Madonna della Costs the sheltered Via B arragallo

(Pl.C, D,1,2)descends circui tously to theVia di M m ia (Pl.D,

E,

The main thorough fare ot‘

the quarters on the E . bay i s formed

by the Corso Garibaldi (Pl. D,E,2) and i ts E. prolongati on, the

Corso di Levante (Pl. E ,F, A little above the latter; next to

the Bellevue Hotel, i s the Villa Villenenve or Zirio (no admission),where the dying Crown Prince Frederick Willi am resided from

Nov.,1887

,to March

,1888. The chief promenades in this quarter

are the high- lying Via Peirogotto (Pl. E F,2, 1) and the quiet

Passeogiata Imperatore Federico (Pl. E ,F,2 by the sea.

8.Auto

p .

see p. the

The train passes through a tunnel under Capo Nero, while theroadwinds round the promontory high above the sea.

S7V? M . Ospedaletti . H otels .

‘ Horsr. on LA B urs a, w i th li ft and

steam -heating, R.,L.

, a A. 48 , B . i lls, d i. A D . 6, pens. 8-16 fr. ;

Pa s. Sou sa, also w i th steam -hea ti ng R.ir i , L.

l/g, A.1 B . 0 z, dei.

8, D . 4, pens. 6‘r 9 fr. ; Bdr -Pas s . i vi m , pens . from s in ,

talian ;'Hd‘r.-Pas s . o n s ense, 8 . 2—3, dej . D . 8, pens . from 8 fr., un reten tii ng. Also Private Apartmen ts . E mits): Church S ervice in ter.

Physician, Dr. em u». Concerts in the Casino (w i th restauran t and

readin ~room) on li on . and Frid. at p.m . Omnibus to San Ren o and

Bordi g era, see p . 87.

Ospedalettl, in a sheltered and most favourable situation,wi th

walks free from dust,has recently been converted into a winter

resort at great expense. This i s the station for the lofti ly- situated

(1 hr.) Coldirodi (830 the town- hall ofwhich contains an incon

siderable picture-

gallery . A view i s now soon obtained of the

palm-

groves of

9 1 M . Bordighm . Hotels andPensions (closed during the surm

gt

gr). On the S trada Romano (p. named from W . to ‘G lu an

TI L

to Ventim iglia. BOBDIGHEBA. 17 . Route. 9 1

‘Pnns . Cons'rm ra (Pl. d), ens. fr. Hors t. Burs a Vrsra (Pl. c),wi th fine view

,R., L.,

a from 8, B . il/z, dej . D . ill/34 , pens.7- 10 fr. Lower down, in the Via Vi ttorio Emanuele (see below) :

‘ Hdrnr.n'Anomtrrmnn (Pl. f), w ith garden, R.,

L .,c A.

-6, B . dej . 3,D . 4 , pens . 8-12 fr.

‘Hd'r. Lo zsnon (Pl. g) wi th a large garden , B . i lls,dej . 3 , D . pens.

-10fr. ;‘ Cu . B drm. DEB LE S Barr/ marq ues er Vrcronra

(Pl. h), a li ttle back from the road ; Hdr . Wmnson nr Bs annrva or, pens

74 1 ft . ; Pans . one Ot m sns (Pl. i ) ; Pas s . Jomn (Pl. k), pens. from 8 fr.,

unpretending . List of Pri vate Apartm ents in the Agence des E trangers,V i a V i tt . Emanuele and at Mr. Berry

‘

s, Casa Balestra, V ia Vi tt. Emanuele.

Restaurants. Caf e della S taeione; Caf e- Rutorante Ligure. CafeBerger, V ia Vi tt. Emanuele.

Physi cians : Dr.Danvers, Dr. Hubbard (E nglish), Dr.Aanetti , Dr. Dambacher, Dr. Herschel, Dr. Kerez , etc.

Eng li sh Church : All Saints‘

, V ia B ischofi’

sheim,services at 8,

and 3 ; cha lain, Ree. Arthur T. Barnett, ILA.

Post 0 cc , V ia V i ttorio Em anuele, 0 en 8-12 and Tele

graph Office, V ia V i tt. Em anuele (open 9 2 and 2 7, Sun . 9 -11 and 4M 0" : Edward E . Berry Casa Balestra n l . Banker and A ent

Banca dt Bordighera .

(E g g ) s

Theatre : Ruffini , Via Margheri ta (Operettas and comedi es).Cabs (stand in the Strada Romans ) : per drive 1, wi th two horses

1‘

[ft . ; c

t

r hour 2, 3 ir. ; to (2 hrs .) Mentone , w i th stay of 1 hr.,

or r.

Omnibus to Osp edaletti andSan Remo, see p . 87 ; to Ventimiglia (40m in .)every 20 m in . (fare

Climate. The strangers’

quarter is formed by the Strada Romans , nowconverted into a wide and dust-free prom enade running along the slepe

through groves of pine and olive. It i s fairly sheltered, especially towardsits E . end. The temperature i s simi lar to that of Mentone. The hum idi tyis low near the sea , owing to the dry coast-winds, but increases as weapproach the wooded hi lls. The number of rainy days is even less than

at San Remo . The quarter adjoining the sea was strongly afl'

ected by the

earthquake of 1887 and is too exposed for invalids.

The li ttle town (2600 first brought into general noticeby Buffini

’s novel

‘Dr. Antonio

’

,consi sts of a new lower and an

old upper quarter. The former, with the railway- station,hotels ,

and straight streets extends along the shore ; the latter stands on

the higher ground of the Capo di S an Ampeglio. In theW. part of

the Via Vittorio Emanuele,the main street of the lower quarter, in

the Windsor Hotel,i s a small Museum (founded in contain

ing objects found atNervi (p.93) and otherLigurian towns, a small

collecti on of paintings (mainly Ital ian works of the17th and

geological and m ineralogical specimens. In the E . part of the same

st reet, beyond the rai l. stat ion,are the Magass in i Winter, wi th an

exhibi t ion of plai ted palm- branches .

The cross- streets on the N. side of the Via Vitt. Emanuele

ascend to the Strada Romano (the ancient Via Aurelia), whi ch runsparallel wi th i t and ends on the W . at the Borghetto brook . Thi s

fin e street affords charming views of the palm- gardens of theHotel

Angst, the Villa B ischo/fsheim ,now Etelinda (bui lt by Chas. Gar

ni er of Pari s), and the Casa Moreno. On i ts 8. side,below the

Hbtel dc Londres,i s the New Museum

,or International Free L i

brary, founded by Mr. Bi clmell and containing a reading-room ,

o

concert -ball, about 3500 books, a unique collecti on oi the hora oi

9 2 Route 17. VENTIMIGLIA.

the Riviera, and a collection of m inerals. A magnificent‘ View is

obtained from the stone benches on the top of the promontory , at

the E . and of the road,a little to the S . of the Hotel Bella Vista.

and from the terrace a li ttle higher up : to the left, the bay of Capedaletti ; to the right, Ventimiglia, Mentone, Cap Mart in, Monaco ,the Monte Esters ] , and the snow-neckedAlpes Mari times .

Bordi ghera is famous for i ts floriculture (roses, carnatious , anemones, which partly supplants olive-

growing, and for i ts

date-palms (Phoenix dactytifera), ofwhich,however the frui t seldomripens sufficiently to be edible. Li ke Elche (seeDaedelter’aBordlghera does a large business in supplying Roman Catholi cchurches wi th palm-branches for Palm Sunday. For this purposethe leaves are bleached on the trees by being t ightly bound up .

The finest palms are seen in the above- named gardens, in that ofthe Villa Garnier (to the E . of the town), at HerrWinter’s ValloneGarden

,M. to the E .

,near the Sasso bridge (open to the public),

and in the Madonna Garden at Buota,

M. beyond the bridge,belonging to the same gentleman and containi ng the celebrated

Scheflel Palms (Open at all hours ; vi si tors sign thei r names and

contribute a trifle for the poors' box).From the Vallone Garden we may ascend the Valley of theBasra

in dry weather) to the (2'/g M.) Aqueduct and return thence to

(i M .) Bordighera along the condui t. Another pleasant walk isafi

’

orded by the Strode dei Com,to the N. of the old town . At

Merogli, at the end of the road,a footpath leads to the left to the

Tom dei Mostaecini, a goodview-

point key kept at theHot. Angst).

Exouus to sa : from Old Bordi ghera by out an bridle paths throughbeauti ful olive-groves to (‘la hr.) Basso , through the Vol Heroic to (8 M.)Dolceacqua . wi th the ancestral cas tle of the Dorias of Genoa, and v ia

Iaotabona to (8 Piano ; to (in/3 M.) Vallebona vi i Borghctto ; to the W .

to the M a di 8m Btagto or (i t Santa Grace (1080 i t.) wi th extensi ve view

saw.hrs ., there and back) ; through the Vaaeerccia ram ,

v iaVal lecroaia ,

B iagto della aims , and Baum ,to (Bl/r d. hrs.) M aids, a vi llage

commanding beautiful views .

To the right of the line we pass the Protestant school of Vallecrosia (shown to visi tors onMon.

,Wed.

,d:Thurs .) Crossing theNer

o ia , we obtain a glimpse of the Mari time Alps. The line crosses the

road ; on the left are scanty remains of theRoman theatre ofNet-via.

94 M . Ventimiglia. H otels . Bdrm. us L‘

Euaors , well spokenof ; Her. use Vora c ruas. dej . J:

D . 8 fr., wine included; Bdrm. Bursar,

modest . Ra i lway Restaurant, 65. 2, D. 4 ir., incl. wine~ daf t -Restaurant

IlaiaowDorJe. H oney Changers at the rai l. sta tion . been“ to Detecaequa (1 (r.) and to fl attens ; to Bordignara, see p. 81. One-horas 011mrtag e to M ane 5-8 i

‘

r. (bargaining necessary ; stand at the rai l. sta ti on).

Ventimiglia, Fr. Vintim ilte ,an Itali an frontier- fortress , wi th

4200 inhab.,lies picturesquely on a hill beyond the Roj a . In the

Municip io is a small collect ion of Roman antiqui ties from Nervia(see above). The church of S . Michele is interest ing ; the columnson e vaulted cryp t bearRoman inscriptions . Fine view oi theRejamale; through the Porto Romano .

9 4 Route 18. M W .

Pen sions. ‘ Boasra,w i th large garden, to theW . of the town, 8 fr.

Villa Sani ta s , next the Vi lla GrOpallo , 7-10 fr. ; Vi lla 7

U nderarm,near the Munic ip io , w i th garden , 78 fr. M ia. fr. La

Riviera 645 th ; P. du Parc ; Gamm a. Recolo Eden, these two i tali an. Thefollow ing pensions are under medical sup

erintendcnce : Dcaurisaac (seeahove), pens. and trea tment iO-i S ttn ; Vi ia M arten : Pens. Orleans ,

Reconva iesceatssbcim (Dr. Schctel ig), for pati en ts of lim itedmeans , 6 fr.

All the ho tels and pensions , excep t the c-Psnsion Svtm ra , are closedin summer. ” m issed Apartments afl l-i fr. for the season) and vi llas

(26mm fr.) are scarce. Agent AM . On e“, V ia del Porno 75 . Adoctor should be consulted as to situation.

Post Tale ph Office, Via Corvetto 187 (8 a.m. to 9 pCabs . Per y a in the t

zuwu 60 c., wi th two horses 1

pir. at night

1 or i l/g fr. per hour, 1'/z, 2, 2, and 21/z ir Special tarlfi

' ier dri ves

heyand the town .

Omnibus to Genoa,see

Phy s icians. Dr.Fresh lyriatus.Dr.Orteaau, Dr. Bolas , Dr.Alexandr ,

Dr. Waisrssbcm. Chem ist s . Gallo, at the post-office ; loose, op

pos i te

the Palazzo Gropello . M itch Church S on ics at the Eden nétGu i tars etc. Nervi , the most important winter-station on the E .

Rivi era , is backed oh the n by y am ca po, and is sheltered on theN .W . by a spur o f the MonteFascia and on theW . by the promontor o f

Portoflno, while i t lies fully expo sed to the S.E . wind. Its mean ter

temperatu re (62° Fahr.) i s almost the same as that of the W . Riv iera

,

but the rainfall at lies-vi i s m ore copious and the

periods of dry weather

less prolonged A feature of the place i s the due and sunny promenade, which runs along the shore above the rocky beach , and is pro

tes ted by a lofty wall on the landward side Pleasantly placed benches

on the promenade and in the o ining gardens ail'

ord res tin

kfllaces i

‘

or

patients who w ish to be much 11 tha n an air w i thout ta act ive

exercise. The cho ice of longer walks in t e vicini ty i s lim i ted.

Nervi,a small town wi th 2900 inhab .

,surroundedwi th groves

of olives, oranges, and lemons,i s much frequented in winter by

Engli sh and Germans, as a heal th- resort . Among the villas the

finest are Villa Grapallo (beauti ful park , not always open ; entranceby No. 56 in the main street ; fee), Villa Serra , and Villa Croce (tothe W.

,with superb grounds), all noteworthy for their luxuriant

vegetation .

Bes ides the above mentioned Coas t Promenade ,another charmi ng

walk may be taken by the picturesque road , which , heginnin opposi te

the Villa Gropello in the main street ascends in curves to (37a hr.) thechurch of San!

’l iar-to ,

halfway up the Monte 0t‘

q (1594 On the way ,and from bes ide the church. we obtain adm irable views as far as Porto

duo on the E . and of the Riviera di Ponente and the Li gurian Alps on

the W. The oo

’t'psth (short

- cut) mgbe chosen for the descent . The

ascent of Monte ascta (2780 t‘

t . 273 rs.) is also worth mak ing.

The numerous tunnels that now follow sadly interfere wi th theenjoyment of the view. 9 M . Boguasco , 9 ilg M . Piece di Sari ,

lot/2 M . Sari , beauti fully si tuated,wi th a noble survey of sea and

valley from the vi aduct wh ich passes high above the town and ri

vulet. 18M. Rccco (modes t innFrost 3 1 000 1 0 Bars 23] M. t 0 bus and ages (DA-3 fr.)

at the m uch . new (950 th ; i talis as). 13 , n. s, pens . ma ysi tuated at the hi ghest oint of the hi hroad (see below), is thebest s

point (or the ascent o the ‘I onte Pertenne (N 10 ft . ; guide no t noses»

A good footpath, commandi ng line vi ews of bo th the Rivieras ,

faded /y ascends in hr. to a huge eat on the of the X. ridge:

A b (ram the an t , wi th the ore, or at « m i-km the) M

10

9 6 Route 18. caram el.

Cu rran . Rapallo is surrounded on the N . by a semici rcle of menu

tains , which unite wi th the promontory ofPortodno on the W., to form .

tolerable shelter own“ thewind. Rapallo is cooler, mo isten, and rainicr

than Nervi , but far excels i t in the num ber of i ts attrac ti ve walks .

Rapauo , a small seaport wi th 2900 inhab . , who make lace anddo a brisk trade in olive-oi l, has recently becomea frequen tedwinter

resort , owing to its agreeable climate and beautiful situation .

Exc lu s i ons . By boo t tl ‘la hr. i 34 fr.) or by road (6 M.) v i i Ban M ale

and Santa Margksraa to Portofino (p. V ii Ro ta to (27: hrs .) Becca,94 . To the valley of Bant

'

Anna , llz hr. to the KW . To the NB .

Pa the pi lgrimageo church of ‘ Hadonna dd Nos ta llegro (2015 tt. t inn, B .

2 3 , ns. &6 reached by several routes in hrs . (guide unneces

saryrwhich commands a eu erb v iew to the N. and S. A ath at the

back of the inn ascends to e top of the hi ll. where the cw is sti ll

more extens ive.

The di stri ct betweenRapallo and Chiavari is one of the most

beautiful in Italy, and should i t possible be traversed by car

riage (one-horse 8,two- horse 12 fr.

,in about The next

station after Bapallo is (211/g M.) Zoagli , a pretti ly si tuated li ttle

place,wi th a bronze statue of Conte Canevaro

,founder of the hospi

tal,and an interes ting churchyard. The manufacture of satin is

°

a

house- industry here.

M. Ohinvi ri (Traitoria cAll).delNegrino , R. &A.2-2 l/aft . ;Fenice ; boat to Portoiino 6 ft . ; omn. to Sestri , see below), a town

wi th 7700 inhab.,near themonth of theLasagna, where the moun

tains recede in a wide semicircle, manufactures lace , light chairs(sedi e di Chiavari ), and silk (Vacarezzo, Via Vi tt. Emanuele

andbuilds ships. It contains a handsome newTownHoll and statuesof Garibaldi and Mart ini , by Ri valta. Pretty gardens beside the

station. Sea-bathing.

Chi avari is the starting-

point for the ascent of the l ento Penna

(66K) ft . ; 9 40 T he route leads vi i Bori cnasco (carriage-road; omnibus 80 e.) and Si

gn to Grace (Locanda Pi ttaluga), whence a steep foot~

path ascends to e summi t (tine View of the Apennines and the sea).

25WM. Lavagna ,a ship- building place, ancestral seat of the

Counts Fieschi,and birthplace of S im

‘

batdo de’Fiesclt i professor of

law at Bologna, afterwards Pope Innocent IV. (1243 27 M.

Cas i. Then a long tunnel.M. Scott i Levnnte GrandHotel Jensch

,wi th electric li ght

andbaths, B . 2-6 L .l/g, B . dej . 3, D. 4 , pens. - 10 ir.; HM.

d’

Eumpc, pens. $9 fr. , 3 61. Victoria , ‘ Pem. Suisse 5 ir., unpretending ; Tra i toria Ohio ; omn . to Ohiavari every i bis ,

40a town wi th 2600 inhab., picturesquely si tuated on a bay and shutin by a promontory , has of late been visited as a health - resort

(physicians, Dr. Sam ow,Dr. Sm

’

ih) and bathi ng- place. The Villa

Plume,at the extremity of the cape, has a due pine-wood.

The Bronze» n on St ern: re Graz i a , far superio r to the railway inint of scenery (carriage 26 , wi th two ho rses 45 fr. about 18 hrs.

‘

walk ),urns inland and after ll.hr. diverges to the right at the road to Bor

M aw (p. 97 i t then winds up the scanti ly wooded m oun tains (shorto f: for we are) , afl

’

ording a fine retrospect oi Seek ! and the MonteCos tell o. To the right appeare ltivn . Below , to me“ M W \V “\

9 8 Route 13 . spszu .

Bteamboata‘gtarti niat the Gi ardino Pubblico). Vii Ls Grads to Porto

7m thrice d y in hr., fara wa ; to 8 . Tum and Lerieiy honflyin summer, in

‘Ir 'ls hr., farewe" there and back hoe», at other seasonsthrice daily , return-fare 60 c. Bea-9m Steamers to Genoa and Leghorn,see 96 .

gngltah Church Service in the new Croce di Malta. Euomsu 'VwaCes sna : If. U. Gurney , E sq.

Vi sitors mus t no t approach wi thin “ yds. of the forts .

Spez ia , an industrial town wi th 4 6 ,500 1nhab.,li es at the N.W.

angle of the Got/o delta Spezia , at the foot of beautiful hills fringedby picturesque vi llages and crownedwi th text s. The climate i s verymild, resembling that of Pisa (p . so that Spezia is frequentedas a winter- residence by theEnglish and forsea- bathing in summer

by the Italians. The chief centres of traffic are the Corso Cavour,

the Via Mazzini,on the coast

, the neighbouring Piazza Vi ttori o

Emanuele,in which is the attractive Giardino Pubblico

,and the V ia

Chi odo,leading to the S.W. to the arsenal (see below). The harbour,

one of the largest , safest , and most convenient in Europe, ah

ciently praised by Ennius as the Lana i Portus , was ann oyedby Na

poleon I. as a war- harbour, and since 186 1 has been the chief naval

harbour of Italy. The entrance to the gulf is protected not only byseveral hill- forte

,but also by the Digs Subacquea, an embankment

nearly“2 M . long, constructed in 1874 . Beside the latter

,on the

shore,are the two forts of Santa Maria (W.) andSanta Teresa (FL).

The Royal Dockyard on the S.E . side of the town, constructed by

General Chiodo (d. whose statue rises at the entrance,is a

large establishment, 160acres in extent (no admission). Themarinearti llery magazines in the bay of S . Vito coveran area of 100acres .

The Can tiers di San Bartolomeo,on the N.E . side of the gulf, serve

as a torpedo station. The commercial harbour,to the S .E. of the

town , constructed in 1890 et seq ., is mainly used

,like that of

Avenza (p . for the export of Om an marble.

Exonnsrons . An adm irable survey of the town and harbour is afl‘

ordedby the Giro del la Foes (carr.. see 97 ; 2 hrs.

'

walk), a circular route

leading to the hill of La Face (7K) i ts. on the road to Ses tri Levanna

.

and retnrni n v ia Barbia , on the ridge to the N. of 8pe: ia. theS .W . of La oce

,reached by a good road, is the l ocus Ib rodi moon.

commanding tine vi ews. A stalacti te cavern was discovered on theslope of thi s m ountain in 1896 . The road goes on to the fortified MeatsBramapm e (2190 and returns thence to the town through the valleyo f the Biased . A charm ing

‘ Excursion m ay be made to Porto Venerc,ei ther by steamer (see above) or v i i the highroad M.) constructed byNa

go leon in 18m- 12 (a n . and omni bus , see p . which descri bes a

wi a curve round the bay of 8.Vito , wi th the arsenal, and then ski rts the

8. sho re o f the gulf, v ii Marcia, h exane M yag iia , and Le Grat is (steam ~

boat-station, see above). Porto Vsaere (histam ine Beivsdere), on the site of

the ancient Portia Veneris, wi th the remains of fortifications bui lt by

t he Genoese in 1118, is celebrated, like the fort ified island of Patina -ia

(918 ft .) immediately Opposi te, fur a eilow-veined black marble, known

as‘Porto ro

‘

. Charm ing prospec t from ruined church of Ba»M rs risp

ing high above the sea , and supposed to occupy the site of thex

10 ofVenus . B etween two rocks beneath the church i s the Grottoseldom accessible), or

‘Byron

‘

s G i to‘

(inscri on), where the poet isa id to have wri tten much of his orsair a m at N W ed

100 Route 18. OARRARA.

facade and good sculptures. The chur

sumptuous decorations in marble.

a splendid view (permesso at the prefecture).rival those of Carters . at

Country fertile and well cultivated. The

to Pisa . VIAREGGIO. 18. Route. 101

for the bold shapes of i ts peaks. Near the centre of the mountains lie

the Albergo Alp ine (2296 on the S .W . slope of theMontePanda (6100the Alb. del Maluana in Palavnana, and a dependance of the latter on

the Pra tt ds‘

Pian d‘

Orst'

na (3412 all three much frequented in summer,

especially for ascents of the Pania, Mte. Forato, the Proctoto (3860 and

Mte. Matafma (4320 These hotels m ay be reached from Seravezza in

about hrs. , and in about the same tim e from Bagni di Lucca (p . 400)or from the station of Ponte a Moriano (p .

83M . Pietrasanta Unions ; Europa), a small town (4000inbah.)wi th ancient walls, beautifully situated

,was besieged and taken by

Lorenzo de’

Medici in 1482 . The church of S . Martino (II Duomo),begun in the 13th cent .

,wi th additions extending down to the 16th

cent . contains a pulpit and sculptures by Stagio Stegi . Ancientfont and bronzes byDonatello in the Battistero . Campanile of 1380.S . Agostino , an unfini shed Gothic church of the 14 th cent.

,contains

a painting by Taddeo Zacchia , of 1519 . In thePiazza i s thepinnacledTown Hall. Near Pietrasanta are quicksilver- m ines and marble

quarries .

M . Viareggio. H otels. On the beach : ‘Ho'r. on 3 08818 ,

R . L . A. B . 1, déj . 2, D . 4 , pens. 9 fr. g Hb'r . D

’I'rALm ,

B . 3-5,L . A. B . dej ., incl. w ine, D . , incl. w ine, 4, pens. 5-7 fr. gHOT . ma: PARIS ; Hor. Gm Baaraena ;

‘Ho'r. nn Fnonnxvon , pens. from

7 ir.,incl . wine ; Her . DE NIC E , well spoken of 3, Her. on LA Parx ; Her.

T oeru; Her. Roma . In the town : Vr'r'ronu , Sons , bo th unpretending .

Pas s i ons : Hayden, closed in w inter ; Pim‘

,Piazza Paolina

, pens. incl.wine

6 fr., well spoken of. Apartments m oderate. Sea B athi ng at the S tabili

mento Nettuno , Baleaa , etc.

Viareggio, a regularly bui lt town on the coast (ca.and a sea- bathing place, has lately come into favour as a winter

resort . The climate resembles that of Pisa. The celebrated pine

wood(Pineta), which forms a half- circle round the place from N .E .

to S.W.,shelters i t from the wind.

A monument to Shelley (p. byUrbano Lucchesi , was erectedin the Piazza Paolina in 189 4 .

On the side of the pedestal, encircled by intertw ined branches of oak

and olive , i s a book bearing on i ts cover the word‘Prom eteo

‘

. Above

thi s i s the follow ing inscription :‘1894 to P . B . Shelley , heart of hearts ,

in 1822 drowned in this sea , consumed by fire on this shore , where he

m edi tated the addi tion to‘Prom etheu s Unbound

‘of a posthum ous page in

whi ch every generation wou ld have a token of i ts struggles , i ts tears,and i ts redemption

’

.

Walks in the somewhat neglected grounds of the Piazza Azeglioon the shore

, or on the long Molo ,wi th i ts lighthouse (vi ew).

The S . portion of the Pi neta,which ex tends along the coast for

M.,belonged to the Duchess of Madrid (d. first wife of

Don Carlos,whose fine villa i s about 3 M . from Vi areggio. In the

smaller andinferior part of thewood which belongs to the town are

the rui ns of a hippodrome. Longer excursions to the beauti fullysi tuated Camaj orc (2 and to the Lake of Massaciuccoli

,near

Torre del Lago (p .

Faox q aeexo ro Locos , 14 M., a branch-railway‘

m‘

M “is(b M .) fl ay ar

-om and (8’/r M.) Nazzano. From Rom ano we mas use. Nine

102 Route rs. PISA.

soo cal led Bagni dl Na‘

ons, a beautifully si tuated Roman ruin on the roadfrom Viareggio to Lueea, no t far from the abo ve-menti onedLaba n! Man a

ciaecoli . From Luoca

38394) to Florence vi i Pistoj a , see p . 401 ; to

Bologna, see pp. 362,

The line enters the marshy plain of the Serchio . M . Torre

del Lago. At M.) Mtpliartno we cross the Serchio.M. Pisa (p. To the left

,beforewe enter the station

,

rise the cathedral, bapt istery, and campanile. We then cross the

Arno.

Cathedral. 19 . Route. 111

delle Grazie and the sacristy of S . Satiro , and of Leonardo da Vinct’

(14851500 and 1506 The latter here executed his masterpieces : the Last

Supper and the clay model of the equestrian m onument of FrancescoSt

’

orza, destroyed by the French in 1499 . Among the pupi ls of Leonardowere the painters Gi ovanni Antonio Boltraffio , Marco da Oyat

'

ouo, AndreaSalaino, Cesareda Besto and Giovanni Padrini ; andhis influence i s also mani

fes t in the works of bernardino Luini, Andrea Solam’

o, Gaudenzs'

o Ferrari ,an d Gian. Ant . Ban i (it Sodom ).W e recogni ze Bram ante

‘

s style in many bui ldings o f Lombardy , suchas 8. Maria in Busto Arsizi o , the church of Abbiategrasso, 8. Maria delleCroce at Crema, the Cathedral and 8. Maria de Canepanova at Pav ia

,the

Incoronata at Lodi . M i lan i tself owes i ts present archi tectural physiognomy rather to the masters of the late-Renaissance Galeazzo Aleu i

(p . 114 ; Pal. Marino), Vine. Seregni‘

(1509 -94 ; Pal. dei Giureconsu lti , Pal.di Giustizia), andPellegrt

’

no Tibaldi of Bologna (1532-9 6 ; court of the Archiep i scopal Palace). The churches by these archi tects (S . Paolo, S . Vi ttore,S . Fedele, lower part of the cathedral tegede) show the transi ti on to the

baroque style. The m ost important archi tect of the i 7th cent. was Ricchini

(Brera, parts of the Ospedale Maggiore).The three earlier Procacct

‘

m’

,the chief painters after 1560, betra the

m annerism o f the Carracci , while Ercole Procacct'

m‘

the Younger (1596Gi an. Bai t. Creep t

‘

, surnamed It Cerano (1557 Daniele Cresp i (ca. 16and Nuvolone (lG‘B -Gi ) are v igorous di sciples of the same eclectic

m asters (p. The sculpture o f this period is insignificant .

In recent tim es Mi lan has raised i tself to the highest artistic rank in

the kingdom . Sculpture is here carried on to such an extent as to have

become alm ost a special industry . The Mi lanese Scunrrons take great

pride in their technical sk i ll , and in effecti ve im i tations of nature.

Among the best known are Bam aghi , Argentt , Calm‘

, and Barcaah‘

a.

Pu n'rma is represented by B ianchi , Pag liana, Bouvt

'

er, S tef ani , Didioni ,and others

,but most of these artists seem to cultivate the m odern Pari

s i

zphsty le, and to be entirely oblivious of their glori ous old national

tr°

tions.

a . From the Piazza del Duomo to the Central Stat ion. Northern

Quarters of the City . The Brera .

The focus of the commercial and public life of Milan is the1‘Pi aszza. del Duomo (Pl. E ,

which has recently been much ex

tended,and is now enclosed by imposing edifices designed by Men

gon i (p . It i s a centre for Omnibuses and electric tramways.

The celebrated w (lathedrad (Pl. E ,F,

dedicated ‘Mariae

Nascenti’

,as the inscription on the facade announces , and as the

gi lded statue on the tower over the dome also indicates,is regarded

by theMilanese as the eighth wonder of the world, and is , next to

S t . Peter’

s at Rome and the cathedral at Seville,the largest church

in EurOpe. This huge structure covers an area of sq. yds.(ofwhich about 2400sq. yds. are taken up by thewalls andpillars), andholds about people. The interior i s 162 yds. in length , thetransept 96 yds. in breadth

,the facade 73 yds . in breadth ; nave

157 ft . in height , 18 yds . in breadth . The dome i s 220 ft . in height ,the tower 360ft . above the pavement . The roof

,marble like the rest

of the building , i s adorned wi th 98 turrets,and the exterior wi th

upwards of 2000 statues in marble. The stained-

glass windows i n

the choir are said to be the largest in the world. Tue at t uewxe,

which was founded by the sp lendour- loving Gi an (inaheamm V

‘

xa

112 Route 19 . m an.

conti in 1886,occupies the site of the early

-Christian basi lica of

8. Maria Maggiore. The general style of the building is Gothi c, butshows many peculiari ti es. The author of the original desi gn is un

known. Marco do Gramp ians and Simone do Gruntgo have beennamed

,but wi thout any posi tive proof. The latter superintended

the buildi ng-Operations after 1887 . The building progressed but

slowly , owing to the dissensions between the Italian arch itects and

the German and French masters (Heinrich con Gmiind, Ulrich con

Fitssingen, Jean M ignot, and others), who were frequently called to

their aid. About the year 1600 Francesco di Giorg io of Siena and

Giov. Ant. Amadeo appear to have been associated in the superintendence of the building , and after them the work was conductedby Dolccbuono, Cristofano Bolas

-t, etc. The crypt and the bapti stery,the style of which i s qui te out of harmony with the general design

of the bui lding, were added in the second half of the 16 th cent. byPeltcgrino Tibaldi , who also laid down the marble pavement anddesigned a baroque facade. The church was consecratedby S . Carlo

Borromeo on Oct . 20th, 1677. The dome was begun in 1769 by the

architects Grace andMendez, andwas finished in 1776 . The facade

remained uncompleted, unti l in 1806 Napoleon (whose marble

statue,in ant ique costume, is among those on the root) caused the

works to be resumed,according to Tibaldi

’s plan ,wi thmodifications

by Amati . The facade is about to be res tored according to the planof the young archi tect Giuseppe Brentano (d. whose d

won the first prize in an Open competit ion in 1888. The new mainentrance was designed by Lod. Pagliaghi .

The church i s cruci form in shape, wi th double aisles anda transept, the latter also flankedwi th aisles. The lrrrnmon i s supportedby fifty- two pi llars , each 12 ft . in diameter, the summi ts of whichare adorned wi th canopied niches wi th statues instead of capi tals. The pavement consi sts ofmosaic in marble ofdifferent colours.

lnn at o s . By the rincipal inner portal are two hu e monolith co l

umns of grani te from t e quarries ot‘

aveno (see 1 The band of

brass in the pavement close to the entrance indfcates the line of the

meridian. monr A i sha : Sarcophagus of Archbishop Aribertabove which i s a gi lded cruci fix of the 11th century . Monument of OttoVisconti (d. 1296) and Johannes Viacon ti (d. 1861) both archbisho of

Mi lan. Go thic monum ent of Marco Carelli (a. last ). Tomb of n

Vimercati,by Bambaj a. Brant Tm sm (W . wall) : Monumen t of the

bro thers Giacomo andGabriele de’

Medici,bo th of Milan, erected by their

brother Paps Pius IV . the three bronze sta tu es b Leone Leo-ti

(Aretino). [Tickets for the roof (26 c., see p . 113) are ohta ed near thismonument ; the sta ircase leading to the dome is in the corner of the side

114 Rants 1 9 . MILAN. Galleria Vitt. m an.

To the S . stands the Palazzo Beale (Pl . E ,F,6,6 ; adm .

,see

p. bui lt in 1772 on the site of the Palazzo di Corte, the man

sion of the Visconti and the Sforza. It is adorned wi th frescoes byAppi‘ani

,Luini

,andHayez, and contains several handsome saloons.

In the street to the left,beyond the palace, are vi sible the tower

(1336)andapse of the finehalf-Romanesque church ofSan Go ttordo,

formerly the chapel of the Visconti . Adjacent,on the E .

,is the

large Archiepiscopal Palace (Palazzo Arciccscoo ilc ; Pl. F, by

Pellegrino Tibaldi containing a fine court with a double

colonnade and marble statues (Moses andAaron) by Tantardini andStrazza. The second court , on the side next the Piaz za Fontana,is embell ished with Corinth ian columns of the i 6 th century.

The W. side of the Piazza del Duomo is skirted by the Via Carlo

Alberto (see beyondwhich , to the N.W., lies the Piazza

dc’

Mercan ti

On the N. side i s the imposing palatial facade (finished in

entrance to the ‘Galleria Vittorio Emanuelethe Piazza del Duomo wi th the Piazza dellaost spacious and attractive structure of the

kind in Europe. It was built in 1866- 67 by the archi tect Gina.

Mangoni , one of the most gifted of modern Itali an archi tects,

who unfortunately lost his life by falling from the portal in 1877.

The gallery, which i s said to have cost 8 m illion fr.is 320 yds . in length , 16 yds. in breadth

,and 94 ft . in height .

The form i s that of a Latin cross , wi th an octagon in the centre,

over which rises a cupola 180 ft . in height . The arcade contains

handsome shops,and i s fittedwi th electric light .

The Pi azza nm a Scana (Pl. E ,4 is embelli shed with the

Mommmrr or Lnonaano na Vm cr(146 1619) by Magni , erected

in 1872 . Th.statue of themaster in Carraramarble, over li fesi ze,stands on a lofty pedestal, surrounded byMarco da Oggiono, Cesare

da Ses to,Salaino

,andBoltraffio

,four of his pupils. In the plan s

,

to the N.W. ,i s the Teatro alto Scale (p . To the S.E . is the

large Panazzo Manure (Pl. E ,in whi ch the Municip io has been

established since 186 1, erected by Galeazzo Alessi in 1666 et seq .

for Tom . Marini of Genoa. The main facade, towards the Piazza

della Scala,was completed in 1890 from the designs of Luca Bel

trami . The ‘Court i s handsome.

Behind thePal.Marine is the Piazza S.Fedele, with a monument

to Al . Moment (p . 141) and, to the N.,the Jesuit church of 8. Fe

dele(Pl. erected by S . Carlo Borromeo in 1669 from designsby Peltcgrino Tibaldi and containing a sumptuous high- altar. The

adjoining Palazzo dei Censo edArchiv io , formerly the Jesu it college,contains part of the government archives. To theN. of this po inti s the Via depli Omcnont, wi th the palace of the same name (No .

created by Leone Leoni and adorned wi th em cee“ . The Via

Mum Poldi-Pezzoli . MILAN. 19 . Route. .116

degli Omenoni ends in the Piazza Belgiojoso, which contains the

Palazzo B elgioj oso (No. 2) andMansoni’s House (No. wi th fres

coes by Giac. CampiAdjacent , Via Morone 10 (Pl. F , i s the ‘ Museo Poldi

Pezzoli,bequeathed to the town by Cav. Poldi - Pezzoli in 1879 and

exhibi ted in the tastefully - furni shed house formerly occupied bythe founder. The collecti ons include valuable pictures

, arms and

armour,and small objects of antiqui ty (adm .

,see p . 109 ; cata

logue 1 fr.

First Floor. In the library (to the left) is a portrai t of an ecclesias

t ic , by Ribero . The nex t two room s contain nothing of importance.

SA LA DOBATA (to the ri ght). Fine carved furni ture ; carpets:

porcelain

from Dresden , China, Sevres, and elsewhere. In the cases at the windowto the left , antique gold ornam ents and si lver plate, goldsm i th

‘

s work of

the 16- i8th cent . in the centre-cases, Romanesque crosses and reliquaries,v aluable vessels embelli shedw i th gem s and enam elling ; in the last case,Roman and Oriental bronzes, antique glass , etc . ; below the m irror, eloi

sonné enamel from China,Persian weapons. Am ong the pi ctures the

following are m ost n oteworthy :‘ 21. Piero dello Froncesco Pertrai t of a

woman ; 22. Bort. Visor-int , Pieta,in a Gothic fram e ; 19. Vine. Foppa

(Ambrogio de Predts f), Portrai t ; 20. Crioells'

,Christ andSt.Franci s ; 17. B otti

celli . Madonna ; 18. Girolamo do Santa Croce, Portrai t ; no number, Pinto

ri cchia (Rof oeh’

no del Garbo Madonna ; Bo ltrofflo , Madonna ; 16. Luini ,B etrothal of St . Catharine. SALA NnnA . Pi ctures : 23 . Early FlemishM aster, Annunciati on ; 24 . S ignorellt

‘

,S t. Barbara ; 26 . Borgognone, St . Catha

rine ; Andrea S olario , 26 . John the Bapti st 29 . St. Cathari ne ;81. V. Fopp o , Madonna. Also a m arble statue by Bortols

‘

m’

,representing

Reliance upon God. STANZA DA La 'r'ro . Pictures : 33 . Berts'

m'

, Portrai t

of Cav . Poldi—Pezzoli ; no number, Bern . Luini , Crucifixion ; 36 . Imitator ofB otti celli , Descen t from the Cross. Venet ian glass . To the left. I. BTANZA

A QUADB I : 62. Marco Pa lmezzono , Portrai t ; 66 . Domenic/zinc,Cardinal ;

67 . E lshet‘

mer, Landscape wi th D iana. II. STANZA A QUAnm : 88. Ant.

do Mo rono , Madonna en throned, wi th angels ; Luini , 84. T obias , 86 . St . Je

rom e ; no number,Good. Ferrari , Madonna w i th angels ; Bort. Montoono ,

98. St . Jerom e,100. St . Paul ;

‘ 106 . A . S olom‘

o,E cce H om o ; above, S clors

‘

o ,

SS . Jerom e and Anthony ; 108bis . Andrea Cordegls’

aghi , Portrai t of a m an ;

108 ter. Cosimo Taro , A canon i zed bi shop ; 109 . B oltroffio , Madonna ; above,”Cima do Conegls

’

ono , Angel‘

s head ; 111. Lor. Costa , Saint . III. STANZA

A QUADRI : above the door,‘ 127. Carp o ccio, Veneti an senator ; 121. B orgog

none, Madonna wi th angels ; 122 . M antegna , Madonna ; 125 B Luini , Christ

b eari ng the Cross and the V irgin Mary ;‘ 130. A . S olario . Flight into

E gypt 138. School of Leonardo do Vinct‘

,Madonna ;

‘ 139 . Fro Bar

to lommeo, Small altar-piece, wi th the Madonna and saints w i thin and the

Annunciation w i thout 142 . Romanino (not M oretta), Madonna en

throned , w i th saints and angels, in an attract ive landscape ; 160. Pietro

Perugv‘

no , Madonna w i th angels ; 146 . Carp acci o , Sam son and Deli lah ;14 9 . Venetian S chool (signature G iov . Bellini i s forged), Pieth. W e now

return and enter the ARMOURY to the ri ght .

The VIA ALE SSAN DRO MAN ZONI (PI. E ,F,4,3 ; electri c car to

the Central Stati on, see p . one of the chief thoroughfares of

the ci ty, begins at thePiazza della Scala (p . In theVia Bi gli ,the first cross- street beyond the Vi a Morone

,stands the Casa Ta

v erna or Ponti (No . wi th a fine portal and an admi rably restored

court of the 16th century . From the Vi a Monte Napoleone, the

next cross- street,we turn to the left i nto theVia S . Spirits (PM ?

4 , wi th thePalaw ‘

B ogattz‘

Vo lsecchi (No 10 on the inhufi c .

"

l

on the left built in 1882 and 189 6 i n the style of th e‘ibfiu new“

S Q

116 Route I9 . MILAN . arm .

andadornedwi th oldportals, frescoes,marble sculptures , andwoodcarvings (visi tors admi tted; fee 1

The Via Al. Manzoni ends at the Pi azza Cavoun (Pi . F,which

, opposi te the S .W . entrance of theGiardini Pubbli ci (p .

rises a Bronze S tatue of Caoour, by Tabacchi , wi th a figure of Clio ,by Tantardini , on the pedestal.

Farther on , in the V ia Principe Umberto, to the left, is a statue

of Agostino Bertano (1812 physician and statesman. To the

right are the show- rooms of the Societd per le BelleArtl (Pl. F, 2 ;adm. , see p . This street ends at the Porto Principe Umberto

3)and the large Open space in front of the Central Stat ion

At the N.W. angle of the Piazza della Scala begins the VLA

SAN Groom s (Pl. E , which i s traversed by the electric tramwayto the Ports Garibaldi . To the right is the former Casino de' Nobili

(Nos. 2 wi th a Renaissance court by Bramante. In the Via

del Monte di Pieth,the secondside-street on the right, is the hand

some Cassa di B isparmio, or savi ngs- bank , by Balzaretti . The

Via di Brera, forming a prolongati on of the Via 8. Giuseppe, leadsto the

*Palazzo di Brsra (Pl. E, 3 ; No . built for a Jesui t college

by Ricchini in 1661 et seq.,and now styled Palazzo di Sc ience,

Letters ed Arti . It contains the Picture Gallery described below,

the Library founded in 1170 vols . ; adm . , see p . a

Collection of Co ins the Observatory, a collection of Costs

from the Ant ique, and an Archaeologica l Museum (p .

In the centre of the handsome Cova '

r is a bronze statue of

Napoleon I.,as a Roman emperor, by Canova , considered one of

his finest works . By the staircase,to the left

,the statue of the cel

ebrated juri st CesareBeccari a (d. who was the first scientific

quest ioner of the wisdom of capital punishment . The court i s also

adorned wi th several other statues.The staircase ascends to the first floor

,onwhich is the ‘ Pro'runn

Gannsnr or Pinacoti ca,founded in 1798 by the CisalpineRepubli c

The gem of the collecti on

i s Raphael’s Sposalizio the chief work of hi s first or

Umbri an period. The numerous pictures of the Lombard school,

and particularly the frescoes sawn

valuable. The autheuti

the oil- painti ngs by B ernardino Lu in i, and Nos . 47 and 52 are

the best of his frescoes . The most interesting works of the earlyItali an school are Nos . 264

,273, and 282 , all by Mantegna . The

collecti on also afi’

ords an instructi ve survey of the progress of CodaCir-i aellz

’

who flourished in 1488-93 ; 2cd room], a mas ter who con

nects the Padusn school wi th that oi ‘l eni ce. The m at.m es

118 Rou te rs. MILAN . Brew.

Madonna wi th saints ; 167 . Bart . Montagn

a,Madonna enthroned

,

wi th angels and saints, one of the arti st’

s masterpieces‘ 168. Gentile Bellini, Preaching of St . Mark at Alexandri a.

In this pipi ece we‘erceive that the art of Gentile (brother of G iov anni )

on the eve of his deat was better than i t had ever been bafora .

com posi tion i s fine, the figures have the indi vi duali ty which he i art sd,

and the whole scene is full of stern and sol id power.

‘mstor-p

"

yeastsing in North Ita ly , by Grov e and Caro leoselle.

172 . Palm Vecchio, Adoration of the Magi (completed by Carlani ?) 178. Marco Palmetsono , Coronation of the Vi rgin , 176 .

NiccoloBandinelli , Madonna enthroned, with four saints and angelic

musici ans ; 316 . Liberate do Verona, St . Sebasti an ;

‘ 179 . Ercole

de’

Roberti , Madonna enthroned, wi th St. Augustine and Pietro

degli Onest i , brought from 8 . Maria in Porto Fuori at Ravenna ;177. Rondinelli , John the Evangelist appearing to Galls Placi dia

(p .— 186 . Palmersono,Madonnaenthroned, wi th saints ; 186 .

Garofalo , Pieth; 187. Plero della Francesca,Madonna wi th sai nts

and Duke Federigo da Montefsltro ; 188. Giov . San ti (Raphael'sfather), Annunci ation ; 189 . C. Orivelli, Christ on the Cross ; ‘ 19 1.Cima da Consoliano , 88. PeterMartyr, Augustine, andNi cholasof Bari ;

‘ 193. C . Crivell i,Madonna and Child; 19 6 . Timoteo Viti

,

Annunci ation , wi th John the Bapti st and St. Sebasti an ; 197 bis .

Luca Signorelli , Madonna enthronsd, with four saints (spoiled byrestorati on) ; 202 . Girol. Genoa , Madonna and saints.

Boon Il l (and t h Ante Chamber). Venetian, Bresci an, andBergamasquemasters of the i 6th century . To the left, 206 . Moreno

,

Madonna on clouds, wi th SS . Jerome, Anthony Abbas. andFranci s

rushes,in the style of Giorgione 2 13 . Paolo Veronese, Christ at the

house of Simon thePharisee 216.B on ifast‘ o II.,Chri st atEmmaus ;

216 . Paris Bordone, Descent of the Holy Ghost ; 217. Joe. Tinto

2 18. Assumpt ion of the Virgin ; Paolo Vero

Adorati on of the Magi , with 88. Gregory andJerome to the left and

SS . Ambrose andAugustine to the right ; 230. Joe. Tintoretto,

SS .Helena,Macarina

,Andrew

,andBarbara ;

‘ 227. Paolo Veronese,

88.Anthony Abbas , Cornelius, and C rian ,a monk, and s

thefinest‘conversazi one

’ piece (see p . 61)by thi s master ;m .

Jae. Ttntoretlo,Finding of the body of St . Mark ; - 234 . Giral . 8a

o oldo,Madonna andsaints ; no number, ParisBordone, HolyFam ily ,

wi th a canonized bishop and the pi ous donor.Roms IV . To the left, Moreno, 236 . St . Franci s of Assisi ,

239 . Assumption of the Virgin ; 244. Lor. Lotto , Pi ste;‘ 24&

Titian ,St . Jerome , a characteri sti c example of his later style

(about In the adjoining Am Viti ,Madonna and saints ; 272 . Giotto , Madonna (original in Bologna,see p. We now turn to the left into

MILAN. 19 . Boots. 119

contains the chief treasures of the collection.

To Twa s, Portrai t of Count Port i a (of fire master’s

middle period) ; W . Vitt. Ca paccio, St. Stephen and the Scribes ;261. Giov. Bellini , Madonna (an early work, wi th Greek inscriptions) ; 100. Giov. PM , Mary Magdalen ; no number,

‘ Oorrepgto,Adorat ion of theMagi, an early work, in firemaster

’

s Ferrarese style;264 . Mantegna, Large altar-piece in twelve sections, at the topMadonna and St.John weeping over the deadbody of Christ, below

St . Luke and other saints , painted in 1464 , and a proof of the

early maturi ty of the artist , then 23 years old ; 266 . Luini, Ma

donna in an arbour of roses ; 263 . Cesare da Sesto Madonna ;263bis. Franc.Napoletano (a little-known pupil of Leon.daVinci),Madonna ;

‘ 267. Lem ardo da Vinci Head of Christ.“270. Raphael

’s far- famed Sposalizio

, or the Nuptials of the

Virgin, painted in 1604 for the church of S . Francesco in Citth di

Casteilo, where it remained ti ll 1798.The composi tion closely resembles that of the 8 osali sio of n iao

(l ow at Gai n), in whose studio Raphael then work‘In both paintings

the top is rounded, and in both a small polygonal temple, a charm ingforecast of Bramante

'

s bui ldings, rises in the back ound. The central

part of the foreground is occupied by the long-baa ed high-

priest, who

joins the hands of the bridal pair ; Ma is attended by a group of gracefulvirgins, while near Jos h stand the rSectcd sui tors, the most passi onate

of whom breaks his s vei ledwand. A closer exam ination of Ba hael‘

s

work , however, divulges so many points of di vergence as to m e the

observer alm ost oblivi ous to i ts Peruginesque character.

'1‘he transposi ti onof the bride and bridegroom wi th thei r attendant groups to Opposi te

sides of the canvas is a purely external di fference and one of li ttle si gninoance, but the conce ti on and drawing of the individual figures and themore deli cate disposi t on of the grou ing reveal the original and peculiar

genius of the younger arti st‘

.

‘Ra act and Michelangelo‘

, by Prof. Anton Sprayer .

281. Luca S ignorelli , Madonna (an early work) ; 262bi s. Barga

gnone, Madonna with a Carthusi an and St. Clara ; 262. Luca Signorelli , Scourging of Christ (an early work).

‘ 273. Man tegna, Pieta, painted about 1474 .

‘It i s a icture in whi ch Mantegna’

s grandest style i s im pressed,foreshortene wi th disagreeable boldness

, bu t wi th on ri sing truth,studied from nature, and im i tating light shade, and re eeti on wi th a

carefulness and perseverance only equalledby Leonardo and D iirer ; dis

playing at the same time an excess of tragi c reali sm , and a painful un

attractiveness in the faces of the Marys.’

0. d: 0.

280. Andrea Solario , Portrai t ; 182. Fil. Maardla,Portrait;

‘282.Mantegna , Madonna in a nimbus of angels

’

heads,a work of sur

passing beauty ; 282bi s. Sodoma,Madonnawi th the Lamb , painted

under the influence of Leonardo da Vinci ; 106bis. Gaud. Ferrari ,Madonna ; no number, Franc . Cossa

,St. Peter andJohn the Baptist ;

328. Lor. Costa , Adoration of the Magi 106 . A. Solario,Madonna wi th 88. Joseph and Jerome (14 95 ; restored).Boon VI. Venetian and VeroneseMasters of the 16- 16th cen

turies. Over the door, 406b1’

s. Girol. da Treviso,Piet

‘

a 0 .Cri

eelli , Madonna and saints ‘ 284 . Giov . Bellini , Yi n“ ,an

120 Route 19 . MILAN.

early and genuinely impassioned work ; 286, 289 . Cima do Coneglicmo Saints ; 287. S tefano do Zevio

,Adoration of the Magi (si gned,

1436 290. Palm Vecchio , SS . Helena and Cons tantine. Rochusand Sebast ian ; 29 6 . Franc . Morons (not Moroni) , Madonna en

throned ; ‘297. Giov . Bellin i,Madonna (a late work ; Cima,

‘ 300. 88. Peter, Paul, and John the Baptist,302 (i). St. Jerome.

Roms VII. Venetian andVeronese Mas ters of the l6th century .

19 9 bis. Torbido , Portrait ; 306 bi s . Paris Bordone , Love- scene ;

Vitt . Carpaecio, 307 , 309 . Purification andMarriage of the Virgin.

Lorenzo Lotto,

‘ 263 .Portrai t of awoman,

‘264,‘ 266 Portrai ts

of men.

‘The iine-chi selled fea tures (of No . extremelyLKur

t; in draw ing,charm b their m ild expressi on . A delicate but heal y com lot i on i s

displays in warm sweet tones of extraordinary transparence ; an m asterlytransi tions lead the eye from opal lights in to rich and coloured shadows .

A half length in the sam e collection represents a man of lean and hornymake wi th a swallow- tai led heard , a grey eye , close set features , and a

grave aspec t. A third halt length , com nion to these, ofl'

ers ano ther

variety of type and executi on. A man stan at a table in a peli sse wi th

a fox sk in collar ; he is hare-headed and bearded. His ri ght hand res ts

on the table and grips a handkerchi ef. The ruddy skin of the face is

broken wi th touches now warm now cold by whi ch the play of li ght and

reflecti ons is rendered with decept ive tru th‘

. 0. it 0.

Boon VIII. Chi cfly Bolognese paintings of the 16- 17th cen

turies . 324 . Gu ido Rent, 88.Paul and Peter; 326 . Franc. Alban i ,Dance of Oupids ; 331. Gum ino

,Abraham andHagar ; 333. Dosso

Dossi, St . Sebasti an ; 334 . Fr. Francia

,Annunci ation (retouched).

Roost IX. Itali an and Netherlandlsh works of the 17- i 8th cen

turies. 346 . Jan van der Meer of Random (not Hobbema), Forestlandscape ; 362 , 363 . Bem ardino Belotto (Conaletto), Landscapes

i’

Varese) ; 367. Jan Bm eghel, Village street

Fy t , Game ;‘ 44 9 . Rembrandt , The artist

’s

‘ 446 . A. van Dyck, Portrait .

Roo st X. Various schools. Over the door : 396 . Luca Giordano,

Madonnawi th saints ; 390. Velez es Deadmonk ; 39 1. Salvat orRosa

,St .Paul theHerm i t ; 7. Rubens, Last Supper; 384 . S tay»

dcrs,Stag- hunt ; 442 . A. van Dyck, Madonna and Child, wi th S t .

Anthony of Padua ; 44 3 . JacobJordaens , Abraham’

s sacrifice ; 436 .

Dutch School (i 6 th Adoration of theMagi ; 428bis. GiulioCamp i , The Virgin enthroned, between two saints and the donor

424 . L. Cambiaso,Adoration of the Shepherds ; 423 . Gaslig

liom’

,Exodus of the Israeli tes ; no number

,Ferrari Genovcsc,

Scourging of Christ ; 432. Raphael Mengs, Annibali , the musi ci an

no number, Ribera , St . Jerome; 416.Sassoferrato, Madonna ;(au thor on, 402 . Pietro do Cortona

,Madonna and saints ; 401.

Gasp . Poussin, Forest- landscape, wi th the young Bapt ist .

Roost XI. Chiefly Bolognese works of the i 7th century . To therig ht, 4 79 . Luca Longhl, Madonna wi th S t. Paul and St. Anthonyof Padua 463. Am . Can ned ,

Qhfist and theWoman of

122 Route 19 . MILAN.

now a law- court (Tribunals), wi th the fine rococo Saia del T lepolo(always Open). To the N .W. of the Brera i s the church of

8. Simpli ciano (Pl .D,a fine Romanesque structure

, repeatedlyaltered at a later date ; it contains a tri umphal arch adorned wi th‘

put ti’

by Lu ini , and a Coronation of the Virgin by B orgognone (inthe apse). Farther to the N in the Corso Garibaldi not far

from the Porta Garibaldi,i s the church of 8. Maria Incoronata

(Pl. D, built by Francesco and Bianca Sforza. The CappellaBossi contains the tombs of Giov .Tolentino (1617) andArchbishopGabr. Sforza. In th is vicinity, at the corner of theVia Al.Volta,whi ch leads to the CimiteroMonofigure of the engineer0.B. Piatti sani

b. From the Piazza del Duomo and the Piazza de’Mercant i

to the easteno and the Arco della Pace.

To the W . of the Piazza del Duomo ,beyond the Via Carlo

Alberto (p . lies the ”Piazza de’ Mercanti (Pl. E , the

central point of the mediwval city ,and formerly provi ded wi th

five gates. In the centre of the Piazza is the building whichwas formerly the Palaz zo della Ragionc , a large ball erected in

1228- 33 by the podesta (or mayor) Tresseno , to whom an equestrian reli ef was placed on the 8. side wi th the inscript ion ,

‘

qui

solium struxi t , Catharos ut debuit uxit’

(the Cathari were the Wal

densi ans). The groundfioor is now the Corn Exchange, above whichis theArchi vio Notarile. On the N . side of the piazza i s the Pa lazzo

dei G iurccom ulti,wi th a tower

,erected by Vino. Seregni (1584 ;

exchange and telegraph- office on the groundfioor) ; on the 8. side

are the Loggia deoli Osti , erected in 1316, and the Colteyio dei

From thePiazza de’ Mercanti a new series of streets leads in a

direct line to the Castello. The first part of this thoroughfare is thewi de and handsome VIA Danrn (Pl. D, 5 , 4 ; electric tramway , see

p . which is continued,beyond the Foro Bonaparte, by the Via

Cai roli (Pl.D , In the Fore Bonaparte is a colossal e ia trian

S ta tue of Garibaldi , i n bronze,by Ettore Ximenes The

allegorical female figures on the pedestal represent Revolution and

Liberty .

The ‘ Oaatei lo di Porta Giovia (Pl. 0, 3 , the castle of Milan

and formerly, like the Palazzo di Corte, the seat of theVisconti and

the Sforza, was orig inally built by Galeazzo II. Visconti in 1368,on the ci ty-wall, adjoining the old Ports Giovia. It was destroyed

Castello di Porto Giovia. MILAN . 19 . Route. 123

rectangular building, defended by four corner- turrets and a curtain

wall,compri ses a large Court and two castles or palaces : the

Roechei ta , built by Franc. Sforza on the foundations of the Viscou

ti castle,and the Corte Ducale. Each of these, in turn, encloses a

smaller court.The old Visconti castle seem s to have been built by Galeazzo not

only as a bulwark against external foes but to pro tect the W . quarters

of the town against Bernabo Visconti, who had begun to erect a new

castle on the si te of the present Ospedale Maggiore (p . Under Fatwa

Maria i ts main function was to hold the ci ti zens in check . Francesco

Qforza (1M ) persuaded the people to rebu ild the stronghold that theyhad but a few years before razed to the ground am id un i versal

‘

ubi lati on .

The forbi dding character of the structure was somewhat m odi ed by the

elegant tower-gateway erected by Filarete in 1452 54 on the side next the

town. Thi s . however, was destroyed by an explosion Of gunpowder in1521. Behind the Cas tello lay an extensi ve deer-park . Galeazz II. beganto fit up both the palaces wi th great luxury , and summ oned the principalcon temporary pain ters and sculptors of Lombardy to his aid. Rona dt

‘

Baeoj a erec ted the tower nam ed after her at the E . angle of the B occhetta.

Lodovico a Moro emulated the artisti c zeal of his bro ther, and Bramanteand Leonardo da Vinci co ii perated with him in beautify ing the Castello,though the lat ter

‘

s desi gn for the rebui lding of the main facade wasnever executed.

An abrupt end was put to this brillian t period by the French invasion.

In 1562-70 the cas tle was surrounded w i th six bast ions and separated fromthe new town-walls 110) by a broad m oat. Throughout the Spanish

and Austrian dom inatilhn i t form ed the focus of all the struggles tor the

gassession of Lombardy . The republican m ovement of 1796 inci ted thelanese to a re eti tion of the events of 1447, but i t was not ti ll

that Napoleon or ered the destruction of the fortificat ions. The cas tle wasconverted into barracks the pleasure-

garden became a drill-ground (Piazzad’

Arm i) ; on the si te of the Spani sh bastions and rampart arose the spa

ci ous Fo ro Bonaparte, now partly bui lt over. In 1886 i t was resolved to

rebuild the castle, which was evacuated by the troops and handed over

to the city in 1893.

MAIN Pa g ans . The circular E . Tower (Torrione Est), which i sfacedwi th cut stone

,has been rebuilt in i ts original height (100 ft .)

and is now used as a reservoir for drinking-water (serba ioj o). The

8 . Tower or Gateway of Filarete, most of which was also removed

in 1800 and 1848 ,has not yet been rebuilt , and the curtain be

tween the towers also awaits restoration.

INTERIOR. To the left of the court is the unpretending Rocchetta,with the Torre di B ona di Savaj a (166 ft. high); to the right is theCorte Ducale

,the new palace of the Sforza, with Gothic windows

(restored) and an imposing gallery of defence. In the passage

leading to the CorteDucale, to the left , is a fresco representing the

Crucifixion ,wi th saints and the pious donors ; farther on ,

to the

right , is another and ruder fresco , representi ng the Madonna of Mt.

Carmel (ca.

In the S. angle Of the courtof the Conrn Ducann is theLoggetta ,a gracefulRenaissance structure, from the time ofGaleazzoMaria ; on

theNE . side is a B aroque Gateway, of the time oi t p aux

mounted by the arms of the Visconti and the Sien a. hli cat oi th e

rooms on the GR OUN D FL 003, which is to be devot ed t o th e. At eb

om

124 Route 19 . MILAN . Arena.

logicalMuseum (p . contain decorations dating from the days of

the Sforza. The two angels discovered in the Satetta Negro in 1893are frescoes of the school of Leonardo daVinci. In the Chopet , longused as a stable, are remains of frescoes by Stefano de

’Fedeli and

Solo di Trono has a charming Gothic window, Opening on the Cor

t ile delta Fontane. The Sula degli Elle/anti and other rooms on

the Pres s FLOOR are designed for the Museo Artistico , whi ch willcontain

collectio

The Roccmrrra has lost alm ost the whole of its artistic decoration. The Sula del Teaoro on the groundfioor, long used as a grain

magazine , contains the remnants of a fresco ofMercury (head missing). probably of the school of Leonardo da Vinci. The other roomscontain the Museo Num isma t ico (coins) and the archi ves Of the So

eieth Storiea Lombardc . On the S.W. side of the court is the

staircase to the Museo del Risorg imento Naz ionate (adm ., see p .

wi th a collection Of patrioti c objects from the time of the Ciaalpine

Republic down to the present day.The former Pinat a d

’

Armi,the Open space at the back of the

Costello , originally the pleasance Of the Visconti and Sforza, was

converted in 189 3- 97 into the sti ll somewhat shadeless Nuovo Parse(Pl. B , C, 2 which is lighted at night by electrici ty. In the N.

part Of the grounds is theMontagnola , a low hi ll wi th a cafe-restau

rant. Hard by is the Torre S tigler, an iron belvedere,erected for

the Exhibi tion of 1894 and commanding an extensive ‘Panorama

of Milan,the plains Of Lombardy, and the Alps (adm. 26 c. ; ascent

advisable only in clearweather, in summer even in the evening).On theN. side of the park lies the Arena a kindof cir

cus forraces,skating, and so forth , erected in 1806 . TheN.W. side

1838. Most of its sculptures are by Pompeo Mar'

chesi .

To the S.W. Of the Castello l ies the Stas ione FerrovieNord (Pl.p. passing which and following the Via Beccaccio and

theVia Can dosso (Pl. B, we reach the church of San ta Maria delleOracle andLeonardo's Last Supper (p .

Quarters Of the Ci ty . Biblioteca Ambrosiana. Santa

Maria delle Grazia. Bant ’Ambrogi o.

77m archway in the S.W. corner of the Pi sa.“ he‘idem nt l

Po 19 2) and the Via dei Bett i 1M to theV i a andYN u hem “

126 Rou te 19 . mu m

Gi ov. Pcdriui in the sacri sty . The Via del Bollo leads hence to theW . to the Pla za 8. Borromeo

,in which are si tuated the small

church of 8. Maria Podone,a statue of 8. Carlo Borromeo

,and also

the Palaaao Borromeo (No. On the first story of the palace is a‘m m Glimmer (Pinacotcca) containing some important pain tings and a few sculptures, chiefly of the Lombard School (adm .

,

see p. 109 ; lists of the pi ctures provided).1. Bo o s . li adonne wi th John the Bapti st and S t. Sebast ian, an alto

reli ef by News do B. M ale (rose). 62. Gi ulio 0am ”W ,m donne

and a sain t ; copies of anci ent paintings (68. Cavalry engagement, by h e

eats de Babes-st), etc. 11. Boo ts. Lombard School , l adonna wi th the donor

(King Francis alto-reli ef Of the 16th cent . ; Desidcrio do Selt imrmBus t ora girl ; 156. s . suetmy, Head of the v (engi nee rof a fresco) ;158. P's-dim School (15th Portrai t ; 2 19 , e. M am; Pastel portrai ts of girls. This room also contai ns some beauti ful mini atures upon

copper. Ill . Boon . Painti nfs o f the German andNetherlandi sh schoo ls ,

drawi auto ha

g-etc . V. Bo on containing the chief works a t the

collee on . s. cm Owiceom, 1 ichael the Archangel ; 0m .w ,

6 . St . Catharine 9 . Ferti li ty ; 00nd Ferrari , 10. S t. Sebas tian , 12 . Xado unawi th 88. Josephand Anthon Abbas ; i 3. School of Mantegna , B earing ofthe Cross ; 0M . Fer-ra

g!”St. Bochns , 18. Two Amoret ti t

‘08. Bar».M t, Susanna (halt-lea 69 . m . Han dle , Portrai t ; 34. Law . HolyFam i ly 86 . Bot-powwow Portrai t ot Andrea de

‘

Fow l“, Ri ch 0!

Alba ; H etero-techie, Bearing o! the Cross 87 . Cesare doAdoration of the Kings (early work 43. Lav-m Lotto, Crucifix ion ; w.

Bart. VM o , St. Catherine ; Borg Madonna ; Luini , u.

l sdonna and saints.A7. Daughter o f B orodin w ih the head of John theBapt ist ; Bot

-pon cho, i 8 Ohrist blessing, C9 . Madonna . so, 62. Annuncia»

tion ; 51. Lombard School (not Lesa. do Wad ) m ann

a;‘72. mm ,

$3233“e dioe dr

‘

Con“, 66 . Portrai t orbammo Vult io (d.

nna.

The Via S . Borromeo and the V ia 8. Maria alla Ports lead to

the N.W. to the 003 80 Maonxra (electric tramway to the Ports

Magenta see p. in which, to the right, i s the Patasao Litta

(Pl . 0, 5 wi th an imposing rococo facade and a handsome court,

nowoccupiedby theAmministrazione delleFerroviedell'Alta Italia.Oppos ite, on the left , rises the small church of 8. Kant ian, or

mm dd Mom ma Maggiore (Pl. 0, erected in 1603- 19 byGiov . Dotcebuono , a pupil of Bramante.

The i nterior co ntains numerous frescoes. Second-last‘ Cha on the

right : Scourging o f Chri st and scenes from the martyrdom o i‘

Ca thar

i ne), painted by M about 1595 . The high-altar-pdece, wi th the Admti on o f the Magi , i s by AM onio Cam i . The ‘ Frescoes at the si des are bynew : abov in the centre; the Assum ption of the V irgi n ; below , to theleft, 88. Geo is and Ursula a t the Sides o f the tabernacle, w ith a beautiful figure o f an an el. In the lunet te above is a kneeling figure of thedonor, Alessandro enti voglio (d. 1682 expelled from Bologna and buriedhere), w i th 88. Benedict. John the ptis t. and John the E vangeli st .Above, martyrdom of St. l aurtce. Below. to the rich 88. Apo llonia andLucia at the sides of the tabernacle.wi th a pieth; in e lunette, I po li teSforza, wi fe of Bentivoglio, wi th 88. Scholasti ca. Agnes, and arine.Abo ve, King S igi smund presents a model of the church to St. l am-ice.

The frescoes in the chapels at the sides of the entrance-door are byAurelio Luis“ and his pupils. Behind the high - altar lies the Nurse

‘

Cnora, o i the same siae as the church i tself. At the high~altar is a

series o f 9 Frescoes of the Passi on ; below, the lifesi ze figures ot‘

88.Ap ollonia, Lucia, Catherine, Agatha, Sebastian; and Rochus, all by M ini.

8. Maria delle Grazia. MILAN. 19 . Route. 127

Inside between the arches are 20 medalli ons of saints, by Borgognons. Inthe arches of the gallery above are 26 medallions of holy women , byB oltrqfflo.

Farther on in the Corso Magenta, on the right , is situated the

church of ‘ 8antaKarin delle Graaie (Pl. B ,an abbey- church of

the 15th cent .,the Gothic nave ofwhich alone belongs to the original

structure. The choir,transept , anddome are attributed to Bramartte.

Brent Areas . In the 2nd chapel, John the Bapti st , an altar-piece byBugiards

’

ut. 4 th chapel, frescoes by Gaudenzio Ferrari , the Crucifixi on ,Christ crowned wi th thorns , Chri st scourged angels wi th the ln

struments of the Passi on (on the vaulting) ; an altar-piece (Descent fromthe Cross) by Caracaggt

'

o . In the 6th chapel, frescoes by F's‘

ammingo. Tothe ri ght of the cho ir, on the organ above. a Madonna enthroned w i thsaints and a donor, fresco by Luini . In the Cuom are good stalls of the Renaissance. To the left of the choir are the Cloisters, beyond which is

the Sacristy , wi th charm ing wood pai ntings on the cabinets. In the LawArea: is the fine Cap pella del Rosario , w i th the mural tablet of BrandeCasti glione (d. 1495 ; to the right). by Bambaj a (Gs

‘

oe Ant. Amadeo andthe fam ily-tomb of the Della Torre, by Amadeo (1483 ; restored).

A large door marked ‘Oenacolo Vinci ano

’

,to the W . of thi s

church , is the entrance to the refectory of the suppressedmonasteryof S ta . Maria delle Gracie (now a cavalry - barrack), containing the

celebrated“ Last Supper of Leonardo da Vinci (adm .,see p .

The picture is unfortunately in bad preservation , chiefly from hav

i ng been painted on the wall in oi ls (before In the same

room are exhibi ted contemporaneous cepies by Andrea Solorio, Cc

sare Maym‘

e,Marco da Oggiono, andAnt. dc Glaxiate, an inspection

of which much facilitates the study of the original. There are

also numerous photOgraphs, including reproductions of the drawingsat Weimar, falsely ascri bed to Da. Vinci . The large fresco by Giov .

D onate Montorfano (Crucifixion) of 1495, Opposi te theLast Supper,i s in much better condi tion . The kneeling figures ofDuke Lodovicoi l Moro (p. 105) and hi s wife B ianca Maria wi th their chi ldren are

by Leonardo da Vinci,the trace of whose hand is still distinctly

distingui shable.

Deplorable as is the condi tion of the Last Supper , the chief work

executed by Leonardo duri ng hi s stay at Mi lan , the original alone ex

hibi ts to i ts full extent the em otions whi ch the master intended to ex

press , and which even the best cOpies fai l to reproduce. The m oti ve ofthe work has been well explained by Goethe : ‘The arti st represents the

peaceful li ttle band round the sacred table as thunder- struck by theMaster’

s

words, One of you shall betray m e. They have been pronounced ; the wholecom pany i s in dismay , whi le he him self bows hi s head w i th downcast

eyes . H is whole atti tude, the m otion o f hi s arm s and hands , all seem to

repeat w i th heavenly resi gnation , and hi s si lence to confirm ,the m ournful

words‘It canno t be o therwi se. One of you shall betray m e !

’

Com p .

3 180 p . li v .

The Via Caradosso and the Via Boccaccio lead hence to the

Cos tello (p . From Santa Maria delle Grazie the Via delle

Oche and the V ia S . Vi ttore lead to the S .E . to the church of San

Vittore (Pl. B , a baroque building by Galeazzo Alessiinteresting for i ts elaborate internal decoration. A li ttle farther on

i s the large PIAZZA SAN T’

AMBROGIO (Pl . 0, b 6 ; passed b y th e

128 Rou te 19 . MILAN. s. Ambrogio .

omnibus from the Piazza del Duomo to S. Vi ttore) , wi th the

church of

‘Bant’ Ambrosio (Pl. 0, foundedby St .Ambrose in the i th

cent. on the ruins of a temple of Bacchus, and dating in its present

Romanesque basilica form,with i ts peculiar galleries and an 00

tagonai cupola over the high- altar, from the i 2th century . The fine

atrium in front of the church co ntaining ancient tombstones, ih

scriptions, and halfo obliterated frescoes, seems, like the facade, tohave preserved the architectural forms of the original bui ldin and

may, perhaps, have been bui lt underArehbis p Anspert (St. Ambrosius baptized St . Augustine here in 387 and in 889 beclosed the doors of this church against the Emp. Theodosius afterthe cruel massacre of Thessalonica There is a portrai t of thesaint on the left side of the principal entrance. The Lombard kingsand German emperors formerly caused themselves to be crowned

herewi th the iron crown,which since the time of Frederick Barba

rossa has been preserved at Monza (p . The anci ent pillar at

whi ch they took the coronati on-oath before being crowned is still

preserved under the lime-t rees in the piazza.

Israruon. To the t of the en trance marble statue of Pius xx.

In the i st chapcl the left aisle, an~km

m

Homo, em u hy B .m e—On the ri ght and left of the side-entrance in the ri ght aisle : frescoesby Gaudenflo 1m m , representing the of the Cross, the threel iarles , and the Descen t from the Cross . 2nd hapel on the right Ca

ella delle Dame) : a fine kneeli ng Statue of St. Marcellina, by Poccth'

8ih Cha at on the right :

'Legend of St . George, frescoes by Bm erdtno Los tai . T e seeond door to the left in the e 6 th ehs l leads to the

Cappella 8 . Sati re wi th mosaics of the 6 th cen . (restor In the darkchapel to the ht of the choir is an al tar-piece

.

b 8 . M t, nation s andsain ts. The gh Al tar still retains i ts ori gin decoration intact , con

sisting of reliefs on silver and old

ground (in front), enrichedwi th enamel

and gems , execu ted in the first h f of the 9 ih cent . by Vol/cirrus , a German (covered, shown only on p yms ent of a ir”) The

’‘ Canopy over the

high-altar, which is adorned wi th reliefs of the 9th cent., recently gilded;i s borne by four columns of porphyry . The choi r contains an ancien

iscopal throne. In the Tribune ‘ l osai cs of the 9 ih cent. earlier thant e of 81. Hark

’

s at Venice . Christ in the centre, at the sides the his toryof S t . Ambrose. To the left o f the choir, in the aisle. is an inscri ptionfrom the tomb of Em . Louis II. (destroyed; formerly i n the vestibule) ;farther on is the torn tone of Pep in, son of Charlemagne, above whichis an altarv

piece of the Lombard School (Madonna and two saints). no~

si te, at the N. entrance to the Cam , is a fresco by Borgognoas (am ong the Scribes). Themodernised crypt conta ins the tombs of SS .AmbPro tasius , and Gerrasius . By the pulpi t are a bronze eagle. a figureS t. Ambrose floth cent . and

37

an early Christian sarcophagna of the 0ihcentury . A scent to the left aisle in

7an unfinished Cloister. designed by

arm “ (1 and afterwards rebuilt.

The Via Lanzons (Pl. 0, 6 ; wi th the Palazzo Visconti on the

left) leads hence to the S.E. to the Via Tortno and San Lorenzo(p .

130 Route 1 9 . mm . 8. Mos-ta p. 8. Getso.

1st Chapel in the right, Mural monument of Giac. Stefano Bri vi o

(d. by 10mm do Can as ta : and Band. M a ce : 4th Chapel to the

right Gothic m onum en t of S tefano Vincenti (ca . 1337}6th Chapel, li on

umenis of Gaspare Visconti and his wife Agnes (d. Farther on, on

the same side, the Campsi te de‘Mag i , co ntaining a relief of 1317 and a late

Rom anesque sarcophagus in which the‘bones of the were preserved

un til they were presentedto the ci ty of Cologne by crick Barbarossaafter the conquest of Milan in 1162. By the high

-altar are reliefs of thePassi on, dating from the i i th century . At the back of the cho ir is the‘ Oappella Partisan-i , w i th a fine cupo la and a charming frieze of angels ,bui lt in rim-se b H ieha orso of Florence (

8. i t contains the m agni

ficent Gothic tom of St. Peter Martyr by Batduooio of Pisa thewalls are adornedwi th frescoes of the four Fathers of the Church, scenes

from the life o f St. Peter l artyr, the Annunciation, and the Assumpti on .

probably by Vine. F in the sacristy is a Peui tent St. Jerome, byBorgognone. The scent convent is now a barrack.

We follow the street to the Pot-ta Ticinese (Pl. D,originally

intended to commemorate the Battle of Marengo , but inscribed in

1816 ‘Paci Populorum Sospi tw’

. We then turn to the E. and skirtthe ci ty

- walls to the Ports Lodovico (Pl. E, whence we followthe Couso Sax (Pl. E ,

8, to the left,to the church of

Santa Maria presse San Celso (Pl. E. built in theRenaissance

style by Giov . Doteebuono after 1490. It possesses a handsome

atrium , groundlessly attributed to Bramamte,and a rich facade by

Gul canso Alessl. On the right and left of the portal are Adam and

Eve by S totdo Lorenzi .The ls ‘

raaro n i s in the form of a basi lica with barrel-vaulti ng over

the nave, a dodea gon al cupols , and an ambulatory. By the 2nd altar tothe right , Holy Family and St. Jerom e, by Paris B ordon ; Goudm io Fer»

rari , Bap tism of Christ (behind the high-altar) ; at the beginning of theleft aisle Bot-gem s , Madonna adoring the Chi ld, surrounded by John theBap t is t , 6t .Bochus , and the donors of the p icture ; above i t , Basso/wro te,Madonna. The 2nd chapel on the left contai ns a sarcOphagus wi th thereli cs of St. Coleus . The cupola is decorated wi th frescoes by App tcnt(FIN ). In the sacristy are some fine specimens of goldem i th

'

s work .

Adjacent is the Romanesque church of S . Ceiso,partly removed

in 1826 and now possessing few remains of the original structure .

At the N . end of the Corso S. Celso is the Piazza Sant’ Eufem ta,in which

,to the right, stands the church of that name (Pl . E ,

dating from the 6th cent . , but entirely modernised. In the thirdchapel on the left is a Madonna with saints and angels, by Marcoda Oggiono. A litt le to the S. i s the church of Ban Paolo, a richlyornamented and characteristi c bui lding of the middle of the 16thcentury. The archi tectural decorations of the facade already il

lustrate the principles of the later baroque style, and this is seen

even more strongly in the interior,which is adornedwi th frescoes

by the brothers Giulio, Anton io, and Vincem o Oumpi of Cremona .

TheViaAmedei leads hence towards theN. to Bant'Alessandro

(Pl. E ,erected in 1602

,a reduced and in the interior suwess

ful copy of St . Peter’s at Rome, wi th two W. ta vern. It i s the

most sumptuously decorated church inMilan,but desti tute ofworks

of s rt. H igh - altar adorned wi th precious stones. Adjacent isthe M an o Trimlsio, containing a fine art - collect ion ,

in which

MILAN. 19 . Route. 131

the most noteworthy objects are a portrai t by Antonella da Mes

sina,a Madonna by Mantegna a relief- portrait by Cristo

fano Safari, and the tomb of Azzo Visconti (d. 1329) from S . Got

tardo. The extensive library contains a Dante codex of 1337 and

a MS. of Leonardo da Vinci.

The Via Carlo Alberto (Pl . E ,mentioned at p . 122

,passes

a few paces to the E . of S . Alessandro. From i t we turn to the S.E .

into the Conso DI Pon'ra Romans (electric car

,see p. 107) and fol

low i t to the church of San Nazaro (Pl. F, 6 , with a large fresco

by B ernardino Lan ini‘Martyrdom of St . Catharine

, painted

in imi tation of the simi lar picture in the Brera by Lanini’s master

Gaud. Ferrari (No. a handsome carved altar ; and ancient

Swi ss stained-

glass windows to the ri ght of the main entrance. A

side-

passage leads to theoctagonal sepulchral chapel of theTrivulz i ,bu i lt by Girolamo della Porta To the N .E .

,in the Via

dell’

Ospedale, is the'"Ospedale Maggi ore (Pl. F,

a vast and remarkably fine brickstructure

,half Gothic andhalfRenaissance in style, begun in 14 66

by Antonio Filarete of Florence, continued in the Gothic style byGu iniforte Solari and other Lombard archi tects and not com

pleted by Ricchin i till after 1624 . It i s one of the largest hos

pi tals in exi stence,and contains no fewer than nine courts. The

extensive principal court , surrounded by arcades, is by Ricchini

(17th the court to the right of i t i s ascribed to Bramante.

The edifice i s enti rely covered externally wi th terracotta, in a style

frequently observed in other Mi lanese bui ldings, but its facade,wi th i ts rich window-mouldings , is superior to any other structureof the kind at Milan. In the chapel are two paintings by Francescodc Vico

,containing portraits of Francesco andB iancaMariaSforza

,

the founders of the hospi tal.From the back o f the hospi tal the V ia S . B arnaba leads to theRotonda

(Pl. H , 6 ; Open on Thurs. dz Sun .,10-4 ; adm . 60 bui lt by Arrigone

and dedicated by the Viceroy Eugene Beauharnai s in 1809 as a Pantheon

Naz iona le. It now contains a large collection of portrai ts of benefactors of

the Ospedale Maggi ore, from the 1Bth cent . to the present day . In the

Via.Guastalla, the first cro ss- street of the V ia S . Barnaba, is the Synagogue

(Pl. G , by Luca Beltram i

A lit tle to the N . of the Ospedale Maggi ore i s the P iazza Santa

S tefano , with the simple Renai ssance church of that nam e (Pl. F,

The Via dell’Ospedale leads S .W . to the Corso di Porta Romana.

Hard by is the Piazza del Verciere, used as a vegetable- market .

We m ay now return to the W. by the Via Tenaglie and the Piazza

Fontana (Pl. F, 6) to the Piazza del Duomo , or we may follow the

Vi a Cesare Beccaria to the N . to the Palazzo di Giustiz ia (Pl. F,

a baroque structure by Seregni ; on the portal i s a tablet commemor

ating the Italian patri ots comm i t tedby theAustri ans to the fortressof Spi elberg in 4821. Adjacent is the Piazza Beccaria wi th a statue

of Beccaria (d. 1794 comp . p . 116) by Grandi , erected in VS“ .

TheVi a Cos. Beccari a ends on theN . at the Corso Vittorio M anuel a.

QQ

132 Banta m. MILAN. s um a m

0 . East Quarters of the City . Corso Vittorio Emanuele and i ts

Side Streets. Giardini Pubblici .

On the N.E . side of the cathedral begins the broad and bustling‘ Coaso Vm om o Exam (Pl. F, G,

4, 6 ; electric tramway , see

P.

now occupiedwi th sheps, was erected byTo the right, farther on, at the cornerof the00 3 80 s u (Pl.

small Romanesque church

cupy the si te of an ancient

Column wi th a lien,the

cognizance of thi s quarter of the town .

In Via Monforte, to the left , is si tuated the Palazzo di Prefet

Passi one (Pi . H,wi th a spacious dome by Crist. Solari

and a facade of the i 7th century.

It con ta ins a Last Supp

er by Goad. Ferrari (left transept), a‘ Pietd

by Lariat (behind the b ig -altar ; wi th a predella representi ng scenes

from the li fe of Constantine and Helena, the car

'

lithis master, in the style of Bram antino)by Andrea M inn (1096 ; right transepé)

.

figures of saints by Daniels (Jr-ap t.

by Ambrog io Em m a.

The Conservatory ofMusic occupies theoldmonastery bui ldings .

In the vicini tyi s the Go thic church of 8 . Pietro tn Ca rats (Pl. 0 ,

reconst ruc ted in t e 16 th cen t., and containing frescoes by Bern. Buttino neand Bern . Zenale, and the monum ent of Senator Grifo (d. To theE ., near the Ports Vi ttoria (Pl. H , 6 ; electric tramway , see p . is a

Monument comm emorating the C in

gue G iornate (p. desi gned by Gina.

es t known work of

and the tomb of Abp. B in go

The 14 pi lasters are adorned w i the ceiling of the sacristy was painted

Grandi (d. and unvei led in

We now return to the Corso Venezia. On the left , on thisside of the canal

,is the Archiep iscopal Sem inary (Pl. F, G ,

wi tha fine court by Gina. Meda (l6 th In theViadel Senate, whi chdi verges to the left by the Naviglio , is (No. 10, to the right) thePolasso del Senato (Pl. G,

3) containing the provincial archi ves , wi tha colossal equestri an statue ofNapoleon Ill . (bronze).by Barzsghi ,in the court . Adjacent, at the beginning of the avenue (8 0mleading to the Giardini Pubbli ci , is a marble statue of General Giac.

Medici,the Garibaldian.

Farther on in the Corso Venezia , to the left , Nos. 69-6 1, the

Pal. Ciani (Pl. G,completed in 1861

,wi th ri ch ornamentam

in terracotta . On the right is the Pal. Sapori ti (Pl. 0 ,another

modern building , wi th Ionic columns , and reliefs by Marcheal .A li ttle farther on

,to the lef t, stands the

134 Route 19 . ci m'ross DI PAVIA.

The (limi tero di Mu oeeo, on the road to Saronno,2 M . to the

N.W. of the Ports del Sempione (p . was laid out by Brotti

in 1896 and is twi ce the size of the Cimi tero Monumentale. It is

reached ei ther by the Corso del Semp ione (Pl. B, A,116 ft . wi de

,

or by the Corso a t Clmitero di Musocco,beginning at the Piazza

8. Mi chele,to the W. of the Cimitero Monumentale.

Excursi on from Milan to the Oertosa di Pavia.

To vi si t the Oertosa di Pavia we ma use ei ther the Bu swar to Cer

tow , on the Pavia-Voghera li ne, or the avia Bran t m ar as far as

Torre dr‘

11m m . The railway starts from the Central S tation and takes

r-‘lo hr. (fares 8 fr. 20, 2 fr. 2fi, 1 fr. 4b e g return-fares Afr. 75, 2 fr. 50,fr. 60 The tramway starts about every 2 hrs. from thePorto Ti ci

uese (Pl. D,8 , electri c tramway from the Piazza del Duomo, see p . 107) and

takes hr . (returno farea 2 fr. 40, 1 fr. 150 c., or, incl. omn. to the On i on ,

2 fr. 70, i fr. so c. , com p . below). The whole excursion takes ‘le day .

The di strict traversed betweenMilan andPavia consists of alter

nate stretches of rice- deids and underwood and ofl'

ers li ttle of in

terest. At (i i/9 M.) Rogoredo the RAILWAY diverges to the S . from

the line to Piacenza (p. M . Chtam valle M ilanese,with

i ts Cisterci sn ‘ Church,a tine brick edificewi th a lofty domed tower,

in the ao—called Romanesque Transition style, dedicated in 122 1,but partly modernised. The interior is adornedwi th frescoes byMi lanese ainters of the 16th cent. and con tains choir- stalls of

1465. V2 M. Locate , M. Villamagg iorc.

M . S tat ions della Certosa (Fratelli Riz zardi’

s Restauran

whence two routes lead along the enclosing wall (right and leto the entrance (W . side) of the Certosa (walk of V4 hr. ; also omn.

from the station ,60

The Srs ax Tnam vay follows the highroad and passes Binasco,

a small town wi th an ancient castle,in which , on Sept . i 8th, 14 18,

the jealous Duke Filippo Maria V iscont i caused his noble and in

nocent wi fe Beatrice dl Tenda (p . 48) to be put to death . The

station of Tom di Mangano (Alb.-Risto rante Italia

,clean, dej .

‘2 i/2,

D . 4 ir. , wine included; Alb. Oertosa), on the Naviglio di Pavi a,lies about M . to theW. of the Certosa (own. 30

Adjoining the Certosa is a Restaurant (dej . 3The ‘certosa di Pavia , or Carthusian monastery , the splendid

memorial of the Milan dynasties, begun in 139 6 by Gian Galean o

Visconti (p . 105) in the Gothic style, from'

the plans of Marco di

Campione, and suppressed under Emperor Joseph i i . in 1782 , wasrestored to i ts original destination in 1844 and presented to the

Oarthusi ans. Since the suppression of the Italian monasteries i t hasbeen maintained as a

‘Nati onal Monument’

. A v estibule, em

belli shedwi th sadly-damaged frescoes by Bern.Lu ini (SS . Sebastian

and Christopher), leads to a large inner court, at the farther end

of which rises the celebrated facade of the church .

T110 “7 4 9m m, begun in 1491 by Gioo .Ant.Amadeo m am

CERTOSA DI PAVIA. 19 . Route. 135

ed (upper part) by Dolcebuono and Cristofano Solari , i s perhapsthe most masterly creation of i ts kind of the i 5th century . Its

desi gn ,independent of the anti que orders of archi tecture

,i s in

the Lombard-Romanesque style of graduated church- fronts,wi th

project ing pillars and transverse arcades,while with in these well

defined structural features i t embraces a wonderful and judici ouslydi stributed wealth of ornament (Burckhardt). Thirty of the mostdi stinguished Lombard masters from the 15th to the i 7th cent . had

a share in i ts embellishment,the most eminent of whom are : the

brothers Cristofano andAntonio Mon tegazza, Giov. Ant. Amadco,

andAndr. Fusina (i 5th cent.) Giacomo della Porta,Agostino Busti,

surnamed IL Bomboj a, and Cristofano Solari , surnamed Ii Gobbo

(16th The plinth i s adornedwi th medallions of Roman em

perors, above which are reliefs representing Bibli cal history and

scenes from the li fe of Gian Galeazzo . Below the four magnificent

wi ndows i s a row of angels’ heads

,and above them are niches with

numerous statues . Thi s is unquestionably the finest decorative

work of the kind in N . Italy , although inferior to the facades of thecathedrals of Orv ieto and Siena

,especially as the upper part i s

wanting . The reliefs are on the whole superior to the statues.

An inspection of the *INTERIOB,which is open from 8 to

in summer and from 9 to 4 in winter (closed on Sun. at takes- 2 hrs. (adm . 1 fr.

,Sun . free ; guide imperative, gratuit ies for

bidden). The beaut iful and spacious building consists of a nave,

supported by eight handsome pillars , with ai sles and 14 chapels,large transepts wi th apsidal endings, and a long choir. The dome

above the crossing was added in the Renaissance period. The

whole i s sumptuously andtastefully fittedup ; thehandsome coloured

enrichments were probably designedby Borgognone. Thefinemosaic

pavement i s modern . The transept and choi r are separated from

the rest of the church by a beautiful screen of iron and bronze.

The chapels and altars are ri chly adornedwi th valuable columns

and precious stones.W e begin in the LEFT AISLE . The 2nd Chapel once con tained a pi cture

by Perug ino in six sections,of which the central part , above, representing

‘ God the Father, alone rem ains,the other parts being new in France and

England. Adj acent are the four great Church Fathers,by Borgognone. In

the 6 th Chapel : Borgognone, St . Ambrose w i th other saints . LEFT TRANsnr

'r :

‘ Fi gures of Lodov ico More and his w i fe Beatri ce d‘

E ste (d.

from the dem olished m onum ent of the latter,one of the chief works of

Gris t . Solari,brought in 1664 from S . Maria. delle Graz ie in M ilan (p . 127)

and restored in 189 1 handsom e bronze candelabrum (16 th —The OLDSa cnrsrr, to the left of the cho ir, has a fine m arble portal w i th sev en relief

portrai ts of the Vi scon ti and S forza fam ilies ; in the interior is a fine carved

ivory altar-

piece, in upwards of 60sect ions,by Leon. degli Ubriachi of Florence

(l6 th The Cuom con tains a fine m arble altar w i th carv ing of the

l6th cent. ; beneath, in front, is a charm ing small relief-medallion of the

Descent from the Cross, by Grist. S olari . The “Choir S talls are adorned

wi th in laid figures of apostles and saints , from draw ings by Borqoqnonc .

The handsom e bronze candelabra on the marble al tar-re.“ are by Libero

Fontane. The door to the right of the choir , handsom el {t am ed Knmarble and wi th {our reli ef-portrai ts of princesses of th e S eras. i amhbh

136 Route 20.

leads to the Lavacao , which contains a rich fountain and the Madonnaand Child in fresco by Ben . M . To the right of the Lavacro is a smallburial-place. Brent Taanm r : rn flcent ‘Monumen t of Gian Galeu ao

V i sconti , begun about 1490 by Gi ov . m isforo km u o from the desi gn ofGaleazro Fellow-tut, but executed chiefly b

gAntonio m ace and Giacomo

della Porto (before The adj oining aoa s s‘

n a Nuo va,or Ou ronro ,

has a large a ltar-piece, an‘Assum ption by A. Salado (resto red), a late worlr

ahowin the influen ce of Leonardo (the apostles on thewings are speci allyfine). vcr the door, Madonna enthroned, wi th two saints and angels , byBar t. I ontamta : the ai de-

pi ctures are by Borgepnm .

The front part of the ‘ Cnorsrnas (Chi os tro della Fontane) possessesslender marble columns and charming decorations in terracot ta. Fine

view from the front of the Ban crour (W. side) of the side of the church

and the right transept. Around the Gm r Cameraus fartherback ,are

si tuated 2A sm all houses form erly occu ed by the mo each consistingof three rooms wi th a small garden. e now rc-enter the church. Bren'

r

Arena. In the 2nd Chapel : m m,Madonna en throned, wi th two sa inta

njured). 8rd Chapel : Borgega onc, S t. S im s and four o ther saints . ( 1hapel :

‘ Boraogaooe Crucifixion . 6th Chapel : good altar-piece in si xsecti ons by ”W e d’Alba (M96).

The round generally ends wi th a v isi t to the Drsrrtm r, in whichthe old liqueur (Chartreuse) i s still prepared The Don canno t beascended wi thout a special

‘

permesso‘

.obta ined at the prefecture in Pavia .

The battle of Pavi a, at which Francis I. of France was takenprisoner by Lannoy , a general of Charles V.

,took place near the

Certosa on 24 th Feb .,1525 .

Pav ia,which Hos 6 M. to the S. of the Certosa, and the railway

thence to Voghcra and Genoa , are described in R. 30.

20. From Milan to Como and 130000 .

a . Fnox Mrnax ro Coxo vul Sancrm o .

282:M. Ban war (Fen-cote Nerd) in ive-2?

hrs. (fares 8 fr. A5. 2 fr.1 65 c . : return- fares , b fr. , 3 fr. 90, 2 r. At bo th the

station and the town o ffice p. 106) through and return tick

procuredforCernobbi o, Cadena bia, Bellag io , Menaggio, Bellano,

As far as (3 M.) Boo iso , see p. 142. Farther onwe enjoy a goodview of the Mte. Boss group, to the left. 5 M . Nooa tc ; 6 M. B ot

11 M. Comm a.

its Albergo Madonna ; Leon d’

Oro), a

large vi llage on the Luv-a , wi th6 100 inbah.,known in Italy for its

excellent gingerbread (amarett i). A quadruple avenue of planetrees leads W. from the sta tion to the Sm oam o DELLA Beau

Vnaomn, a celebrated pilgrimage- church, built at di fferent times

between the end of the 16th and the endof the i 7th cent., chi efly ina pompous baroque style. It contains a series of admirable ‘Frescoes.

The painti ngs in the interi or of the dome represen t a con cert ofangels, and are by academ ic Ferrari . Round the drum are several woodenstatues by Andrea M ac . The frescoes immediately below the drum are

by Lam a,those in the next section by Cesare do Sesto and

M M (88. Rochus and Sebastian). The remaining frescoes are all byLu i ni , who, as the story goes, sought an asylum in the sanctuary of Seronno after k illing a m an in self-defence

,and had to work at the bidding

of the m onks. In the passage leading to the cho ir are de iclod the l i arfl

’

m of the Virg in and Christ among the doctors ; i n e each itself ,

MONZA. 20. Route. 137

the‘Adoration of the Magi and the Presentati on in the Temple. Above,

in the panels and lunet tes , are Sibyls, Evangelists, and Church Fathers.A sm all a se built out from the choir contains paintings of ‘ St. Apolloniato the rig t , and

‘ St. Catharine to the left, each w i th an angel.

Saronno i s a station on the line from Novara to Seregno (p.

From Saronno to Varese and Laveno , see p . 157 .

M . Roucllo ; M . Lomazzo M. Cadomgo ; 23 M.

Finc-Mom asco ; M . Portichetto ; M . Grandatc (p.

M . Camerlata (p . at the foot of a mountain cone

(14 14 bearing the ruined Costello Baradcllo,once a residence

of Frederi ck Barbarossa (p. 28 M . Como Borghi ; M .

Como Lago , the main station,on the bank of the lake (p.

b . Fnou MILAN To Como AND Lecco (Calico) VIAMc s .

Fnon MILAN ro Como , 30 M rai lway (Rate Mediterranea) in 1 hr.

(fares 6 fr. 45, 3 fr. 80, 2 fr. 45 c. , express , 6 i r., 4 fr. 20 Through

and return tickets m ay be obtained at the Central Station of Mi lan and

at the Agen zia Internaz i onale (p . 106) for Com o , Trem ezzo Cadenabbi a,Bellagi o , Menaggi o , and Colico . Fnou MILAN TO Lecco

, 62 M ., rai lway(Rate Msds

‘

ten ama) in hrs. (fares 5 fr. 80, 4 fr. 6 , 2 fr. 60 to

66 M .,in hrs. (fares 10 fr. 20, 7 fr. 16 , 4 fr. 60

The line traverses a fertile plain , luxuriantly clothedwi th vine

yards, mulberry-

plantations, and fields of maize,and intersected

by innumerable canals and cuttings for purposes of irrigation .

M . Sesto San Giovann i .

8M . Monza (632 ft. ; Alb. del Costello e Falcons,at the railway

stat ion ; Alb. San Filippo , Via Italic 12) i s a town on the Lambro ,wi th inhabi tants . Leav ing the station and following theVia

Itali c to the right , we pass the church of Santa Maria in Istrada

(2nd on the right), wi th 3. Gothic bri ck facade of 1327 , and soon

reach the ‘ CATHEDRAL (8 . Giovanni) , the chiefobject of interest . Itwas erected in the 14 th cent . in the LombardGothic style by Marco

da Campionc on the si te of a church founded in 590by the Lombardqueen Theodolinda, and contains double ai sles and transept , flankedwi th chapels on both sides. Above the portal i s a very curious relief

representing Queen Theodolinda am i d her treasures ; below,the

Bapti sm of Christ .IN'rnnron. In the E . transep t i s a relief represen ting the coronation

of Emp . Charles IV . The chapel to the right of the choir,restored by Beltrafm

‘

in 1890, contains the plain sarcOphagus of QueenTheodolinda (be nn ing of 14 th cent .) and frescoes of scenes from her life

by Zaca ttari (1 The celebrated IRON CROWN,w i th whi ch the Germ an

emperors were crowned as k ings of Lombardy , i s also preserved in this

chapel. This venerable relic was used at the coronat ion of the Em p .

Charles V . in 1530, of Napoleon in 1805 and of Emp . Ferdinand I. in 1838.

It consists of a broad h0 0p of gold adorned w i th precious stones , round

the interior of whi ch is a thin stri p of iron,said to have been made from

a na i l of the true Cross brought by the Empress Helena from Palestine.

From the tim e of Theodolinda onwards i t was used as the royal crown

of the Lombards. In i ts present form i t i s, perhaps , a work of the i 2th

centu In 1859 i t was carried off by the Austrians,but after the peace.

of 1 i t was restored to i ts former reposi tory , and until lately preserv edin the cryp t. (Fee for seeing the crown

, 5 fr.) The “T n asmn $6 6

138 Route 20. m ezzo. From Milan

1 fr., b tr. for amay) contains several objects of historical interest : ahen wi th seven 0 ckens in gold, represen Lombardy and its seven

rovinces , executed by order of Queen Theodo the ueen‘s crown,an, and comb ; two silver loaves, presented by Napoleon 1. his coron

ati on ; the cross which was placed on the breast of the Lombard kings at

the moment of thei r coronat ion ; a richly-adornedbook -cover wi th an ia

scri ption of Theodolinda ; reliquary , cross, and m issals o f Berengari urblot of sapphire, wi th a stem o f Gothic workmanship ; Gothic goble t o i’ian Galeasso V isconti ; tine diptychs o i

’the d~6th cen t . , Go thi c carvings

in ivory ;‘ampullsc

‘

from the Roman catacombs (vessels wi th a dark-reddc t supposed to be the blood of martyrs Byz anti ne pi lgrim -flasks from

Pa esti nc ; model of the iron crown . A cab et outside the church containsthe mummy of one of the Visconti , who died in 14 18.

The handsome Gothi c Municip io or town-hall also calledPalazzo Arengario , dates from the i 3th century. The royal Sum

mer Palace,built by Pietro Merino in 1777

,lies to the N . of the

The l ines to Corso andLecco divide at Monza. The former lineruns to the N.W.

, ati ording pleasant views , to the right , of the

fertile Brianza (p . wi th i ts numerous country-residences . The

train passes through several tunnels. 11M.M ssow Mugpio. To the

right rises the long , indentedMonte Resegone (p . to the left

of whi ch are the Monte Grigna and the mountains reaching to theSplugen. M . Dcsio . M . Seregno (735 a town

wi th 6 100 inbah.,i s thejunction of branch- list

18M .)line diverges to Seveso San Pietro (p. M. Carimate ;211/ M. Cantix-Asnago ; 24V), M . Cucc iago ; 27M .Albatc- Camerlata

(p 30 M. Como (Stat ions 8. Giovanni , see below).Como. — Arrival. The Stat ions Costa 8. Giovanni or Madam

the princi pal station (St. Go tthard Railway) is M. from the qua (omn.

80 c., included in through-t ickets). The filastone Como Log o or

Nos-d lies XI) yds. to the E . of the quay (branch- lines to Setonno andMi lan ,

p. 186 , and to Varese and Laveno , p. The Storm Come B orrow,a third station , is o f no importance to tourists.

H o tels (all in the Piazza Cavour , near the harbour).‘Hdrat. Vow

[P ] . a), R., L ., t A. M , B. dej . 3, D . b, pcnsfl-i l) , un i te w i th

“ (J-res taurant ; Gm -Hdr. Pm s, new t

‘ l 'ra ma Wk “an “ h e 0: L“

140 Route 20. Gone.

Mercato , is

in 1897 and

Porto Ton e, now known as the Porto Vittoria, a massive five

storied structure, is also worthy of note. Outs ide the gate, in the

Piazza V i ttoria, is a bronze Status of Garibaldi , by Vela.On the promenade outside the town is the church of Santiasima

Annunciata , of the i 7th cent .,richly decorated wi th marble and

gold ; also known as the church Del Crocsflsso , from a miraculous

image. Farther on,on the slope of the mountain, is the fine oldBa

silica Sant’Abbondio

,originally aLombard structure of 1116801 cent .

,

rebui lt in the 11th cent. , and restored in 1863-88. Beneath i t theremains of a church of the 5th cent . have been found.

142 Route 2 1. Bas s.

The Rarmvar n o t Lacco so Cou oo has little interest for tourists b’

u tfurni shes the sho rtest route between Mi lan and cum (8pm , h. A)and the Vol Tallinn (p. It runs along the E . bank of the lakethrough tunnels and over v iaducts. s n . Hu dd le-Tamara“; (p. is), toLia na (p. 14 M. Psrledo- Vam na (p . M. Bellanca (p .

18V: l l. Darcie (p . 21 M. Calico, see p . 150.

Steamer from Lecco to Bettagio (Como), see p. 144 . Railwayto Bergamo , see p. 180.

21. h um Milan to Bellagio. The Brianna.

Rarawar (M oots Nerd) from Mi lan to (271 a ll.) [s eine-Eri c

(startingfr.from the Stazi one Ferro vie N ord

(3. 105) in 1 /g-2l 1 hrs. (fares

2 fr. 50, 1 fr. 60 c. , return- ticketed soc., 1 fr., 2 r. 70 B ranno n )

from Erba to (19 M .) Bellagio.

Brianaa is the name o f the undulatin rassy parti ally wooded, andextremely fertile trac t 12 M . in length, 6 in breadth, extending between the 8m and the Adda

, and st retching to the N. to the triangular

peninsula which di vides the Como and Lecco lakes (com p . T he

soi l is very fertile, and the whole di strict studded wi th vi as peep ing out

from vines , orchards , and m ulberry-

plan tati ons. In the centre are severalsmall lakes (Lace d

’m ons,Pm iaao , Aba te , Heart” , and Mentor/a lto) .

The BarLWAr FROM MILAN ro Ixmsro - Ens a traverses a well

cultivatedandwell watered pla in. As far as (3 M .) B oc isa i t coincides wi th the line to Saronno (p . 4 l/2 M. Affori ; 5 M . Brus

sano ; M . Cor-manna. The train now crosses the small Season.

6 M. Cusano ; 7 l/2 M . Padcm o Dugm mo ; 9 M . Palm s-ole. Beyond

n again crosses the Seveso and reachesCesano - Madcm o. From (14 M.) Scum

S . Pietro a branch- line di verges to M .) Camnago (p .

(18l/2M.)Cam go- Giussano the country becomes hilly. ‘20M. Arct ic ,

pleasantly si tua ted amidvine- clad hi lls , some ofwhich are crownedwi th villages and country- houses. 211/g M. Inverigo (1150 3

pret ty vi llage, in the valley of the Lambro. On an eminence rises

the ‘Rotonda , one of the finest vi llas in the Brianza, wi th a parkand admirably- kept garden, and commanding an extensive view.

The Villa Crivelli i s famous for i ts cypresses. The train new as

cends the valley of the Lambro. 23 M. Lambrugo (950 25V? M.

tenuoco, the junction of theLecco andComo line(p.The Lago d

’

Alscrio i s passed on the left and the Lago di Pusiano on

the right. The train enters the charmingplain of Erba (Pica d'Erba).M. Incino- Erba

,the station for the vi llage of lncino and

the small town of Erba . Incino, the ancient Licim

’

fom m,i s men

t ioned by Pliny along with Bergamo and Como ; i t contains a loftyLombard campanile. Erba (1055 ft ; Albergo) lies a little to the N.,

on the road from Como to Lecco,which here traverses the fertile

and terraced slopes of a small hill. It con tains several vi llas, amongwhi ch is the Villa Ama lia

,on theN.W. side, commanding a charm

In; fl aw of the Brianza. From Erba to Como , see p. 140.

to Bellagio . GIVENNA. 21. Route. 14 3

FROM Em u TO BELLAGIO,about 19 M . ; a highly interesting

excursion. BeyondErba we cross the Lambro,whi ch has here

been canalized and i s conducted into the Lago di Pusiano ,a li ttle

to the S.E . Immediately afterwards the route to Bellagio diverges

to the left from the road to Lecco,and runs to theN.

,past Longonc

on theW . bank of the narrow Lago del Segrino , to6 M . Canzo (1270ft . Crocedi Malta),whi ch i s almost contiguous

to M .) A330 (1394 the two numbering together 2700 inhabitants. At the entrance of Asso i s a large si lk-manufactory(Casa Versa).

The road now gradually ascends for a considerable di stance in

the picturesque valley of the Lambro,theVALL

’Ase a , the slopes

of whi ch are well wooded; i t passes through (2 M.) Lasnigo, (2 M .)B am i (2083 andMagreglio (24 15 where i t becomes steeper;first view of both arm s of the Lake of Como from the eminence near

the (1 M .) Chapel .Delightful *Survey of the entire E . arm to Lecco and far be

yond,after passing the first church of M .) Civenna (2045 ft. ;

‘ Bellevue,new

,open from April to Oct. ; Angela, R. 1 fr., unpretend

ing), wi th i ts graceful tower. The road now runs for M . alongthe shady brow of the mountain , which extends into the lake at

Bellagio. Beyond the chapel good vi ews are obtained of theW. arm

of the lake (of Como), the Tremezzina wi th the Vi lla Carlotta and

Cadenabbia, theE . arm (Lake of Lecco), a large portion of the road

and rai lway on the E . bank , the former supported by masonry and

embankments,and finally of the entire lake from the promontory

of Bellagio to Domaso (p . and far below the park of the Vi lla

Serbelloni (p .

The roadwinds downwards for about 3 M .,finally passing the

Villa Giulia (p. 147) and the churchyard of Bellagio . From Civenna

to the hotels at B ellagio on the lake (p. 2 hrs.’ walk .

A longer rou te,which w i ll reward the pedestrian

,i s by the ‘Monte

S . B ' imo (p . Ascent from Canzo w i th a gu ide in 4 -5 hrs .,descen t

to B ellagio 3 hrs. (fatiguing ,over debris).

22 . Lake of Como .

Plan of Excursion. The Lakes of Com o and Lugano (p . 153) and the

Lago Maggiore (R. 28) m ay be v isi ted from M ilan m ost expedi tiously as

follow s : by the St . Gotthard line or the Saronno- Com o rai lway inhr. to Como (Cathedral) ; proceed by steamboat in the afternoon in

-2 hrs . to Cadenabbia or Bellagio, the latter the m ost beau ti ful point onthe Lake of Com o

, and spend the n i ght there. In the evening and nex t

morning v isi t V i lla Carlot ta and Villa Serbelloni ; by steamboat in hr .,

or by row ing-boat

,to M enaggio ; thence by rai lway in 1 hr. to Porlezza

,

in t im e for the steamboat which starts for Lugano (p . arriv ing earlyenou gh to leave time for the ascent of Monte S . Salvatore. From Lugano

by steamboat in hr. to Ponte Tresa and thence by steam - tramway inhr. to Lm

’

no ; steamboat from Luino in 2 hrs. to the BorromeaaIslands. From the islands we m ay proceed in fi ll -1112 hr . to Aroma. an treturn by railway to Milan hrs. ; R. or we m ay return by

14 4 Route 22. LAKE OF COMO.

steamer to t'l.1’ h .r ) Lam o and on thence by the N. railway vi i Va o

rm to (2-3 hrs. lan (B. e Cracunan Tova Tram s (see p. xv i i )issued for this excursion are eco nom ical and convenient. Tour No . 8 o f

the Rate Medi terranea (1st class 27 fr. 70 2cd cl. 23 fr. 10 c.) and No. 1of the Ferrovio Nor-d fr. 50, 16 fr. 15 c. follow substantiall y the above

indicated routes. s lum s Trotters i ssued by both railway-systemsfo r Bellagio , Cadenabhia, and

Fens

-pg“

)(Bets Medy, lo ir. 50. 8 fr.

y55 c. ;

Ferr. Nord 9 fr. fr. and those i ssued by the Bert .Nerd for Calico

.

(12 fr. 50 10 fr. 70, S tr. 40 c.) are valid for eight daysand allow the steamboat j ourney to be broken at four po ints.

Steamboat thrice dai ly from Como to Colico in 4-5 hrs. (fares 1 fr. 70,2 ir.60 a.) five timcs dai ly from Como to Bellagi o, ei ght times to Tom ;thrice dai

‘ly from Como to Lecco in file—i lll .brs ,

thri ce daily fromto Colico in Sllh

‘i'.hrs. The tickets are issued on board the steamers

(also t ickets for e railways i n connection and the Swi ss di li gences).Em barkati on and landing free (the ti ckets have a cou pon which is gi vento the boatman). Those who em bark at intermediate stations must procurea check at the ier to be gi ven up when the tickets are taken on board.

The advertised ours are not rigidly adhered to . Some of the boa ts are

handsom e saloon-steamers , wi th good restaurants on board. in the fol

lowing description the stations at which there is cr are indicated

iP

,‘B

the small boat stations by‘B

, and the railway s”

one (comp. p. i

yQ

Boats (bored , pl. ban ks) . First hour i ll, fr.,each addi tional

hour 1 fr. r each rower. From 0 to Cadenabbia and back (or v iceversi ) each rower 2'la fa

aBellagio to mon o , Bellagio to l and

Bell 0 to Varenna also ‘lg i’r. each rower ; Bellagio to Villa ai , ills

Carlotta, and back, each rower 8 fr. One rower suffices , unless the traveller is

&reseed for time a secondmay be dism issed wi th the words

‘basta

uno t'

hon travellers are not numerous the boatm en readily reduce

their demands . The following phrases may he found useful . Quanta mmper mm coma d

'

mt am ( all due ore) ? Blame due ("a

re) persons.In addi to the fare, i t is

usual to give a“m eta or

‘buonamano of tla ir. or i fr. accosd1ng to the

length of the excursion.

The ‘Lake of Como (650 Italian Lapo di Como or It Lario,theLocus Lav-ins of theRomans

,is extolledbyVirgi l (Georg. i i .

and i s in the estimation ofmany the most beauti ful lake in N. Italy.

Length from Como to the N . extremi ty 30M., greatest width be

tween Menaggio andVarenns , nearly 121/gM. greatest depth 1340 i i . ;total area 60 sq . M. At Bellagio (p. 146) the lake divides into twobranches

,called respectively the Lakes of Como (W andLecco (E.

The Adda (p . 14 1) enters at the upper extremi ty and makes i tsegress near Lecco . The W. arm has no outlet . Numerous villages

and the gay vi llas of theMilanese ari stocracy , surroundedby luxuriant gardens and vineyards