,aside from few typographical errors1 no
 other corrections of grammar or        
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,,cathedral ,,cities ,,of ,,italy       
,,written ,,and ,,illustrated ,,by ,w4  
,w4 ,,collins1 ,r4,i4  ,illustration3   

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,,preface   ,the cathedral cities of    
,italy1 the heir of all the ages in art1
 are as full of enchantment to the lover
 of architecture as to the poet1 the    
painter1 and the historian4 ,side by    
side with the great churches that give  
them their crowning splendour are the   
public buildings1 universities1 palaces1
 and fountains that tell the story of   
the glorious past1 and form the best    
monument of their great creators4 ,these
 architectural jewels are often set     
amidst scenes of great natural beauty1  
which relieve and enhance the perfection
 of their art4 ,every traveller in      
,italy will recall the emotion with     
which he first saw ,rome rising from the
 green stretches of the ,campagna1      
recognised the domes and campaniles of  

,florence1 or lifted up his eyes to one 
of those towered cities set upon an     
hill1 which cannot be hid--,siena1      
,perugia1 or ,orvieto4 ,among the many  
appeals which ,italy makes to sthetic   
appreciation is that of infinite        
variety4 ,in no country are the         
different styles and periods so         
wonderfully exemplified4 ,here we may   
range from ,rome and ,verona1 with their
 relics of the antique                  
world--amphitheatres1 temples1 and      
therm--to the ,byzantine glories of     
,ravenna and ,venice1 the ,romanesque   
grandeur that finds typical expression  
in the cathedral of ,pisa1 and thence to
 the manifestations of that ,gothic art 
which1 though it was alien to the       
climate and character of ,italy and so  
struck no deep roots into the soil1     
intervened between ,romanesque          
architecture and that of the            
,renaissance as a brilliant episode1 and
 finds stupendous expression in the     
thousand pinnacles of ,milan4  ,it is   

with ,christian ,italy that we have to  
deal1 the ,italy of cathedrals1 and it  
is at ,ravenna and at ,venice that we   
may trace the decline of ,roman         
architectural methods and the gradual   
merging of these into ,byzantine forms4 
,though the great ,basilica ,ursiana of 
the fourth century has disappeared1     
,ravenna has preserved many famous      
monuments of the fifth century3 the     
votive church of ,galla ,placidia1      
sister of the ,emperor ,honorius1 the   
,baptistery1 the aulic church of the    
,gothic conqueror ,theodoric1 ,sant'    
,apollinare ,nuovo1 and the churches of 
,san ,vitale and ,sant' ,apollinare in  
,classe4 ,venice1 rising to power and   
splendour when ,ravenna fell on evil    
days1 secured the heritage of her glory1
 and carried on the ,byzantine tradition
 in the cathedral of ,torcello1 the     
church of ,san ,zaccaria1 and above all 
in the incomparable ,san ,marco4 ,at    
,pisa the ,romanesque evolution         
culminated in a unique group of         

buildings1 famous throughout the world1 
while at ,milan and in the surrounding  
district the local type of ,romanesque  
became sufficiently individual to figure
 as an independent style under the title
 of ,lombard architecture4 ,of this     
subdivision of ,romanesque the prototype
 seems to have been the great church of 
,sant' ,ambrogio at ,milan1 while ,san  
,michele at ,pavia is another early and 
important example4 ,italy's essays in   
,gothic are scattered throughout the    
length and breadth of the peninsula1    
from ,como to ,naples4 ,the ,broletto at
 ,como and the monastic buildings at    
,vercelli are said to have inaugurated  
them4 ,good examples are the cathedral  
at ,como1 the church of ,san ,francesco 
at ,assisi1 the cathedral of ,orvieto1  
,san ,petronio and ,san ,francesco at   
,bologna1 and ,san ,lorenzo at ,genoa4  
,but it is to the ,renaissance          
architecture of ,italy that many of us  
will turn as the most intimate          
expression of the ,italian spirit1 to   

the works of ,brunellesco1 ,michelozzo1 
and ,cronaca at ,florence1 of ,palladio 
at ,venice and ,vicenza1 of ,bramante1  
and1 above all1 of ,michelangelo at     
,rome1 notably in his great life-work1  
the church of ,st4 ,peter4 ,the         
exuberant later style that resulted from
 a too ardent application of the        
principles of ,michelangelo and is known
 as ,baroque1 though generally          
reprobated at present1 must not be too  
sweepingly condemned4 ,it had an        
exponent of great talent in ,bernini1   
and it will hardly be denied that it    
gave grandiose expression to the        
tendency of a splendour-loving age1 and 
that ,rome owes to its exponents much of
 the scenic effectiveness of her streets
 and the impressive magnificence of her 
interiors4     ,,contents               
,,page  ,,como                          
#a  ,,milan                             
#g  ,,pavia                             
#ag  ,,bergamo                          
#bc  ,,brescia                          

#bi  ,,verona                           
#ce  ,,padua                            
#di  ,,venice                           
#fa  ,,rimini                           
#ia  ,,ferrara                          
#ii  ,,ravenna                          
#ajg  ,,bologna                         
#abc  ,,parma                           
#acg  ,,genoa                           
#ade  ,,pisa                            
#aeg  ,,lucca                           
#afi  ,,florence                        
#agi  ,,perugia                         
#aii  ,,assisi                          
#baa  ,,siena                           
#bag  ,,orvieto                         
#bbi  ,,rome                            
#bci  ,,naples                          
#bfe  ,,salerno                         
#bgi  ,,palermo                         
#bhe     ,,illustrations                
,to face                                
page  ,como4 ,the ,brotello and         
,cathedral                              
#b  ,milan4 ,the ,cathedral             

#aj  ,pavia4 ,the ,cathedral            
#ah  ,bergamo                           
#bd  ,brescia                           
#cb  ,verona4 ,the ,porch of the        
,cathedral                              
#ch  ,verona4 ,interior of ,s4 ,zeno    
#db  ,verona4 ,the ,market ,place       
#df  ,padua4 ,the ,cathedral            
#ej  ,padua4 ,s4 ,antonio               
#ef  ,venice4 ,st4 ,mark's              
#fb  ,venice4 ,interior1 ,st4 ,mark's   
#gj  ,venice4 ,the ,palazzi ,foscari e  
,giustiniani                            
#hj  ,venice4 ,the ,lion of ,s4 ,mark's 
#hd  ,torcello4 ,sta ,fosca and         
,cathedral                              
#ij  ,rimini4 ,isotta's ,tomb in the    
,cathedral                              
#if  ,ferrara4 ,the ,cathedral          
#ajb  ,ravenna                          
#aaj  ,ravenna4 ,s4 ,apollinare ,nuovo  
#aaf  ,bologna4 ,interior of ,s4        
,petronio                               
#acj  ,bologna4 ,s4 ,domenico           
#acd  ,parma4 ,the ,cathedral and       

,baptistery                             
#ach  ,genoa4 ,an ,old ,street          
#adf  ,genoa4 ,faade of the ,cathedral  
#aeb  ,pisa4 ,the ,baptistery           
#afb  ,pisa4 ,the ,campanile and ,duomo 
#afd  ,lucca4 ,the ,porch of the        
,cathedral                              
#agj  ,lucca4 ,from the ,city ,walls    
#agd  ,lucca4 ,s4 ,michele              
#agf  ,florence4 ,or ,s4 ,michele and   
the ,palazzo dell',arte di ,lana        
#ahj  ,florence4 ,the ,campanile        
#ahf  ,florence4 ,ponte ,vecchio        
#aij  ,florence4 ,the ,duomo1 from the  
,boboli ,gardens                        
#aih  ,perugia4 ,the ,cathedral and ,old
 ,town                                  
#bjj  ,perugia4 ,the ,porta ,susanna    
#bjd  ,perugia4 ,the ,piazza ,garibaldi 
#bjf  ,assisi4 ,the ,cathedral          
#bad  ,siena4 ,the ,cathedral           
#bah  ,siena4 ,interior of ,cathedral   
#bbb  ,siena4 ,the ,arco di ,s4         
,giuseppe                               
#bbf  ,siena4 ,under the ,walls         

#bbh  ,orvieto4 ,la ,porta ,maggiore    
#bcj  ,orvieto4 ,the ,faade of the      
,cathedral                              
#bcb  ,rome4 ,on the ,palatine          
#bdj  ,rome4 ,s4 ,peter's               
,frontispiece  ,rome4 ,the ,arch of     
,titus                                  
#bej  ,rome4 ,s4,s4 ,trinit de' ,monti  
#bef  ,rome4 ,the ,isle of ,s4          
,bartolomeo                             
#bfj  ,naples4 ,interior of the         
,cathedral                              
#bfh  ,naples4 ,s4 ,domenico ,maggiore  
#bgb  ,posillipo4 ,the ,bay of ,naples  
from                                    
#bgf  ,salerno4 ,a ,pulpit in the       
,cathedral                              
#bhb  ,palermo4 ,the ,cathedral         
#bhf  ,palermo4 ,the ,cloisters of ,s4  
,giovanni degli ,eremiti                
#bif  ,palermo4 ,mte ,pelligrino        
#bih  ,monreale4 ,the ,cloisters        
#cjb     ,,como   ,on a flat piece of   
land at the southern extremity of       
,italy's most beautiful lake1 the       

ancient ,lacus ,larius1 stands a city   
whose history dates back to the days    
when a ,grecian colony nestled at the   
foot of the mountains which lie east and
 west of the modern ,como4 ,numerous    
relics of ,roman days found at different
 times1 testify to the truth of the     
younger ,pliny's letters that the ,comum
 ,novum of ,julius ,csar was in a       
flourishing condition during the        
writer's life1 and enjoyed all the      
privileges attached to a municipium4    
,at the present day ,como is best known 
as a starting-point for tourists who    
board the steamers at the quay and leave
 their decks at one of the many         
delightful spots which fringe the shores
 of a lake whose attractions cannot be  
overwritten4 ,the sun shines on an      
endless panorama which changes every    
minute as the steamer pants over the    
blue waters1 breaking up and dispelling 
the reflections of verdure-clad slopes  
and stern crags which lie mirrored on   
the surface4 ,hamlets like ,nesso cling 

to the rocks and bridge the orriao or   
torrent1 as it enters the lake in a     
foaming cascade4 ,monster hotel         
settlements like ,bellagio and          
,cadenabbia lie further up the water1   
opposite to ,varenna with its golf      
course and ,english caravanserai4       
,little is left to remind one of those  
bloody sixteenth-century days when ,il  
,medeghino from his stronghold of ,musso
 ruled the lake1 and with his fleet of  
seven big ships and countless smaller   
craft blockaded the ,city of ,como1 held
 for ,charles ,v4 by the ,marquis of    
,pescara1 and compelled the ,spaniards  
to come to terms4 ,nothing more warlike 
nowadays ruffles the serenity of the    
waters than the evil-looking little     
dogana craft which flash their light    
along the shores1 sweeping every tiny   
bay in search of contrabbandieri4       
,though much could be written about the 
internecine wars the mountains have     
seen1 it is not with ,gian ,giacomo de' 
,medici this chapter is concerned1 but  

with the city itself1 which lies away   
out of sight of the great corsair's     
,castle of ,musso4  ,illustration3 ,,the
 ,,brotello ,,and ,,cathedral1 ,,como   
,the ,cathedral of ,como1 built entirely
 of marble1 was commenced in #acif from 
the plans of ,lorenzi de' ,spazi4 ,the  
west faade1 begun in #adfj1 was finished
 by ,tomaso ,rodario in the last few    
years of that century4 ,it is ,italian  
,gothic1 with the exception of the three
 doorways1 which are rich ,lombard work2
 and1 like all faades of the same style 
in ,italy1 has the appearance of simply 
facing or being stuck on to the building
 itself4 ,despite the adornment of      
statues and bas-reliefs1 scrolls and    
arabesques1 it has a very severe and    
flat look1 which is unrelieved by the   
recesses containing busts of the two    
,plinys on either side of the central   
doorway1 or the deep-set windows and    
canopied niches above4 ,a fine wheel    
window occupies a position above the    
principal door and between these is a   

good ,gothic screen with figures in five
 niches flanked by a couple of windows  
on either side4  ,the north side of the 
faade adjoins the ,brotello1 through the
 arches of which one reaches the north  
doorway4 ,this is decidedly good4 ,the  
porch is supported by elegant pillars   
and adorned by arabesques with birds1   
animals1 and other figures4 ,it was     
executed from designs by ,rodario1 and  
with the south portal possesses all the 
merit that good ,renaissance work gives 
to both4 ,the windows of the aisles are 
beautifully ornamented with decoration  
of the same character1 and the slender  
pinnacles with their pierced galleries1 
albeit they remind one in their         
whiteness of the superior pieces of an  
ivory chess set1 break the line of the  
roof in a most agreeable manner4 ,the   
dome lacks proportion and is of the     
over-done style of ,french              
eighteenth-century work4  ,the interior 
of the cathedral is ,gothic and         
,renaissance4 ,the nave and aisles      

belong to the earlier date4 ,the        
groining is good1 but spoilt1 as is     
generally found to be the case          
throughout ,italy1 by gilded and        
coloured bosses which mar the otherwise 
simple effect of the vaulting4 ,the     
transepts and choir are ,renaissance1   
and though the sympathies of the        
northman are more with the sterner      
style1 it must be owned that in ,como's 
cathedral the scheme of decoration found
 in these is more fitting and better of 
its sort than in the ,gothic half of the
 building4 ,at the west end of the nave 
stands the circular ,baptistery         
attributed to ,bramante1 close by which 
are a lion and lioness1 the former      
grasping a deer and the latter suckling 
her young4 ,they support the two holy   
water basins4 ,among the pictures of    
interest which the cathedral contains is
 a good ,bernardino ,luini of the       
,virgin1 and two glazed and framed      
frescoes of the ,nativity and ,adoration
 by the same hand4  ,the illustration   

shows the ,brotello or old town hall1   
and the pinnacles and north walls of the
 ,cathedral4 ,the ,brotello is faced    
with banded black and white marble1 the 
common device for exterior walls in most
 ,italian ,gothic churches1 and in this 
case justified by the beautiful colour  
it has taken on with age4 ,the building 
stands mellowed by the hand of ,time1 a 
memorial of the days of the old ,italian
 ,republics2 and its counterpart existed
 in every ,lombard city4 ,above the     
arches1 under which the good citizens   
were wont to discuss the affairs of     
their town while sauntering to and fro  
in the cool shade1 is the great hall    
wherein the chief of the municipality   
assembled4 ,from the window in the      
centre access was obtained to the bar1  
or ringhira outside1 from which         
addresses were delivered to the crowd   
below1 who in constitutional language   
formed the parliamento and from whom the
 powers of government emanated4  ,two of
 the old city gateways still exist1 the 

latter of which1 the ,porta del ,torre1 
leading out on the high road to ,milan  
is to-day but an empty five-storied     
shell4 ,the old walls may be traced even
 now on the three sides of the city away
 from the water-front4 ,but for these   
there is very little left to show the   
extent of a place which was once a      
serious rival to ,milan4 ,the staple    
industry is stone-working1 for which the
 ,comaschi have for centuries been      
widely known4 ,in former times ,como was
 justly celebrated for the products of  
its looms1 excelling in number those at 
,lyons4 ,nowadays it exports the raw    
silk2 the looms have sadly fallen off   
and diminished1 and small industries    
have taken the place of those that      
brought considerable wealth to the      
pockets of its merchants4     ,,milan   
,when the great wave of conquest which  
swept mid-,europe in the fifth century  
broke against the walls of              
,chlons-sur-,marne and the westward     
march of ,attila and his ,huns was      

checked1 the defeated hordes of the     
,east followed their chief across the   
,alps and invaded the plain that        
stretches away now1 just as it did in   
those far-off days1 to the sunny seas   
that beat against the southern slopes of
 the ,apennines4 ,in the centre of this 
plain stood ,mediolanum1 a city ranking 
second only to ,rome1 and her greatest  
colony in the ,peninsula4 ,so rich and  
prosperous a place became of necessity  
the object of attack1 and the hosts that
 looked to the ,scourge of ,god as      
leader1 swept into and through the fair 
city1 sacking it completely4 ,rebuilt1  
but once again undergoing the same fate 
at the hands of ,frederick ,i4 in #aafb1
 there remain but a colonnade of sixteen
 ,corinthian columns near the ,porta    
,ticinese1 a few tablets and fragments  
let into the walls of other gateways1   
and some relics in the museum1 to tell  
of the past glories of ,rome's great    
colony4  ,milan1 as we know it now1 is  
the centre of commercial ,italy4        

,intersected by an excellent system of  
tramways1 with beautiful public gardens 
and magnificent buildings1 it is up to  
date in every way and stands quite apart
 from all the other cities with which   
this book is concerned4 ,the one thing  
that1 perhaps1 above all others places  
it in this position is1 however1 no     
product of this commercial age1 but its 
world-famous work of art1 the great     
cathedral1 through the lofty aisles of  
which still reverberates the grand music
 of the ,ambrosian ,ritual4 ,the        
exterior of this immense church1 next in
 ,italy to ,st4 ,peter's in size1 is    
adorned by a forest of spires1          
pinnacles1 turrets and lace-like        
tracery4 ,in the midst of all this rises
 the central tower with its airy spire1 
from the base of which on a clear day   
the snow-clad peaks of the ,alps may be 
seen stretching miles on miles away1 and
 bounding the whole of the northern     
horizon by a lovely dreamland of colour4
  ,very few buildings compel one's      

admiration as this does1 an admiration  
wrung in my case from a mind out of     
sympathy with everything that lacks the 
dignity of repose2 but such is the      
effect obtained by hundreds of pinnacles
 and statues1 by the turreted flying    
buttresses1 by the filling of every     
available foot of space with ornament1  
that one cannot but appreciate the      
result of the skill and patience so     
truly ,italian1 which has carried out   
these infinite details and produced the 
great work that stands in the ,piazza   
del ,duomo4 ,the present fabric1        
dedicated ,mari ,nascenti1 is the third 
cathedral built on the site3 the first  
was destroyed by ,attila in #deb1 and   
the second by ,barbarossa in #aafb4 ,the
 foundation-stone was laid in #achg by  
,gian' ,galeazzo ,visconti1 who from a  
northern clime sought his architect1    
,heinrich ,ahrler1 of ,gmnden4 ,from    
that time down to the present day many  
have had a hand in its making1 among    
them ,bramante1 ,leonardo da ,vinci1 and

 ,giulio ,romano1 and the wonder is that
 the great structure is not far more    
full of incongruities than it is4 ,the  
whole exterior is built of white marble 
from the quarries of la ,gandoglia on   
the ,simplon ,road1 given by the founder
 for this purpose4  ,the faade rises    
with a course of open ,gothic work to   
the gable above1 and is divided into    
five sections which terminate in        
clusters of ,gothic turrets surmounted  
by pinnacles and statues4 ,the central  
doorway is surrounded by excellent      
,renaissance sculpture1 the door itself 
being a magnificent piece of            
seventeenth-century bronze work4 ,on    
each side are two more portals4 ,the    
bases of the intervening buttresses     
contain splendid panels1 and the        
,caryatides1 which support the slender  
,gothic shafts right and left1 by ,rusca
 and ,carabelli1 are extremely good in  
pose and execution4 ,the great faade    
designed by ,pellegrini for ,s4 ,carlo  
,borromeo in #aefj was never carried out

 owing to the saint's death while       
,pellegrini was away in ,spain working  
on the ,escorial for ,philip ,,ii4 ,the 
east end is the oldest part of the      
building1 and is almost entirely taken  
up by three grand ,gothic windows4 ,the 
east window1 which is of most beautiful 
tracery1 was executed from the designs  
of a ,frenchman1 ,nicholas ,bonaventure4
 ,both the other windows are fine1 but  
the upper portion or rose pattern1      
although in itself very delicate1       
appears stuck in1 and not part of the   
design2 some of the glass in these is   
very rich in colour4 ,the archivolts of 
the arches are filled with figures which
 follow the curve in a rather           
uncomfortable style1 not only here but  
in every other window save the fine     
classical of the faade4  ,illustration3 
,,the ,,cathedral1 ,,milan  ,the        
interior is grand1 and of immense       
height1 albeit the vaulting with its    
admirably painted tracery is evidence of
 the great skill of the ,italian at     

faking4 ,the mellow light from the amber
 coloured glass of the octagon and the  
twilight filtering through the gorgeous 
hues of the other windows is remarkably 
and impressively pleasing4 ,the columns 
of the nave1 in clusters of eight       
shafts1 are eighty feet high1 and carry 
narrow capitals of foliage which form   
the base to eight canopied niches       
occupied by figures of saints--a fine   
feature4 ,the aisles are double1 the    
outside being lower than that next the  
nave4 ,the four columns at the crossing 
which support the octagon are of larger 
dimensions than those in the nave4 ,two 
semicircular pulpits covered with       
bas-reliefs of gilded bronze stand on   
either side of the steps leading into   
the choir1 to the solemn darkness of    
which the shadows thrown from the       
sounding-boards above make pictorially a
 good foreground introduction4 ,these   
pulpits are supported by caryatides     
representing the ,evangelists and four  
doctors of the ,church4  ,the choir was 

designed by ,pellegrini1 and contains a 
fine sixteenth-century tabernacle of    
gilded bronze4 ,beneath is the          
subterranean church1 through which one  
enters the tiny chapel1 under the       
central spire1 wherein is deposited1 in 
a magnificent silver shrine the gift of 
,philip ,,iv4 of ,spain1 the body of ,s4
 ,carlo ,borromeo dressed in full       
pontificals4 ,born in #aech he was      
created cardinal by his uncle1 ,pius    
,,iv41 in #aefa4 ,after the close of the
 ,council of ,trent he assisted other   
prelates to draw up the epitome of      
,catholic doctrine1 the ,catechismus    
,tridentinus2 but it is more for his    
good works and great charity1 especially
 during the plague of #aegf1 that he    
lives in the hearts of the ,milanese4   
,in the north transept is a very good   
example of the metal work of the        
thirteenth century1 in the shape of a   
fine bejewelled bronze candelabrum4 ,it 
forms a tree and has many quaint figures
 in its intricate design4 ,in a chapel  

in this aisle is the old wooden crucifix
 which ,s4 ,carlo carried when          
barefooted he tramped the streets during
 the plague1 tending the sick4 ,in the  
south transept close to the corner near 
the staircase leading on to the roof is 
a monument to ,giacomo and ,gabriele de'
 ,medici1 brothers of ,pius ,,iv41 and a
 bronze statue of ,s4 ,bartolommeo which
 represents him flayed4 ,the south      
sacristy door is a fine specimen of     
,gothic work4 ,unlike the exterior      
effect1 nothing obtrudes inside this    
great cathedral4 ,the eye on entering   
looks straight up to the east1 conscious
 as it travels there1 of great pillars  
rising into the gloom of the vault      
above1 of fine glass and restful        
solemnity1 in which even the chapels in 
the aisles are lost1 to be discovered   
later on only when searched for4  ,next 
to ,mari ,nascenti1 but taking          
precedence in archological interest1 is 
the church of ,s4 ,ambrogio1 a basilica 
dedicated by the ,saint when bishop of  

,milan in #chg to ,,ss4 ,gervasius and  
,protasius4 ,it was enlarged and rebuilt
 in #hha and restored by ,ricchini in   
#afca1 all the original features being  
faithfully preserved4 ,a closed         
courtyard stands below the level of the 
piazza outside and forms the ,atrium    
beyond which no catechumens were allowed
 to pass4 ,the capitals of the columns  
here have the tendency of early         
,christian ,art and adaptations of      
,runic and ,byzantine carving4 ,the     
church is ,lombardo ,romanesque4        
,beneath the gallery over the peristyle 
is the celebrated door1 well guarded by 
an iron grille1 some of the cypress-wood
 panels of which formed portions of the 
gate of the ,basilica ,portiana closed  
by ,s4 ,ambrose against the ,emperor    
,theodosius after his cruel slaughter in
 ,thessalonica4 ,the nave is entered by 
two side doors and is composed of eight 
bays1 the columns of which are slender  
in proportion for the deep shadows of   
the dark aisles4 ,pilasters run up to   

the low round vaulting1 the large       
galleries over the aisles being divided 
by these4 ,up a few steps which cross   
the nave at the last bay1 and behind a  
low marble balustrade1 is the ,high     
,altar1 enclosed by one of the finest   
extant relics of the goldsmith's art4   
,this magnificent casing bears the name 
of its ,german maker1 ,wolvinius4 ,some 
of the panels1 notably that of the      
,transfiguration1 are very ,greek in    
treatment4 ,the back is almost of better
 workmanship than the front and is more 
interesting1 as ,wolvinius has here     
illustrated the principal events in the 
life of the founder4 ,the enamelled     
borders of these silver-gilt panels are 
of exquisite design4 ,one of the saint  
as a child asleep in his cradle with a  
swarm of bees hovering around1          
considered a presage of future          
eloquence1 is very nave4 ,the baldachino
 above this altar is borne by four grand
 columns of black porphyry4  ,up twelve 
steps are the choir and tribune1 and at 

the end of these is the primitive throne
 of the ,archbishop of ,milan1 known as 
the chair of ,s4 ,ambrose4 ,the eighteen
 seats occupied by the suffragans of the
 province no longer exist1 having been  
replaced in the sixteenth century by    
carved wooden stalls1 and thus has      
perished a feature identical with the   
,cathedral at ,torcello4 ,the semi-domed
 roof of the ,tribune is covered with a 
fine ninth-century mosaic which         
represents the seated figure of the     
,almighty1 beneath whom are ,,ss4       
,candida1 ,gervasius1 ,protasius1       
,marcellina and ,satirus1 and a         
representation of the cities of ,milan  
and ,tours--,tours because there1 when  
,s4 ,martin was undergoing martyrdom1   
the spirit of ,s4 ,ambrose went to give 
him strength4 ,beneath the choir is the 
crypt1 and at its termination1 exactly  
under the high altar in the church      
above1 in a splendid casket of silver   
and crystal1 repose the remains of three
 ,saints1 ,ambrose1 ,gervasius and      

,protasius4 ,there is a curious pulpit  
in the church of very early ,lombard    
work1 with an ,agape or love feast      
carved upon its panels4 ,close by upon a
 granite pillar rests a bronze serpent1 
said to be the brazen serpent of the    
desert and presented to ,archbishop     
,arnulphus by the ,emperor of           
,constantinople4 ,s4 ,ambrogio was the  
church in which the ,lombard rulers were
 crowned with the ,iron ,crown that is  
the chief attraction in the neighbouring
 city of ,monza4  ,so well known are the
 art treasures of ,milan that it is     
hardly necessary to do more than allude 
to the many works of great interest in  
the ,brera1 formerly a ,jesuit college1 
and in the celebrated ,biblioteca       
,ambrosiana2 or that greatest wonder of 
all which has drawn so many pilgrims to 
the ,cenacolo1 the refectory near the   
church of ,santa ,maria della           
,grazie--the much restored ,last ,supper
 by ,leonardo da ,vinci4 ,the ,castello 
of ,milan was at one time the residence 

of the great ,visconti family1 and at   
the death of the last male              
representative passed by marriage into  
the hands of the first duke of the      
,sforza line4 ,it was during their reign
 that ,milan took the lead in the       
fashion of ,europe 7whence we have the  
word milliner7 and it was then that     
,leonardo wrought his masterpieces1     
including that great equestrian statue  
of ,francesco ,sforza which was the     
wonder of ,milan1 and of which posterity
 was so unhappily robbed by the ,french 
invasion4     ,,pavia   ,from its       
position close to the confluence of the 
rivers ,po and ,ticino1 ,pavia1 the     
,city of a hundred ,towers1 was for     
centuries a point of strategic          
importance4 ,it is at present a great   
artillery station4 ,of its hundred      
towers that stood at intervals around   
the eleventh-century walls1 hardly one  
remains1 and the old fortifications     
which had been reconstructed at a later 
date1 are rapidly being converted into a

 spacious and shady boulevard4 ,the     
celebrated bridge is however still      
intact1 despite many violent floods1 a  
delight to the eye and a pleasant       
promenade on a hot day4 ,this notable   
structure1 which spans the ,ticino1 was 
built by one of the great ,visconti     
family--,gian' ,galeozzo--and is roofed 
in4  ,pavia at one time was rich in     
noble churches4 ,many have been         
demolished1 others have fallen into     
decay4 ,the cathedral1 dedicated to ,s4 
,stefano1 stands on the site of one     
erected in the seventh century4 ,the    
present edifice was designed by         
,bramante and constructed under the     
direction of one of his pupils1         
,cristoforo ,rocci4 ,in the original    
plan the nave1 transepts1 and choir were
 all of one size1 but the nave is the   
only part in which the great architect's
 measurements were followed4 ,the faade1
 approached by a good flight of steps1  
is unfinished4 ,on the north1 and       
adjoining a fine example of a late      

,romanesque gateway1 stands the         
campanile4  ,the interior of the main   
building is grey stone which has not    
been spoilt by the application of the   
whitewash brush4 ,a fine pulpit1        
somewhat similar to those at ,milan1    
stands out from one of the massive piers
 that support the octagon4 ,it is of    
singularly large dimensions and is      
supported by well-carved wooden figures 
of the ,fathers of the ,church4 ,the    
octagon1 which carries a good dome and  
tower and is best seen from the market  
square1 rises well above the roofs of   
the nave and choir4 ,a gallery running  
round the entire cathedral forms a      
triforium1 broken only by trasparente   
lights in the apse and side chapels of  
the choir4 ,these windows accentuate the
 bad points of the barroque altars      
beneath4 ,the clerestory lights are     
circular4 ,if it were not for the       
magnificent tomb in which repose the    
remains of ,s4 ,augustine1 the greatest 
of the ,fathers of the ,latin ,church1  

the cathedral would be1 notwithstanding 
the fame of its designer1 the least     
interesting ecclesiastical building in  
,pavia4  ,illustration3 ,,the           
,,cathedral1 ,,pavia  ,experts disagree 
as to who was responsible for the fine  
monument which covers ,s4 ,augustine's  
remains4 ,the body of the saint had been
 removed from ,hippo1 a suffragan see of
 ,carthage1 to ,sardinia during the     
,arian persecutions4 ,it rested there   
until ,liutprand1 the ,lombard king1    
having purchased it1 placed it in the   
church of ,s4 ,pietro in ,cielo d',oro2 
and when this church was destroyed it   
was conveyed to the cathedral4 ,on      
certain festivals the silver casket1    
portions of which are the original1 that
 contains the bones of the saint robed  
in full pontificals is removed from its 
usual position and hoisted up behind the
 tomb1 so that the devout can mount a   
temporary wooden stair and look on all  
that is left of the great father4  ,a   
figure of the saint lies stretched on   

the sepulchral urn that usually holds   
the silver casket4 ,this rests on the   
basement1 or lowest1 of the four tiers  
that compose the monument4 ,around it   
are figures of the lesser saints of his 
,order4 ,above are bas-reliefs of the   
chief events in his life and the        
miracles which after his death were     
performed in different places through   
his intercessions4 ,the liberal arts1   
the cardinal virtues1 and many symbols  
adorn the tomb1 which is also decorated 
with statues of saints and angels1 two  
hundred and ninety in all4 ,they are    
extremely well executed and enhance the 
beauty of the design4  ,the church of   
,s4 ,michele is a primitive structure   
and bears traces of being the precursor 
of all ecclesiastical edifices of the   
,lombard style of architecture4 ,it was 
originally a basilica1 but short        
transepts have been added and the roof1 
which is groined1 is vaulted with stone4
 ,the oldest part of the church is the  
crypt1 which is under the choir4 ,this  

is probably the building1 or part of it1
 in which ,unulfus sought sanctuary in  
#ffa when fleeing from ,king            
,grimoladus4 ,four compound piers in the
 nave are adorned with an extraordinary 
series of sphinxes1 symbols1 animals and
 other figures4 ,the faade is decorated 
with reliefs in a richly coloured       
sandstone1 and has a gabled gallery that
 is continued round the exterior as far 
as the apse4  ,the portals are covered  
with a profusion of very archaic imagery
 in which ,pagan as well as ,christian  
subjects form most of the decoration4   
,sculptured bands of sandstone are      
placed in courses along the whole front 
and medallions let into the walls4      
,these are very massively built of      
stone1 and though restoration is evident
 throughout the church it still bears   
the impress of great age4  ,sta4 ,maria 
del ,carmine is a fourteenth-century    
building of ,gothic design1 and is one  
of the very best examples of brickwork  
in all ,italy4 ,the beautiful rose      

window of the west front and the three  
pointed doors with their well-moulded   
terra-cotta ornament could hardly be    
finer4 ,seven elegant pinnacles stand on
 the rather heavy cornice1 forming a    
good set off to the campanile1 which1   
surmounted by a brick spire1 is a       
landmark in the district4 ,the brick    
piers of the interior are exceptionally 
good2 four squares constitute the nave1 
the arches of each carry simple         
groining4 ,two small lancet-shaped      
arches1 out of all proportion with the  
massive brick piers that support them1  
open into the aisles4 ,they have double 
capitals1 the upper being of stone1 the 
lower of carved brick4  ,in the ruined  
church of ,s4 ,pietro in ,cielo d',oro  
stood the tomb of ,boethius1 who under  
,theodoric held high office in the      
state4 ,boethius was executed in ,pavia 
after a long and rigorous confinement in
 the ,casa ,malsap ina1 during which he 
wrote his incomparable ,consolations of 
,philosophy4 ,this work was translated  

into many languages and was one of the  
most widely known treatises in the      
,middle ,ages4 ,alfred the ,great       
translated it into ,saxon4 ,another     
connection with ,england exists through 
,archbishop ,lanfranc who accompanied   
,william the ,conqueror across the sea  
and was made prelate of ,canterbury4    
,the district round ,pavia is not       
healthy1 a condition due probably to the
 intricate system of irrigation by which
 the pastures are kept green with a     
rank-growing grass4 ,between ,pavia1    
,piacenza and ,lodi--a triangle with the
 last-named at the northern point--lies 
the country which yields the best       
,parmesan cheese4 ,the fields are of    
three kinds1 those nearly always under  
water1 those irrigated1 and those used  
for rotation crops4 ,the cattle that are
 utilised for cheese-making are mostly  
,swiss bred1 and being valuable are well
 looked after4 ,they are stalled at     
sundown in the buildings attached to the
 great farms1 where farmhouse1 cottages1

 barns and stables are all enclosed     
within a high wall4 ,the little         
rectangular patches of meadow on which  
they feed are enclosed by rows of       
poplars or willows which make the       
landscape very monotonous4 ,in winter a 
dense fog often shrouds the countryside 
and a deadly chill pervades the         
atmosphere1 while the humidity of       
summer1 when the sun draws the moisture 
from the soaking earth1 is very         
enervating4     ,,bergamo   ,when       
,october comes in its yearly round and  
the autumn afternoons close in1 it is   
sometimes good to sit idly outside a    
caff with the pernicious cigarette and  
ruminate on the glories of a past       
summer--better this than to hustle up   
the street a sight-seeing4 ,a hot day   
was ending and the ,bergamo of medival  
times towered above the haze of a       
sun-baked land and the smoke that curled
 upwards in thin wreaths from the city  
below4 ,la ,citt ,alta thus raised its  
head proudly against the copper-coloured

 sky1 thrusting its bulwarks to the edge
 of one of the last spurs of the ,alps  
that here creep down on to the plain4   
,what a grand prospect from the shady   
boulevard on those ramparts which       
encircle the old fortress6 ,the sun has 
not yet set2 beneath lies the ,borgo ,s4
 ,leonardo1 the lower city1 a busy place
 with factory chimneys on its outskirts2
 beyond1 a sea of verdure1 cut by lines 
of tall poplars and here and there a    
slender campanile1 stretches away over  
,lombardy until lost in the haze past   
the towers and domes of ,monza1         
,cremona1 and distant ,milan4  ,there is
 something very fascinating in the quiet
 and exclusive old city4 ,its streets   
are steep and narrow1 its houses seem to
 rake the sky1 the rattle of wheels does
 not often disturb the aristocratic     
silence1 a silence accentuated tenfold  
when one has left behind its busy       
plebeian partner on the plain below1 and
 whisked upwards by the funicular1 found
 oneself suddenly amidst high walls4    

,great spaces of faced stone are these  
walls1 pierced by tiny windows1 almost  
forbidding in their austerity2 and      
though glimpses of foliage and flowering
 creepers break through1 the pervading  
air is one of mystery and intrigue4  ,in
 the wars with ,austria1 ,bergamo was a 
great rallying-point for patriots and a 
continual thorn in the side of that     
polyglot empire4 ,the names of heroic   
,bergamasque who died for their country 
are inscribed on sundry tablets on the  
walls under the old ,brotello4 ,this    
interesting building stands at one end  
of the little ,piazza ,garibaldi1 and is
 somewhat similar to the one which forms
 the illustration to ,como1 with the    
difference that here a fine open        
stairway leads up to the first floor4   
,the great hall is now occupied as a    
library4 ,in a corner at the head of the
 stairs rises a massive quadrangular    
belfry1 one of the prominent features in
 the outline of ,la ,citt ,alta4        
,illustration3 ,,bergamo  ,beyond the   

,brotello lies the ,cathedral1 a        
well-proportioned ,renaissance building1
 which1 by its juxtaposition to the much
 more ancient church of ,sta ,maria     
,maggiore1 looks comparatively of recent
 date4 ,it is constructed entirely of   
white marble and has a good dome4 ,a    
,madonna by ,g4 ,bellini behind the high
 altar is its great treasure1 and the   
only thing in it worthy of notice4  ,sta
 ,maria is an early ,lombard pile of    
buildings1 with a very lofty tower and  
an octagon over the crossing1 which     
rises in four galleried storeys         
surmounted by a low spire4 ,good        
galleries extend round the exterior of  
the apse1 and side chapels are thrust   
out at odd places with no particular    
plan4 ,the east porch is by far the most
 interesting feature1 and is an         
elaborate piece of work in breccia and  
white marble4 ,the supporting pillars   
rest on the backs of two lions1 the old 
ecclesiastical symbol of strength1 the  
columns of the portal are beautifully   

sculptured1 and one of them1 encircled  
with admirable figures1 is very fine4   
,above is a canopy under which1 on his  
horse1 sits ,king ,lupus with two       
attendants1 while beneath a second      
canopy on top are statuettes of the     
,virgin and ,child1 and the two ,marys4 
,the west porch is almost similar to    
this1 but of not so intricate a design4 
,it has also no canopies1 but is        
surmounted by a turret niche1 let into  
the wall of the main building1 in which 
is the figure of the patroness4 ,the    
doors of these two portals are of       
superbly grained rosewood4 ,they open   
into the transepts1 which are the finest
 portions of the interior1 the carved   
choir stalls and screen by ,stefano da  
,bergamo are considered the best in     
,italy4  ,adjoining the east porch is   
the ,capella ,colleoni1 the mausoleum of
 ,bartolommeo ,colleoni the celebrated  
condottiere of the fifteenth century1   
whose equestrian statue in front of the 
church of ,,ss4 ,giovanni e ,paolo in   

,venice is remarkable1 not only as a    
work of art1 but as exemplifying the    
power and rugged strength of a great    
man4  ,the faade is terribly ornate1    
with chequer work in white and black    
marble1 red and yellow busts and        
medallions1 twisted pillars and strange 
arabesques4 ,the interior contains the  
tomb of ,bartolommeo who sits astride   
his horse4 ,it is rather too elaborate  
to be entirely pleasing4 ,at the south  
end is one of the finest examples of    
intarsia1 or inlaid wood-work1 in       
,italy4 ,the subjects of the three      
panels represent the entry into         
,jerusalem1 and scenes from the stirring
 times in which the great condottiere   
played so prominent a part4 ,the        
backgrounds are evidently of landscape  
in the neighbourhood4 ,not only is the  
spirit and execution of this fine work  
extremely good1 but the colour surpasses
 anything of the sort ,i have seen4 ,it 
is kept under lock and key1 enclosed in 
three rosewood panels of well-selected  

grain4 ,not far from the chapel is the  
house in which ,donizetti died4 ,the    
,borgo ,s4 ,leonardo is of older date   
than ,la ,citt ,alta1 although it is the
 more modern of the two4 ,on the base of
 a damaged ,corinthian column standing  
in the small piazza of ,sta ,maria      
d',oleono is an old ,latin inscription  
which tells that the column was erected 
where once stood a heathen temple1 and  
that ,s4 ,alessandro1 standard-bearer to
 the ,theban ,legion1 overthrew the     
heathen pillar by a miracle1 the column 
being erected by members of the         
municipality with the alms of the       
faithful4 ,it is doubtful whether the   
,pergamus of ancient writers is the city
 on the hill or its sister on the plain2
 this relic rather points to the latter 
as the site4 ,in the ,borgo a fair1 held
 for a month from the middle of ,august1
 and known as the ,fiera di ,sant'      
,alessandro1 has taken place without    
intermission since the tenth            
century--surely a record2 and there is  

no doubt that in the ancient ,italian   
drama1 harlequin1 personifying the      
manners and jargon of the neighbouring  
,val ,brembana1 was a ,bergamasque1 and 
originated at this ancient festival4    
,,brescia   ,brescia1 like ,bergamo1 is 
situated on the fringe of the mountains 
and the plains1 and like ,bergamo played
 an important part in the wars against  
,austria4 ,its castello stands high     
above the rest of the city1 but in the  
face of the power possessed of modern   
arms it would not be worth a garrison4  
,so its ramparts and entrenchments have 
been wisely converted into a pleasant   
garden from which wide views of rolling 
country and level plain extend4  ,many  
traces of the ,roman colony of ,brescia 
remain1 but it was due to a small boy of
 the virile race that populate the city 
that the most interesting was unearthed4
 ,when a child1 ,girolamo ,ioli was much
 exercised in mind about a ,corinthian  
column that stuck out of the ground and 
around which he was wont to play4 ,in   

maturer years the curiosity of youth was
 still the ruling passion1 and he made  
it his business to agitate4 ,like many  
another agitator his demands were in    
time gratified1 and excavations were    
commenced which resulted in the         
unearthing of a building erected by     
,vespasian it is supposed in the year   
#gb--the supposition resting on         
fragmentary inscriptions4 ,palace of    
,justice or temple1 this building is now
 the museum1 and contains one of the    
finest bronzes ,italy can boast of4     
,found in #ahbf1 this beautiful winged  
figure of ,victory1 which is six feet   
high1 still bears a trace of the silver 
fillet interwoven with a wreath of      
laurel-leaves that bound her hair4 ,the 
last-century additions of a shield1     
which she was thought to have held1 and 
a helmet under one of her feet1 have    
been removed1 and ,victory stands in the
 state in which she was discovered4 ,the
 head and limbs are finely modelled1 and
 the arrangement of the drapery could   

not be excelled4  ,down the wide street 
in front of the ,museum a ,corinthian   
column and heavy frieze1 supported by   
massive brick pillars1 have been        
excavated4 ,opposite these relics is the
 huge ,martinengo ,palace4 ,in a line   
due south is the church of ,sta ,afra   
built on the site of a temple to        
,saturn4 ,most of the houses in the     
vicinity have ,roman masonry in their   
basements and ,roman inscriptions let   
into their walls4 ,from this one gathers
 that ancient ,brixia occupied this part
 of the later city4 ,write it down to   
the credit of ,brescia that her citizens
 passed a law as early as #adhj that all
 antiquities found should be preserved  
and given up to the town4  ,there are   
two cathedrals in ,brescia1 ,la ,rotunda
 and the ,duomo ,nuovo4 ,the former is  
one of the most interesting             
ecclesiastical buildings in ,italy4     
,constructed of stone1 with a red brick 
dog-tooth cornice and twenty-four brick 
arches1 supported by white marble       

pilasters forming an arcade into which  
the exterior is divided1 a most pleasing
 effect is obtained4 ,in the interior a 
circular colonnade1 composed of eight   
extremely massive four-sided piers      
bearing round arches1 supports the stone
 dome4 ,it is supposed to be of         
seventh-century construction1 and is    
evidently on the site of an earlier     
,roman building1 as fragments of a      
mosaic floor exist beneath the present  
one4 ,this1 which is partly tesselated1 
is much below the level of the ground   
outside4 ,lower still1 beneath the      
presbytery and choir1 down twenty steps1
 is a very ancient crypt1 in which forty
 marble columns support the round arches
 that carry the weight of the fabric    
above4 ,none of these columns is more   
than five feet high4 ,half a dozen      
blocked up lights1 with bases not more  
than three feet from the floor1 are     
evidence that outside1 the level of the 
ground was at one time far below where  
it is at present4  ,the ,duomo ,nuovo is

 a finely proportioned edifice and one  
of the best seventeenth-century churches
 in the country4 ,the faade is immense  
and gains by its simplicity4 ,the fine  
dome is said to be the third in size in 
,italy2 and the lofty interior of white 
marble1 unspoilt by any colour or       
decoration1 gains in space from the fact
 that there is but one bay to the nave1 
producing the effect on the senses that 
one is everywhere standing under the    
spacious height of ,brescia's greatest  
landmark4 ,the houses of the piazza     
outside are chiefly occupied by         
metal-workers1 and those who know the   
incessant din produced by the tapping of
 their hammers1 will quite understand   
that it was impossible to make a sketch 
of these two churches as they stand     
together4  ,illustration3 ,,brescia     
,adjoining the ,duomo ,nuovo is the     
,brotello with its fine ,torre del      
,popolo1 an embattled tower4 ,the inner 
courtyard is partly of red brick with a 
good corridor of the thirteenth century1

 formed of pointed and round arches and 
brick groining4 ,another fine tower     
stands in the ,piazza ,vecchia1 the     
,torre del' ,orologio4 ,its enormous    
dial marks the hours from ,i to ,,xxiv1 
the course of the sun and moon1 and has 
the signs of the ,zodiac displayed on   
its face4 ,two figures that stand on top
 of the tower strike the hours in a     
similar way to those on the ,clock      
,tower of ,venice4 ,at the west end of  
the piazza is ,la ,loggia1 the town     
hall1 a good example of an early        
sixteenth-century building4 ,it was     
commenced1 to be accurate1 by ,tornasso 
,formentone in #adib and continued from 
his designs as far as the first floor4  
,sansovino was responsible for the      
second1 and ,palladio completed what the
 other two had begun4 ,the building1    
however1 as a whole1 is superb4         
,magnificent arches support the first   
floor1 to which a grand open staircase  
leads4 ,the medallions and figures which
 adorn the exterior are extremely good1 

and the frieze and cornice are equally  
so4 ,the rich colour of the marble      
employed lends a beautiful tone to a    
beautiful building4 ,unfortunately the  
interior was burnt out in ,january      
#aege4 ,the fire which consumed it is   
supposed to have originated at the      
instigation of those who wished to      
destroy certain ancient charters        
granting liberties to the inhabitants4  
,the ,torre della ,pallata is in a      
corner of the square--a good specimen of
 castellated architecture1 which rises  
from a sloping base of immense stones   
and terminates with a projecting turret4
  ,brescia contains many fine palaces1  
and from the streets into which they    
open one often gets a glimpse1 through  
the iron grille of their portals1 of a  
charming arcaded court4 ,the splash of a
 flower embowered fountain is music to  
ear and the cool shade under the arches 
a rest for eye4     ,,verona   ,those   
who enter the ,brenner ,pass1 and with  
faces set towards ,italy1 leave         

,innsbruck behind1 may have noticed how1
 after toilsome puffing and straining   
uphill1 the train suddenly seems to draw
 breath and glide smoothly onwards with 
increased pace4 ,at the side of the iron
 road a little thread of water dances   
merrily over a pebble bed in its haste  
to reach the sunny plains that lie to   
the south of the great mountain barrier4
 ,further on the rail and its sparkling 
attendant part company to join later1   
when1 from their slender origin1 the    
waters have become a rushing river--the 
river ,adige4 ,the mountains are behind1
 to the north2 the character of the     
landscape has changed1 and within a     
horseshoe bend of the swift stream1     
well-nigh enclosed by it1 lies ,verona4 
,verona ,la ,degna1 ,verona the ,worthy1
 a city crammed with the history of past
 wars1 a city of colour1 in its bricks1 
in its stones1 in its marble walls and  
fresco adorned palaces4 ,wherever one   
turns1 be it the pale green of the river
 on which the wheels of those           

watermills1 so like the ,noah's ,ark of 
childhood's days1 for ever turn1 or the 
brilliant and keen blue of the sky1     
there is always colour for the eye in   
,verona4 ,colour for the mind too lies  
concealed in its streets and buildings4 
,greek1 ,roman1 ,ostrogoth and ,frank1  
,italians and ,austrians1 have all ruled
 here4 ,ruled and gone and left their   
trace on this beautiful city--the key to
 ,alt' ,italia--which ,italy once more  
holds and guards with jealous eye4 ,long
 may she keep it4  ,verona is connected 
with two great names in the history of  
,italian architecture1 ,fr ,giaconda1   
the monk who in the early days of       
,renaissance was supreme in the north1  
and ,sanmicheli4 ,many of the fine      
palaces the former designed bear        
evidence of his talent and justify the  
summons to ,rome1 where he went at an   
advanced age to superintend the building
 of ,st4 ,peter's4 ,the latter1 who     
evolved the triangular and pentangular  
bastion1 is more widely known in the    

science of fortification than as a      
builder4 ,fr ,giacondo's finest work in 
,verona is undoubtedly the ,palazzo del 
,consiglio1 the old town hall called ,la
 ,loggia1 which stands on the north side
 of the ,piazza dei ,signori1 one of the
 most architecturally beautiful squares 
in ,italy4 ,the ,palazzo della ,ragione1
 with a courtyard and grand open        
stairway of the fourteenth century1 is  
on the south of the square next door to 
the ,tribunale1 and the ,prefettura is  
opposite4 ,the fine portal of the latter
 is one of ,sanmicheli's works4 ,these  
magnificent buildings1 with the         
exception of the first-named1 were all  
at one time or another palaces of the   
great family of ,scaligeri or ,della    
,scala1 and in one of them ,dante1 whose
 statue is in the centre of the ,piazza1
 found refuge when driven from          
,florence4  ,the family of ,scaligeri1  
although settled in ,verona as early as 
#ajhe1 comes first before the historian 
at the death of the bloody tyrant       

,ezzelino in #abfa4 ,verona1 freed from 
his terrible rule1 became at that date a
 free town1 and ,mastino della ,scala   
accepted the office of ,capitano del    
,popolo4 ,onwards for over a hundred    
years the ,scaligeri governed ,verona2  
and during the reign of the most famous 
of the race1 ,francesco1 or ,can        
,grande1 ,great ,dog1 it became the     
gathering-place for men of note of all  
sorts1 and his palace the home of the   
great poet4 ,the family crest1 a ladder1
 is to be seen all over the city1 while 
the unique group of the ,scala tombs is 
without a parallel4  ,this wonderful    
group stands outside the little church  
of ,sta ,maria ,antica at the end of a  
passage leading out of the ,piazza dei  
,signori4  ,of these tombs1 that of     
,mastino ,i4 is a simple sarcophagus    
ornamented with nothing but a cross4 ,it
 was at one time covered with a canopy1 
but the stones of this1 being handy1    
were used for the restoration of ,sta   
,maria ,antica close by4 ,the tomb of   

,can ,grande forms the canopy over the  
portal of this church4 ,columns support 
its three storeys4 ,upon a sarcophagus  
lies an effigy of the ,great ,dog with  
his good sword at his side2 above is his
 equestrian statue in full armour4      
,mastino ,,ii1 who succeeded his uncle  
,can ,grande1 is likewise represented by
 a recumbent figure on the sarcophagus  
of his tomb1 which is also crowned by an
 equestrian statue in armour4 ,the visor
 of his helmet is drawn down1 and       
thereby hangs the tale that ,mastino was
 ashamed to show his face1 even to his  
wife1 after he had treacherously slain  
with his own sword his relative1 ,bishop
 ,bartolommeo della ,scala4 ,can        
,signorio's monument1 though not the    
most elaborate1 is decidedly the finest4
 ,at the four corners under beautiful   
pointed canopies1 are the figures of    
,sigismundo1 ,alexius1 ,st4 ,george1 and
 ,signorio himself4 ,a great deal of the
 bronze work and detail about this tomb 
is very good1 and the equestrian figure 

on the top is excellent4 ,there1        
gathered together1 these warrior princes
 of the great family repose in their    
last long sleep4 ,those who deem the pen
 mightier than the sword1 may care to   
reflect that a fame more universal and  
lasting than that of all the ,delia     
,scalas has been attained by a ,french  
scholar of the sixteenth century who    
also bore the name of ,scaliger4 ,yet   
even this prince of learning was prouder
 of his traditional descent from the    
noble ,veronese house than of all his   
achievements in the world of letters4   
,illustration3 ,,the ,,porch ,,of ,,the 
,,cathedral1 ,,verona  ,and ,verona's   
churches8 ,tradition says that          
,charlemagne erected the first building 
on the site of the ,cathedral4 ,the     
present edifice1 though almost entirely 
reconstructed in the fifteenth century1 
was commenced in the tenth4 ,the most   
ancient part that remains1 probably a   
portion of the first church1 is the     
apse1 which on its exterior bears traces

 of ,roman influence4 ,it is very simply
 built of a small cut grey freestone1   
faced with flat pilasters terminating in
 ,roman capitals1 above which is a      
frieze of floral pattern4 ,in the       
remainder of the building ,verona marble
 and the rich yellow stone of the       
district are used4  ,the double-arched  
west porch of the twelfth century is    
exceptionally good4 ,two colossal       
gryphons support elegant columns1 and   
still command a certain amount of awe   
amongst the smaller children who play   
about the ,piazza del ,duomo4 ,both     
arches are round2 the lower is supported
 by four columns1 the upper by eight4   
,representations on the inner shafts of 
the lower arch of the two ,paladins1    
,roland and ,oliver1 give a semblance to
 the tradition that ,charlemagne had    
something to do with the first church   
erected here4 ,oliver holds his         
celebrated sword1 on which is inscribed 
,du-rin-dar-da4 ,roland is cross-legged 
and bears his shield4 ,they are both    

seen in the illustration4 ,the colour of
 this porch and faade is very beautiful4
 ,great blocks of red marble intermingle
 with yellow stone1 white and pink      
marble courses continue the construction
 above1 and arabesques of a weathered   
grey stone complete the harmony4 ,the   
fine south portal is an earlier         
erection4 ,some ancient frescoes        
decorate the lunette1 and monsters grin 
at one like a nightmare from above4     
,the interior is lofty and very         
striking4 ,tremendous columns support   
the low ,gothic roof1 the vaulting of   
which hardly exceeds the height of the  
arches between the nave and aisles4     
,many signs of giving way and cracks in 
the masonry have necessitated iron      
girders1 which detract somewhat from a  
fine effect4 ,the heavy capitals of the 
nave columns are rendered rather        
unsightly by three courses of floral    
design4 ,the aisles are pointed1 narrow1
 and very good4 ,encircling the high    
altar is a colonnade screen1 which      

though beautiful in itself and designed 
by ,sanmicheli1 is sadly out of place4  
,the fine bronze crucifix which         
surmounts it is by ,gianbattista da     
,verona4  ,the cloisters lie on the     
north side of the ,cathedral4 ,about    
half a dozen feet below the level of the
 pavement1 standing on its base1 is a   
fine ,corinthian column1 with a ,roman  
floor around4 ,between them and the     
early ,lombard church of ,s4 ,giovanni  
in ,fonte is a tortuous corridor lined  
with sepulchral slabs of many           
archbishops and bishops4 ,this little   
dark church is formed of four small bays
 and was formerly the old baptistery4   
,in the centre of the nave stands a huge
 octagonal font1 with a smaller one     
inside1 wherein stood the officiating   
priest4 ,the figures in bas-relief on   
these two fonts1 which by the way are   
cut from one solid block of marble1 are 
well worth studying4  ,another ,gothic  
church is ,sant' ,anastasia1 which was  
commenced by the ,dominicans in the     

thirteenth century and is still         
incomplete4 ,the nave is very fine and  
has the same low vaulting that is a     
feature in the ,cathedral2 its walls1   
too1 are cracked and held together by   
iron girders4 ,close to the west door in
 the interior are two humpbacked figures
 which hold the ,holy ,water basins and 
are of some interest4 ,one of them was  
executed by the father of ,paolo        
,veronese and the other by ,alessandro  
,rossi1 who took his cripple son        
,gobbino for his model4  ,the most      
interesting ecclesiastical fabric in the
 city is1 however1 the church of ,san   
,zenone4 ,it is unspoilt by anything    
flamboyant or gaudy1 and is a fine      
example of ,romanesque                  
architecture--some consider it the      
finest in ,north ,italy4 ,a             
ninth-century building stood here before
 the present structure was begun in     
#aach4 ,the west faade is marble1 the   
apse and sides of alternating brick and 
marble courses4 ,the great portal is a  

most elaborate example of early         
twelfth-century work1 on which are      
rudely sculptured knights engaging in   
deadly combat1 scriptural subjects and  
imitations of ,roman bas-reliefs with   
,latin inscriptions4 ,theodoric on      
horseback1 with feet in stirrups--a very
 early representation of such--and      
,roman dress1 engages in the chase of   
the deer with the ,devil4 ,the attendant
 dogs are evil spirits furnished to the 
,emperor by the ,arch-fiend4 ,the       
ninth-century bronze doors are very     
remarkable and consist of forty-two     
square plates fixed on to pine-wood4    
,the subjects of each panel1 which are  
,biblical1 are most interesting2 some of
 the little figures wear the conical    
flat-brimmed hat that may still be seen 
on the heads of the shepherds in the    
more remote districts of ,venetia4      
,these doors boast no handles1 but two  
huge grotesque heads do duty instead1   
and are the means of opening and closing
 them4 ,above the portal is a           

wheel-of-fortune window executed by     
,briolotus4 ,at the top is the figure of
 a king1 and at the bottom lies a       
prostrate man2 between these two are    
many figures climbing up and falling    
down in their efforts to reach the best 
place4 ,the faade terminates in a gable1
 with a lean-to on either side4         
,illustration3 ,,interior ,,of ,s4      
,,zeno1 ,,verona  ,the interior is very 
striking1 not only in its good          
proportions but in its simplicity1 which
 no side-altars mar4 ,as in the         
cathedral at ,chester1 one enters from  
the west down a flight of steps1 held a 
moment in admiration by the solemn      
grandeur of this fine church4 ,the      
beautiful larch roof soars away far     
above the mellowed floor1 the warm      
colour of the walls and depth of shadow 
through the arches of the crypt below   
the choir1 create a harmony of colour   
from our point of vantage not often met 
with in ,italy's churches4 ,the aisles  
are divided from the nave by alternate  

piers and red marble pillars1 the former
 with ascending ,doric pilasters1 two of
 which1 near the west end1 support a    
flying arch beneath the roof and are    
evident traces of an early vaulting4 ,at
 the end of the nave1 and occupying its 
last three bays1 is the raised choir    
reached by two flights of marble steps  
on either side of those leading down    
into the crypt4 ,on the red marble      
balustrade of the choir are figures of  
,christ and the twelve apostles4 ,in a  
niche on the south side is a forbidding 
looking figure of ,s4 ,zeno1 the patron 
saint of the city1 who1 being an        
,african1 is represented with a black   
face4 ,the apse at the east end was     
rebuilt in the fifteenth century and has
 ,gothic windows4  ,the old ,benedictine
 cloisters of the once attached         
monastery stand on the north1 and       
contain amongst other tombs twenty-nine 
of the ,della ,scalas4 ,the cloisters   
and tombs are admirably preserved4 ,the 
former consists of brick arches1 pointed

 on the east and west1 and round on the 
north and south1 supported by coupled   
columns of red marble4 ,of ,verona's    
forty churches these three are the most 
typical and interesting1 and ,san       
,zenone1 with its great architectural   
simplicity and wonderful campanile1     
holds the palm4  ,it is a city of       
shapely bell-towers2 every church has   
one4 ,some are high1 others low and     
unpretending2 some are flat topped1     
others embattled or crowned by the red  
brick spire which greets one further    
west in the lake country4 ,but the most 
beautiful of all is that which stands at
 a corner of the ,piazza dei ,signori1  
adjoining the ,palazzo della ,ragione1  
and rears its head over two hundred and 
fifty feet from the pavement below4     
,like a queen1 this graceful ,campanile 
del ,municipio stands1 dominating her   
subjects the other towers1 with all the 
tinkling bells they contain4 ,across the
 river from the vantage-ground of the   
terrace on the hill beneath the         

,castello ,s4 ,pietro1 ,verona lies     
mapped out4 ,her dull red and brown     
roofs remind one of the harmonious      
colours of a ,bokharan rug4 ,immediately
 below1 at the foot of the hill1 are the
 ruins of the ,roman theatre1 and the   
green waters of the ,adige1 rushing     
under the arches of the old stone bridge
 close by4 ,straight as a line ran the  
,roman street to the ,porta dei         
,borsari1 erected under the ,emperor    
,gallienus in #bfe1 and out into the    
country beyond4 ,between this old       
gateway1 which stands athwart the street
 almost blocking it1 and the river1 is  
medival ,verona1 intersected and crossed
 by hundreds of vicoli1 or lanes1 and   
full of subjects for a painter's brush  
in the cortili that fringe them4 ,at the
 corner of the ,vicola ,pigna and the   
,alley of the ,jutting ,stone1 is a low 
marble column with a huge fir-cone on   
the top1 a reminiscence of ,roman days4 
,near at hand is the fine palace that   
,sanmicheli erected for the ,miniscalchi

 family1 and in a lane a few steps away1
 a crumbling remnant of another fine    
house with a beautiful portal and row of
 windows4 ,these are but a few things in
 the secluded byways of old ,verona1    
where one's feet continually led one on 
journeys of discovery4 ,many a silent   
and deserted courtyard ,i found1 where  
the grass shyly thrust its head between 
the cobblestones1 and where creepers    
came wantonly trailing down over old    
walls in a sweet endeavour to hide the  
decay of man's handiwork4  ,from all    
these it is but a step to the focus of  
the city's life1 the ,piazza delle      
,erbe1 the forum of ,roman rule1 and the
 most picturesque market square in      
,italy4 ,in the centre--and seen in the 
sketch--is the small open tribune which 
occupies the place of an old building   
where the newly elected ,capitano del   
,popolo was invested with the insignia  
of his office4 ,the fountain farther up 
the square was erected by ,berengarius  
in #iaf1 and supplied with fresh water  

by ,can ,signorio4 ,the figure          
surmounting it gazes stonily every day  
over a sea of umbrellas which shelter   
the market folk below4 ,can ,signorio   
beautified his native city1 and erected 
the tower at the end of the piazza--a   
tower which can boast of the first      
public clock4 ,the ,lion of ,st4 ,mark  
stands on an isolated column1 surrounded
 by vegetable and fruit stalls1 in front
 of the ,palazzo ,tresa1 a highly ornate
 specimen of the seventeenth century4   
,many of the old houses still bear      
traces of the frescoes which covered    
them1 and which at one time must have   
made ,verona's streets veritable        
galleries of decorative art4 ,others    
retain the marble balconies which formed
 so fascinating a feature of the city's 
architecture4  ,illustration3 ,,the     
,,market ,,place1 ,,verona  ,of earlier 
days there still remains one of the     
grandest ruins in ,italy--the celebrated
 ,amphitheatre4 ,it was the night of a  
hot day2 a blood-red moon1 mounting on  

her upward path in the copper-coloured  
sky1 left a grim mass of deep shadow    
beneath4 ,bats were hawking in and out  
of the black shadow1 as yet unrelieved  
by the electric lights1 and the spacious
 piazza was nearly empty4 ,an ominous   
feeling1 intensified by the distant hum 
of the busier parts of the city1        
unsettled one's nerves4 ,my thoughts    
travelled back to the time when1 there  
behind that gloomy mass1 slaves would be
 cleansing the arena after a scene of   
cruel sport1 and the distant hum was    
nothing but the excited throngs         
discussing the brutal slaughter4 ,did   
the great poet in his twilight          
wanderings ever see such a moon and such
 a sky8 ,it was certainly an evening    
that would have enticed him to shun the 
noisy company of his fellow men and     
saunter alone in the shadow of the great
 ,amphitheatre4 ,perhaps his spirit was 
there now4 ,small wonder that in my     
dreams that night the howls of a cruel  
audience and the gentleness of the      

lonely poet were mixed up in            
inextricable confusion4     ,,padua     
,the quaint old city of ,padua lies on  
the beaten track to ,venice4 ,in its    
great ,basilica repose the remains of   
,st4 ,anthony4 ,giotto's frescoes in the
 ,church of the ,madonna are still a    
glory to behold1 its university is one  
of the oldest in ,europe1 and the modern
 epicure can drink coffee of the very   
best at ,pedrocchi's1 an establishment  
as well known amongst ,italians as the  
celebrated ,florian's at ,venice4 ,the  
origin of ,padua goes back to ,antenor1 
whose tomb occupies a corner near the   
,ponte de ,lorenzo close to the house at
 one time inhabited by ,dante4 ,a       
sarcophagus was discovered in #abgd     
during excavations for the building of a
 foundling hospital1 and when opened1 a 
skeleton of immense size1 one hand still
 gripping a sword1 was seen inside4 ,who
 could it be but ,antenor8 ,there was   
,virgil's authority for it that he had  
founded ,padua--so ,antenor it was who  

lay there in his stone coffin1 and the  
good folk of ,padua carried the         
sarcophagus and its contents to the     
church of ,s4 ,lorenzo amidst great     
excitement4 ,the church has been        
demolished but the tomb was spared4     
,padua's tortuous streets are lined with
 arcades1 and although modern           
requirements have ordained that some    
should be altered and the houses pulled 
down1 it still preserves an air of      
medival antiquity4 ,situated on the     
winding little river ,bacchiglione and  
intersected by other small streams1 it  
forms in the itinerary of the tourist a 
sort of prelude to ,venice4 ,innumerable
 bridges span these waterways4 ,some of 
them are of ,roman construction2 and    
wherever one's footsteps lead one1 be it
 along the riviere--the open streets    
that run by the side of the streams--or 
the narrow ways that may be likened to a
 rabbit warren1 the great charm of      
bygone days lingers in them all1 and    
still clings to its old walls and       

bridges4  ,the ,cathedral1 with an      
incomplete faade1 was not finished till 
#aged4 ,it is a vast1 ugly structure of 
brick with a campanile and dome4 ,the   
whitewashed interior possesses no       
redeeming feature2 unless it be a rather
 pleasing course of grey marble that    
runs round on a level with the capitals 
of the grey columns4 ,a bust of         
,petrarch1 who was a canon here1 and    
some beautiful twelfth-century ,,mss4   
with exquisite miniatures in the        
sacristy1 are the most interesting      
things it contains4 ,if there is but    
little in the ,cathedral worthy of      
notice there is much in the other       
churches of ,padua4  ,illustration3     
,,the ,,cathedral1 ,,padua  ,sta        
,giustiana is a very fine building of   
the sixteenth century1 commenced from   
designs by ,padre ,girolamo da ,brescia 
and finished fifty years later by       
,andrea ,morone4 ,all its altars are    
decorated with scrolls and floral       
patterns1 in the inlaid marble work for 

which ,italy has been famous for many   
generations4  ,the church of ,s4        
,agostino degli ,eremitani is a solemn  
building of a single nave three hundred 
feet in length1 which was constructed at
 the latter end of the thirteenth       
century4 ,its sacristy is used by the   
students of the university as their     
chapel1 and many memorials of the most  
famous among them cover its walls4 ,the 
tombs the church contains are very      
interesting4 ,one with a magnificent    
canopy is of the fifth ,lord of ,padua1 
,jacopo di ,carrara1 a friend of        
,petrarch's1 while other members of this
 extinct family lie buried in the       
church4 ,the ,carraras were ,lords of   
,padua for many generations2 the last of
 the great race with his two sons held  
the city in #adje against the           
,venetians1 but famine so reduced the   
garrison that they surrendered          
themselves to the besiegers and were    
conveyed prisoners to ,venice4 ,the     
,council of ,ten decreed that they      

should be strangled in their cells1 and 
a member of the noble ,venetian family  
of ,priuli performed this disgraceful   
murder in the dungeons of the ,doge's   
palace4  ,sta ,maria dell' ,arena1 or   
the church of the ,madonna of the       
,arena1 stands practically in what was  
the ,roman ,amphitheatre4 ,about the    
year #acjf1 a certain ,enrico           
,scrovengo1 who was owner of the ,arena 
and adjacent land1 built within its     
precincts a chapel of the ,annunciation1
 known as ,sta ,maria dell' ,arena4     
,giotto was working in ,padua at the    
time1 and ,enrico recognising his talent
 employed him to build and decorate the 
little chapel4 ,it consists of a single 
nave with a ,gothic apse1 and tiny      
sacristy in which is a monument to the  
founder1 whose tomb is behind the altar4
 ,it is not the province of this book to
 deal with the pictorial art of the     
country1 but ,giotto's frescoes which   
cover the walls of this little church   
stand far above all else--not excepting 

,fra ,angelico's beautiful decorations  
in the monastic cells of ,s4 ,marco at  
,florence--in the deep piety and tender 
expression of intense religious feeling 
they portray4  ,the greatest church that
 ,padua possesses is the huge building  
dedicated to ,s4 ,antonio--il ,santo1 as
 he is called by the ,padovanese4 ,this 
enormous fabric of marble and brick1    
stands facing a wide open piazza on two 
sides of which are low houses--houses of
 three storeys are very rare in the     
older parts of the city4 ,opposite the  
faade is ,donatello's grand equestrian  
statue of ,erasmo da ,narni1 or         
,gattamelata1 bearing his name1 ,opus   
,donatelli ,flor4 ,in the piazza is the 
,scuoio del ,santo and the little church
 of ,san ,giorgio1 the sepulchral chapel
 of the ,sograna family2 close by which 
is the tomb of ,rolando ,piazzola with a
 fine ,gothic canopy4  ,the seven domes 
of ,s4 ,antonio cluster round a heavy   
central spire1 and two beautiful        
bell-towers rise elegantly to a height  

above2 from wherever one sees the       
church1 these domes and spires compose  
and pile well4 ,il ,santo died in #abca1
 and ,padua decided to erect a suitable 
building to hold his sacred remains4    
,niccol ,pisano was requisitioned for   
the task1 but was not given a free hand4
 ,he was informed that he must follow   
the fashion of the day and produce a    
real ,gothic edifice4 ,his failure to   
carry out these instructions can be best
 seen in the faade1 where the three     
portals are very poor2 nevertheless1 and
 despite his leanings towards other     
styles1 he was able to introduce        
something of the ,gothic in his         
bell-towers1 in the open galleries round
 the exterior of the apse1 and the      
arcading of the west front1 with a mixed
 result that has produced a really      
stupendous church4 ,the best decoration 
of the exterior is contained in the     
three west doors of bronze1 which are   
exceedingly good4  ,the fine interior is
 most impressive1 but what the result   

will be when the present scheme of      
decoration1 already begun in the choir  
and apse1 is carried out1 it is         
difficult to say4 ,the chapel of ,il    
,santo is half way up the north aisle4  
,lights burn day and night before the   
altar1 beneath which repose the saint's 
remains4 ,four fine columns support the 
somewhat heavy frieze of the great      
,renaissance screen by ,sansovino1 which
 separates it from the aisle4 ,two of   
these columns have a charming idea in   
their capitals1 where little sea-horses 
take the place of the acanthus leaf4    
,the screen is terminated by two very   
beautiful pilasters adorned with        
exquisite arabesques4 ,the interior of  
this interesting chapel is lined with   
nine reliefs1 one of which1 by          
,sansovino1 is rather curious and       
certainly very gruesome4 ,the sculptor  
has represented a suicide with a gaping 
crowd of women surrounding him in his   
self-inflicted death agonies4 ,two      
enormous silver candlesticks1 partly of 

,gothic and partly ,renaissance design1 
stand at the foot of the steps of the   
altar1 and bronze figures and silver    
angels are placed upon the balustrade4  
,in the vestibule between this chapel   
and the next hang hundreds of votive    
offerings of all descriptions1 forming a
 museum of the tangible homage paid to  
the saint by his devotees4 ,the next    
chapel is the only part left of an      
ancient fabric which stood here long    
before the good ,padovanese raised the  
present magnificent church as a memorial
 of their venerated saint4  ,in the     
south aisle1 opposite to and            
corresponding with ,il ,santo's chapel1 
is one dedicated to ,s4 ,felix1 which is
 fronted by a good screen decorated with
 an effective fish-scale pattern of     
,verona marble4 ,it contains a good     
altar1 placed high above a flight of    
steps1 and some interesting             
fourteenth-century frescoes4 ,a thick   
coating of paint quite spoils the       
well-carved ,gothic stalls1 and it is to

 be hoped that when the scheme of       
decoration reaches this chapel these    
fine stalls will be scraped and then    
left in their pristine state4 ,in       
another chapel are the tombs of         
,gattamelata and his son2 these and two 
monuments designed by ,sanmicheli on two
 of the piers of the nave are the best  
in the church4  ,the presbytery is cut  
off from the nave by a low balustrade1  
in the centre of which1 rising in a bold
 sweep1 is a very fine bronze gate4 ,the
 ,high ,altar1 impressively placed at   
the top of some steps1 has eight        
splendid panels containing bas-reliefs  
by ,donatello4 ,the master was also     
responsible for the fine group of the   
,madonna and ,saints1 as well as the    
huge crucifix1 which are placed above   
it4 ,the magnificent bronze candelabrum1
 which stands to the left of the altar1 
is twelve feet high4 ,its maker1 ,andrea
 ,riccio1 spent ten years over the work 
before he considered it fit to leave his
 studio4 ,the figures at the base are   

symbolical of ,music1 ,history1         
,destiny1 and ,astrology1 forming with  
those above1 a paschal candlestick that 
is one of the finest pieces of bronze   
work in any church in the country4 ,the 
sanctuary beyond the apse was an        
addition of the year #afic1 and occupies
 the most eastern dome seen in the      
illustration4 ,great gilded sliding     
doors hide a wonderful example of       
fifteenth-century goldsmith's work1 a   
casket with ,il ,santo's tongue inside1 
and many other sacred relics1 as well as
 ,gattamelata's marshal's baton4 ,the   
great doors are surrounded by work of   
the late seventeenth century1 an example
 of the bad taste and very low ebb      
ecclesiastical art had sunk to at that  
period4 ,cherubs and nude female figures
 playing stringed instruments--angels   
apparently--circle round ,s4 ,antonio1  
who is borne aloft by other nudes4 ,the 
extravagance of the whole thing is a    
jarring note amongst much that is       
extremely fine4  ,the monks of the      

brotherhood of ,s4 ,antonio still       
inhabit the conventual buildings        
attached to the church1 and their       
dark-robed figures pass silently to and 
fro in the cloistered courts of the     
monastery4 ,the walls of these three    
courts are lined with fine tombs and    
memorial slabs1 and it was from one of  
these cloisters the illustration was    
taken4 ,a great magnolia tree grows on  
the well-kept grass which covers the    
ground like green velvet4 ,no sound from
 the outside world penetrated this      
sequestered nook4 ,the only note to     
break the silence was the drowsy hum    
from a voice at prayer in one of the    
little green-shuttered rooms above1 and 
the occasional twittering of a canary in
 its cage4 ,one worked undisturbed at   
those domes and towers which compose so 
well and seem to reach up to the very   
heavens4  ,illustration3 ,s4 ,,antonio1 
,,padua  ,padua's university was founded
 in #abba by the ,emperor ,frederick    
,,ii4 on the site of the ,inn of the    

,ox1 and is still called il ,b4 ,its    
handsome courtyard1 attributed to       
,palladio1 is adorned with armorial     
bearings of distinguished alumni4 ,at   
the head of the great staircase is a    
statue to ,elena ,piscopia1 a poetess1  
musician1 and fluent linguist2 she      
received a doctor's degree and died a   
spinster in #afhd4 ,the anatomical      
theatre is the oldest in ,europe4 ,among
 other famous men connected with il ,b  
the names of ,baldus1 who taught law1   
and ,galileo1 who expounded mathematics1
 must be mentioned4  ,padua also        
possesses the oldest ,botanical ,gardens
 in ,europe1 which were instituted by   
the ,venetian ,senate in #aedc4 ,many of
 the exotics which grow now all over    
,europe were first established here1    
brought from the ,east by ,venetian     
traders1 and the botanist can spend many
 interesting hours in this well cared   
for and shady retreat4  ,a vast building
 with a remarkable history occupies one 
whole side of the market square4 ,a     

much-travelled architect and engineer1  
,fra ,giovanni1 visited ,padua in the   
fourteenth century1 bringing with him   
drawings of an ,indian palace2 these so 
pleased the ,padovanese that he was     
asked to construct a roof to their great
 hall1 the three divisions of which had 
been destroyed by fire4 ,fra ,giovanni  
set to work1 and his vaulted wooden     
ceiling1 one of the largest in ,europe1 
stands covering the principal chamber of
 the ,palazzo della ,ragione1 though the
 roof above was renewed in #aheg4 ,the  
paintings on the walls of this          
magnificent room have by degrees        
replaced a series of frescoes by        
,giotto4 ,they are mostly mystical and  
symbolical1 the best among them being   
those representing ,justice and         
,prudence4 ,the wooden horse which      
stands in the hall is supposed to have  
been the model for ,donatello's bronze  
horse on which ,gattamelata is seated in
 the famous equestrian statue outside   
,s4 ,antonio4 ,the fine loggia on the   

ground floor of the palazzo is of later 
date than the original parts of the     
building1 which were designed by ,pietro
 ,cozzo and constructed in the years    
#aagb to #abai4 ,in a street not far off
 is another beautiful building1 the     
early-,renaissance ,loggia del          
,consiglio1 with its fine stairway and  
open arcade4 ,in front of this is an    
antique column with the ,lion of ,s4    
,mark1 the sign that the city at one    
time belonged to the ,republic of       
,venice4 ,many other houses in this     
quaint old town are of great interest1  
and the windings of its streams as they 
meander past rose-covered walls and low 
roofs1 with perhaps a tapering campanile
 or a dome towering above1 afford a rare
 field for endeavours with the pencil   
and brush4     ,,venice   ,venice1 which
 has no counterpart in the world1 is a  
city of all others in which one can     
linger on in a dream taking no count of 
time4 ,the days run into weeks1 these   
spread themselves into months1 and it   

becomes more and more difficult to tear 
oneself away from the entrancing        
,mistress of the ,seas1 from her        
,cathedral and all her other marvellous 
buildings2 from her seductive gondolas  
and silent canals2 from her picture     
galleries1 and alas6 from the fragrant  
coffee we sip idling away the time under
 the colonnade outside ,florian's in the
 ,piazza4  ,well1 the seductive cup is  
drained and while our cigarette is      
alight let us look round4 ,directly     
opposite to us1 on the north side of    
this grand square1 stretches the long   
colonnade of the ,procuratie ,vecchie1  
built early in the sixteenth century as 
a habitation for the procurators of ,s4 
,mark4 ,it is one of the best examples  
of early ,renaissance architecture in   
,italy2 nobler1 simpler than the        
,procuratie ,nuove where we sit1 which  
was built in the last quarter of the    
same century4 ,an arcaded building in   
the classical style erected by ,napoleon
 in #ahaj connects the western          

extremities of the two ,procuratie4 ,it 
is a pity that this great ,renaissance  
,piazza should be completed by an       
inferior bit of modern work instead of  
such a brilliant gem of the ,renaissance
 style as ,sansovino's ,libreria        
,vecchia--at present invisible to us    
round the corner4 ,to this building1    
which faces the ,doge's ,palace1 no     
higher tribute could be given than to   
say that its perfection fairly distracts
 the admiration of the onlooker from the
 wonderful ,gothic pile before it4  ,but
 all this is ,hamlet without the        
,prince4 ,it is time to leave the shadow
 of the arches1 to step out into the    
open1 and to surrender ourselves to the 
spell of the great church which draws   
one with an irresistible fascination    
from the first moment we set foot in the
 ,piazza4 ,s4 ,mark's rises bounding the
 vision at the eastern end of the great 
square with its gorgeous faade and cool 
grey domes4 ,so rich is the colouring   
and so strange the outline that one     

wonders almost whether architecture has 
not passed here into the sister art of  
painting4  ,illustration3 ,s4 ,,mark',s1
 ,,venice  ,yes1 there stands a building
 surpassingly fascinating1 unique and   
outside all comparison with any other   
church in the country4 ,planned as a    
,greek ,cross1 like ,s4 ,sophia at      
,constantinople1 it is reminiscent of   
the ,east far more than any building in 
the peninsula1 or even in ,sicily where 
some with direct ,arab influence still  
exist4 ,the great traders of ,venice who
 lavished their wealth on its           
decoration1 and whose every homeward    
bound ship brought back from the ,orient
 a choice column1 a rare piece of       
marble1 or some such thing as a         
contribution towards its making1 helped 
to raise it bit by bit until the        
wonderful church grew to be what we find
 it to-day1 the most seductive          
ecclesiastical fabric in ,italy4  ,it   
was not until the year #ahjg that ,s4   
,mark's became the ,cathedral church of 

,venice4 ,before this date the          
,patriarchal seat was the church of ,s4 
,pietro di ,castello1 and ,s4 ,mark's   
simply the chapel attached to the       
,doge's ,palace4 ,in #hbh the body of   
the ,evangelist1 stolen from            
,alexandria1 was brought to ,venice and 
,s4 ,theodore the tutelary saint deposed
 to make way for a more important       
patron4 ,s4 ,mark's remains were then   
placed in a church which was destroyed  
by fire in #igf4 ,the following year saw
 the first stone laid of a building     
which is perhaps the most interesting in
 ,christendom2 but it was not until     
eighty years had passed that the walls  
were finished1 and seventy more gone by 
before it was consecrated4 ,the interior
 sustaining walls are brick1 and are    
lined with marble or covered with       
mosaics and decorated with every sort of
 inlay4 ,the tout ensemble of this is an
 extraordinarily harmonious mixture of  
styles which compels unceasing          
admiration4  ,standing at the west end  

of the ,piazza one sees1 almost         
stretching across the further side1 a   
marvellous faade of deep shadowed       
arches2 the tympanums seem to sparkle   
with jewels2 the arches are supported by
 what appears to be a forest of columns1
 orderly in rank1 receding into the     
shadow4 ,above1 to give quality to this 
shade1 is a flat surface that runs from 
end to end of the faade1 broken by a    
central semicircular window1 and crowned
 with ,gothic turrets1 crocketed finials
 and angels with wings outspread4 ,then1
 surmounting all are five wondrous      
domes1 ,oriental in themselves1 so      
overpoweringly ,oriental that the eye1  
unable at this distance to discriminate1
 telegraphs to the brain the magic      
words--,the ,east6 ,spoils from the     
,east1 from ,greece1 from ,syria1 from  
,egypt2 mosaics of the sixteenth and    
seventeenth centuries1 bronze horses of 
,roman origin1 ,gothic saints under     
canopied turrets1 flag poles with the   
crimson banner and golden ,lion of ,s4  

,mark1 all arranged without disorder1   
but all succumbing to the majesty of the
 marvellous domes4 ,more ,eastern than  
,european is the ,venetian's love of    
colour1 and this is the note most deeply
 impressed on the mind with regard to   
,s4 ,mark's--five grey domes1 a foil to 
the brilliant mosaics and many-hued     
marble columns and walls below1 but     
blending with them so subtly that the   
whole is one gorgeous chromatic scale4  
,the effect of the blazing sun pouring  
down on the faade at midday1 casting    
deep shadows under the arches1 is very  
fine4 ,again1 in the evening when the   
domes are alight with the last rays of  
the dying orb and the great ,piazza is  
in cool shade1 the glories of the       
wonderful fabric assume a dramatic      
effect which becomes almost tragic as   
the light disappears and everything     
subsides into a monotone4 ,colour begets
 more subtlety in grey weather2 every   
note that might jar on the eye is then  
diffused among the quieter tones around1

 and for this reason the pearly sky of a
 grey day was chosen to depict ,s4      
,mark's4 ,the great campanile which fell
 to the ground on ,july #ad1 #aijb1 is  
now in course of re-erection4 ,for some 
years past the necessary but hideous    
hoarding at its base has interfered with
 the beauty of the ,piazza4 ,the        
illustration does not show this but     
depicts the length of the faade1 with   
the beautiful ,porta della ,carta and   
corner of the ,doge's ,palace beyond4   
,the lowest portion of the faade is     
formed as a vestibule with seven arches1
 the last one of which at each end is   
open through4 ,all the columns and their
 capitals 7spoils from the ,east7 are of
 much older date than the building4     
,very few of these capitals fit the     
abacus on which they rest2 most of them 
are exquisitely carved with foliage free
 from all imagery4 ,the central arch is 
larger than the others4 ,under it is a  
grand door of forty-eight bronze panels 
inlaid with silver4 ,the workmanship of 

the other doors which flank this is also
 very fine4 ,the intricate ,byzantine   
carving above these forms a scheme of   
decoration wherein figures1 birds1      
beasts and arabesques run in a perfect  
riot of fanciful design4 ,the vaulting  
of the vestibule is covered with mosaics
 of different periods4 ,those of the    
twelfth century are concerned with the  
,creation of the ,firmament and the     
,creation of ,life2 the story of ,adam  
and ,eve continued on to the ,deluge and
 ,noah2 the tragedy of ,cain and ,abel2 
,joseph's dream1 ,pharaoh and the story 
of ,moses4 ,the general scheme          
throughout is of white figures1 mostly  
nude1 on a green ground4 ,although not  
in any way comparable to the earlier    
mosaics at ,ravenna1 these are far      
better in style and true feeling for the
 enrichment of a flat surface than those
 of later date in the lunettes above the
 faade arches4 ,here the raison d'tre of
 mosaic has been made subservient to an 
attempt to imitate the shades and       

gradations of an oil painting4 ,the most
 important of these later mosaics is    
that which was executed from a design by
 ,titian by the brothers ,zuccati in the
 sixteenth century1 wherein ,s4 ,mark   
appears in pontifical robes4 ,it is     
above the centre door4 ,on the pavement 
beneath is a red and white lozenge of   
marble marking the spot where ,pope     
,alexander ,,iii4 and ,barbarossa were  
reconciled in ,july #aagg1 through the  
intervention of the ,venetian ,republic4
 ,many inscribed slabs of marble bearing
 legends in ,greek and ,syriac1 and     
,roman bas-reliefs1 are let into the    
walls of the vestibule1 evidence of     
offerings towards the building of the   
fabric4 ,all the archivolts of the five 
large arches are decorated with symbolic
 carvings2 the most interesting being   
that of the main entrance1 where a      
charmingly quaint story illustrative of 
peasant life in the twelve months of the
 year tells in a realistic way the      
labours of those who till the soil4     

,february with a little figure sitting  
at a fire warming his hands is          
particularly nave4  ,on the south1 ,s4  
,mark's joins the ,doge's ,palace by    
means of the ,porta della ,carta4 ,at   
the base of a column which stands in an 
angle of the wall are four porphyry     
figures of knights in chain mail with   
arms round one another's necks4 ,this   
group is supposed to have come from     
,acre4 ,detached from the main building1
 and not far from its south-west corner1
 are two short rectangular columns with 
,greek inscriptions4 ,they were brought 
from the church of ,s4 ,saba at         
,ptolemais in #abef4 ,amongst other     
interesting spoils there is a slab let  
into the north wall on which ,ceres1    
holding a torch in each hand1 appears   
drawn in a chariot by two dragons4 ,it  
seems to be a very early ,persian work4 
,but the best known1 and certainly the  
finest gift the exterior of the building
 can boast1 is that of the four bronze  
horses which stand over the principal   

entrance4 ,sent from ,constantinople in 
#abjd by order of the ,doge ,dandolo as 
part of the spoils of victory when that 
city fell to the arms of the ,venetians 
in the fourth ,crusade1 these horses at 
one time adorned the triumphal arch of  
,nero in ,rome4 ,both ,domitian and     
,trajan transferred them in turn to     
arches of their own2 and ,constantine   
conveyed them across the seas to his new
 capital in the ,east1 where he also put
 them up over an arch4 ,in #agig1 when  
the ,republic of ,venice was no more1   
,napoleon took these already            
much-travelled horses from ,s4 ,mark's  
faade to ,paris and placed them on the  
top of the ,arc du ,carrousel4 ,after   
the peace in #ahae the ,austrian        
,emperor1 ,francis ,i4 caused them to be
 returned to their former position1 and 
there they remain to-day4  ,three doors 
open into the cathedral from the        
vestibule1 and two on the north side4   
,the interior strikes one at first as   
being very dark2 but when the eye       

becomes accustomed to the half-light and
 is familiar with everything within1    
this wears off1 and the senses are      
rather soothed than otherwise by the    
mystic gloom4 ,indeed1 it is a great    
relief to find oneself inside out of the
 glare of the ,piazza1 and1 seated in a 
corner perhaps1 quietly contemplating   
the grand mosaics which cover the       
vaulting from end to end4 ,it is quite  
impossible to describe these adequately 
in a short chapter which deals with     
other things as well1 but noting them in
 guide-book fashion one observes that   
those in the aisles on either side of   
the main entrance depict the ,acts and  
,miracles of the ,apostles4 ,on the     
vaulting of the dome which forms1 so to 
speak1 the foot of the ,greek cross1 is 
the ,descent of the ,holy ,ghost4 ,the  
great central dome is covered by        
twelfth-century mosaics of the          
,ascension1 and the vault between this  
and the first dome with ,christ's       
,passion and ,resurrection4 ,the        

vaulting of the two domes which compose 
the arms of the cross is decorated by   
work of later date2 that on the north   
with the history of ,s4 ,john1 and that 
on the south with the saints4 ,the      
chapel of ,s4 ,john which is in the     
north transept was converted in the     
seventeenth century into one dedicated  
to the ,miraculous ,virgin of           
,constantinople4 ,in the south transept 
also a rededication has taken place2 the
 chapel of ,s4 ,leonard being turned    
into that of the ,holy ,sacrament4      
,behind the gorgeous marble screen which
 divides the presbytery from the body of
 the church the high altar rises beneath
 a canopy of verde antico borne by four 
columns4 ,two of these columns are      
eleventh century and are elaborately    
carved in courses of innumerable        
figures4 ,they came from ,pola when     
,venice subdued ,istria1 and are much   
more interesting than the other two of a
 later date2 the remains of ,s4 ,mark   
rest within this magnificent shrine4 ,on

 the screen itself stand the            
,evangelist1 the twelve ,apostles1 and  
,mary4  ,at the back of the high altar  
is the ,pala d',oro1 the greatest       
treasure the cathedral possesses1 and   
the most celebrated golden altarpiece in
 existence4 ,the upper part came from   
,constantinople in #igf1 the lower about
 the middle of the fourteenth century4  
,it is composed of eighty-three panels  
of ,greek and ,byzantine design filled  
with enamelled figures1 studded with    
uncut gems and precious stones1 and     
covered with ,greek and ,latin          
inscriptions4 ,more gorgeous than that  
of ,s4 ,ambrogio in ,milan1 this        
magnificent piece of goldsmith's art    
glitters and sparkles in a wonderful    
manner when lit up by the candles used  
at high mass1 and is without doubt the  
most splendid ecclesiastical treasure in
 ,italy4  ,illustration3 ,,interior1 ,s4
 ,,mark',s1 ,,venice  ,the fifth or     
eastern dome which is over the          
presbytery is covered with mosaics      

representing ,christ and the ,prophets1 
and one that is hardly visible of ,s4   
,mark is on the walls of the east end4  
,the great figure of ,christ faces the  
church and in its simplicity is very    
impressive4  ,the gallery1 which is     
where the triforium would be in a       
,gothic building1 runs round the whole  
cathedral and is pierced on its inner   
side only4 ,the walls at the back and   
above are decorated with more mosaic    
work dealing with acts of martyrdom1 and
 the ,translation and ,recovery of the  
,body of the ,lord4 ,when stray beams of
 sunlight find their way through the    
openings in the domes and pass along the
 gold background1 lighting up in odd    
places small portions of these wonderful
 tesser pictures1 the effect is very    
beautiful4 ,all the angles of this      
mosaic work are rounded off and the     
travelling rays glinting first on one   
golden corner1 then on another1 are     
strangely attractive to eyes accustomed 
to the greater architectural severity of

 a northern clime4 ,the well-chosen     
slabs that line the lower portions of   
the cathedral walls have taken to       
themselves a sombre1 dusky hue1 a pale  
velvety brown1 but there can be no doubt
 that in their pristine state they      
realised in their splendour the         
,venetian's love of colour4  ,the       
strange pulpit1 which with part of the  
rood screen seen in the illustration    
stands to the north of the steps leading
 into the presbytery1 is arranged in a  
double tier1 and is entered by a double 
winding stair from the vestibule of the 
,capella de ,s4 ,pietro4 ,its curious   
domed sounding-board is very reminiscent
 of the ,east4 ,mention has already been
 made of the chapels of the ,miraculous 
,virgin and ,s4 ,leonard4 ,that         
dedicated to ,s4 ,peter is behind this  
pulpit on the north side of the         
presbytery4 ,it has a door leading out  
into the piazza4 ,the corresponding     
chapel to the south is dedicated to ,s4 
,clement4 ,at the end of the north      

transept is another to ,s4 ,isidore--a  
dark1 solemn little place4 ,the sacristy
 is beyond the chapel of ,s4 ,peter at  
the back of the presbytery4 ,it is a    
fine apartment with mosaics from designs
 by ,titian and his pupils1 which may be
 studied as a good example of           
,renaissance decoration in tesser4      
,sansovino1 who executed the beautiful  
door1 is said to have had it in hand for
 twenty years4  ,the baptistery is      
entered from the south aisle1 and with  
the adjoining ,cappella ,zeno is one of 
the most interesting parts of ,s4       
,mark's4 ,in the former is the monument 
and sarcophagus of ,doge ,andrea        
,dandolo1 who died in #aced4 ,it is a   
grand specimen of the sculpture of the  
age4 ,the recumbent figure of the ,doge1
 who was the last to be buried in ,s4   
,mark's1 is very serene in its          
realisation of the ,last ,sleep4 ,all   
the mosaics the chamber contains were   
given and paid for by ,andrea4 ,most of 
them naturally relate to the ,holy      

,rite4 ,the font is very ancient1 and   
has a fine bronze cover designed by     
,sansovino and surmounted by a statuette
 of ,s4 ,john the ,baptist4 ,a very     
beautiful low relief of four crossed    
swords which compose a cross1 with birds
 beneath1 is let into one of the walls4 
,on the vaulted roof of the ,cappella   
,zeno1 the life of the ,evangelist1     
whose body at first rested here1 is well
 depicted in a series of mosaics4 ,the  
centre of the chapel is occupied by the 
tomb of ,cardinal ,zeno1 who left the   
bulk of his immense fortune to ,s4      
,mark's4 ,the altar stands under a      
bronze canopy covering figures of ,our  
,lady 7who wears a gilded shoe71 ,s4    
,peter1 and ,s4 ,john the ,baptist4 ,the
 legend runs that the ,virgin gave her  
bronze shoe once to a poor votary and it
 was immediately turned into gold4 ,from
 this incident the chapel1 which became 
the ,cardinal's ,mausoleum1 is also     
known as that of the ,madonna della     
,scarpa4  ,venice possesses nearly      

seventy churches1 but of these only the 
two most celebrated can be mentioned in 
this chapter4 ,they are ,,ss4 ,giovanni 
e ,paolo1 and the ,frari4 ,the former   
had its origin in the great preaching   
,order of ,s4 ,dominic1 and the latter  
in that of ,s4 ,francis4 ,these saints1 
bound by vows of poverty1 went forth    
preaching humility1 and so great a meed 
of success did they attain1 that we find
 throughout the country1 as a result of 
their crusade1 huge churches like these 
built to hold large congregations4 ,in  
,venice both ,orders had their following
 among different patrician families1 who
 were mainly responsible for the        
monetary assistance the ,orders         
received1 and who therefore acquired a  
sort of prescriptive right to burial    
space within the holy walls they had    
helped to raise4 ,for this reason the   
tombs we find in ,,ss4 ,giovanni e      
,paolo and the ,frari are not only an   
epitome of the rulers of ,venice1 but in
 them can be traced from the earliest   

,gothic the different styles of         
,venetian decorative art as exemplified 
in her sepulchral monuments4  ,,ss4     
,giovanni e ,paolo is a fine brick      
building of early ,italian ,gothic1     
which was commenced in #abdf and        
finished in #acij4 ,its length is three 
hundred and thirty feet1 its width at   
the transepts one hundred and           
forty-three1 and in the nave ninety-one 
feet4 ,from this it will be seen that   
the transepts are short4 ,the spacious  
nave has five bays1 the arches of which 
are supported by single columns of grey 
stone with simple floral capitals4 ,the 
vaulting1 as is usual in ,italian       
,gothic1 is low4 ,the galleried         
triforium has small outlets into the    
church1 and a clerestory of pointed     
lights in groups of three has taken the 
place of much larger single windows4    
,the aisles are narrow4 ,the apsidal    
choir is architecturally very striking4 
,from a few feet above the floor rise   
the long narrow windows of the apse     

reaching up beyond the base of the      
vaulting and giving an idea of immense  
height4 ,the glass they contain is1     
however1 very crude2 and1 unfortunately1
 a terrible pink wash covers the walls1 
so pink that the beauty of the          
architectural features is considerably  
marred4 ,the choice of material and the 
selection of colour has more to do with 
the success or failure of a building    
than is generally realised4 ,the        
transepts1 nave1 and aisles are coloured
 grey1 and harmonise with the stone     
columns mentioned above1 and with the   
monuments of faintly tinted marble which
 crowd the walls of the aisles4  ,among 
the most notable tombs are those of the 
,mocenigo family1 a family which        
possessed the whole of the west wall of 
the church1 and whose monuments almost  
cover it4 ,of the three equestrian tombs
 that are in the church1 pride of place 
must be given to the one put there to   
,niccolo ,orsini1 who commanded the     
,republic's forces in the war against   

the ,league of ,cambray4 ,the gilded    
group of the general and his horse above
 the sarcophagus is full of life and    
vigour4 ,the simple but very beautiful  
tomb of ,paolo ,loudan1 on which his    
recumbent figure in full chain mail lies
 stretched1 is a fine work of the middle
 of the fourteenth century4  ,the grand 
monument to ,andrea ,vendramin1 who died
 in #adgh1 and who was the first of the 
new nobility to be elevated to the      
position of sovereign1 is the most      
refined example of a ,renaissance tomb  
in ,venice4 ,the ,doge lies1 with face  
turned towards the spectator1 on a couch
 supported by eagles4 ,behind him are   
pages and other attendants4 ,the carving
 and arabesques of the canopy and its   
supports1 into which notes symbolical of
 naval power are crowded1 though        
extremely intricate1 are very pure in   
style4 ,in the lunette beneath the arch 
kneels the ,doge1 who is being          
recommended to ,our ,lady by ,s4 ,mark4 
,opposite to this beautiful tomb is the 

,gothic memorial to ,doge ,michele      
,morosini1 who died in #achb4 ,the      
background of the central portion is a  
good mosaic of the ,crucifixion1 in     
front of which the aquiline features of 
the recumbent ,duke are very prominent4 
,the niches on either side are filled   
with figures of different saints1 and   
the whole is surmounted by ,s4 ,michael 
with the ,dragon4  ,the exterior of the 
church1 especially the apse1 which rises
 without a single buttress1 is very     
impressive4 ,a good ,gothic portal      
occupies the centre of the unfinished   
west faade1 which is flanked by         
thirteenth-century sarcophagi let into  
niches in the walls4 ,close by1 and     
occupying one side of the ,campo in     
which the church stands1 is the ,scuola 
di ,s4 ,marco4 ,this building1 now a    
hospital1 was erected in #adhe by       
,martino ,lombardi1 and is noteworthy   
for the curiously conceived faade that  
faces the square4 ,this is composed of  
richly coloured marble divided into     

panels1 on which in low relief different
 buildings are seen in acute            
perspective4 ,they recall the same sort 
of decoration which prevails in the     
frescoes at ,pompeii1 but so cleverly   
did ,lombardi arrange his scheme that   
their absolute falsity in no way        
detracts from the general design of the 
building4  ,in front of the faade stands
 the magnificent equestrian statue to   
that prince of condottieri whose        
mausoleum at ,bergamo has already been  
mentioned1 ,bartolommeo ,colleoni4 ,a   
man amongst men1 stern1 defiant and     
resourceful1 his grand figure embodies  
all that a leader in troublous times    
should be4 ,firmly gripping his saddle1 
he sits his horse with head thrown back 
and a face which betokens the masterful 
haughtiness of the man4 ,the group was  
designed by ,leonardo da ,vinci's       
master1 ,andrea ,verrocchio1 and        
finished by ,alessandro ,leopardi4 ,it  
vies with ,donatello's equestrian group 
of ,gattamelata at ,padua in being      

perhaps the best ,italian ,renaissance  
statue extant4  ,the ,frari is a church 
which grew out of the accumulated funds 
of the ,franciscans1 whose enormous     
monastery1 now holding the municipal    
archives1 adjoins it4 ,this great church
 was commenced in #abej and finished in 
#acch1 and contains the monuments and   
tombs of some of the city's rulers1 as  
well as many of the ,venetian nobility  
who in bygone days made their names     
famous in its annals4 ,the west faade   
has a simple ,gothic doorway and four   
round windows1 one of which1 larger than
 the others1 is above the figure of     
,christ that occupies the apex of the   
arch4 ,like ,,ss4 ,giovanni e ,paolo the
 east end is architecturally the most   
interesting part of the fabric4 ,two    
flights of lofty windows with           
exceedingly good tracery admit light    
into the apse4 ,this has been continued 
south by later additions as far as the  
wall of the transept4 ,the transept     
being thus enlarged has four apsidal    

chambers that form a pleasing sequence  
to the big eastern apse4 ,the exterior  
of the church1 when viewed from the     
little ,campo ,s4 ,rocco outside the    
east end1 composes extremely well4 ,the 
four small apses lead up to the big one1
 behind which and beyond the roof line  
one sees the great ,campanile rising    
over the north transept4 ,the ,frari is 
built of brick with a simple decorative 
feature in the form of a course of      
,venetian ,gothic at the top4  ,owing to
 subsidence of the foundations the      
interior is now undergoing extensive    
repair4 ,the nave is very lofty1 with   
single columns of grey stone that have  
floral capitals4 ,the groining ribs of  
the vault are of red brick and the      
arches of the bays are grey stone4 ,two 
of the nave columns are massively       
constructed of brick1 and form with the 
brick walls of the aisles and the grey  
colour of the stone a very charming     
scheme4 ,the choir occupies the last two
 bays of the nave1 and as is the case in

 the cathedrals of ,spain1 is cut off   
from the body of the church by a rood   
screen4 ,the portion of this which is in
 the nave is debased ,renaissance1 but  
that in the aisles is earlier and much  
better4 ,the choir stalls are very      
finely carved and decorated with superb 
intarsia work4 ,the little door by which
 the canons enter the choir is          
particularly good in this respect1 with 
a beauty much enhanced by the design on 
the doorposts4 ,round these cling vines 
and grape clusters4 ,the clerestory     
consists of round windows with double   
lights1 but there is no triforium4      
,among the most interesting monuments   
are those erected to ,beato ,pacifico1  
the ,franciscan architect of the church1
 which is in the south transept1 and one
 to ,titian in the south aisle4 ,his    
masterpiece of the ,assumption1 now in  
the ,accademia delle ,belle ,arti1 was  
painted for the ,frari4  ,the domestic  
architecture of ,venice is far more     
interesting than that with which we have

 just dealt4 ,peculiar to ,venetia1 it  
is the outcome of that period when1 the 
city's trade being well established in  
northern climes1 new ideas and fashions 
travelled back from countries over the  
great mountain chain and began to       
commingle with the older traditions of  
the ,east4 ,not only on the ,grand      
,canal1 but in many of the quiet byways 
of the ,silent ,city1 one comes across  
beautiful examples of that entrancing   
style of faade1 the ,venetian ,gothic4  
,as the gondola glides swiftly over the 
waters of the great highway of ,venice  
there comes into sight a group of       
palaces which occupies the only real    
angle of the ,grand ,canal4 ,this group 
is formed of the celebrated houses built
 by the ,foscari and ,giustiniani       
families1 and is somewhat in the style  
of the ,doge's ,palace1 the first-named 
being contemporary with it4 ,the flat   
brick faades are broken by rows of      
elegant windows1 some with1 some without
 balconies4 ,the deeply-recessed        

arcading of the central lights of the   
first and second storeys gives just the 
right amount of shade to an otherwise   
flat surface1 which the windows above   
and at either side only slightly        
relieve4 ,a course of white marble      
edging and heavy foundations of enormous
 blocks of the same give solidity1 and  
most beautifully frame the pale-red     
brick of which the ,venetians were so   
fond4 ,rows of pali1 or posts1 painted  
with the colours of the owner1 serve as 
a dock for waiting gondolas4 ,the water 
of the canal1 never quiescent1 is a     
puzzle for the painter who would study  
reflections4 ,the tide ebbs and flows on
 the great highway1 the convenient but  
hideous steamboat rushes by1 gondolas   
groan and creak against their moorings1 
and a kaleidoscope of ever-changing     
shapes and colours well-nigh drives him 
to despair4  ,illustration3 ,,the       
,,palazzi ,,foscari ,e ,,giustiniani1   
,,venice  ,further up the ,grand ,canal 
is a very ornate palace1 the ,ca d',oro1

 with angles softened by three twisted  
columns instead of the more usual one in
 this type of building4 ,its faade was  
designed by ,giovanni and ,bartolommeo  
,buon1 who built the ,piazzetta in front
 of the ,doge's ,palace4 ,at one time it
 was entirely covered with gilt--hence  
the name4 ,down near the ,salute1 where 
the canal opens out to the sea1 are the 
,palazzo da ,mula and the fascinating   
little ,palazzo ,contarini-,fasan1 with 
its lovely traceried balconies4 ,these  
are all ,venetian ,gothic4 ,of other    
styles the ,byzantine ,palazzi1 da      
,mosto and ,loudan1 the latter ,byron's 
,venetian home1 and the ,renaissance    
,palazzi1 ,rezzonico1 where ,browning   
lived1 ,camerlanghi1 ,manzoni1 with a   
frieze of eagles1 ,pesaro1 and ,dario1  
with plaques of coloured marble on its  
faade1 are the most celebrated4 ,most of
 them are cracking and bulging1 and more
 than one owes its present existence to 
the iron clamps which hold it together4 
,it is much to be feared that the       

utilitarian steamboat and               
ever-increasing motor-boat traffic will 
sooner or later be responsible for the  
destruction of many a beautiful         
building1 the foundations of which were 
never intended to withstand the strain  
of the great extra wash it creates4  ,in
 a safer position than most is the      
,doge's ,palace1 that magnificent       
construction which almost distracts     
attention from ,s4 ,mark's by its side4 
,the first building to be constructed   
for the rulers of ,venice stood on the  
site of the ,palace and was erected in  
#hac4 ,fire subsequently destroyed it   
and also the edifice which replaced the 
smoking ruins4 ,the present building was
 commenced in #acja and save for the    
outer walls was almost gutted in #aegd  
and #aegg4 ,palladio1 the foremost      
architect of the day1 contended that it 
would be dangerous to attempt any       
reconstruction unless these walls were  
demolished1 and it speaks volumes for   
the good taste of the ,senate that his  

scheme for pulling them down and putting
 up another palace in his own hard      
classic style was not adopted4 ,the     
exterior as we see it is almost entirely
 due to the talented family of          
,buon--,giovanni1 the father1 and his   
two sons1 ,pantaleone and ,bartolommeo4 
,it is1 however1 much to be regretted   
that while restoring the faades this    
celebrated family of tajapieri1 or      
stonecutters1 did not adhere to the     
level and beautiful design of the two   
windows which escaped the fire at the   
east end of the faade that looks over   
the ,riva degli ,schiavoni out to sea4  
,the short massive columns of the lower 
colonnade give an idea of immense       
strength to the great flat space above4 
,the capitals of these stunted columns  
are extremely interesting4 ,the ,virtues
 and ,vices find places amidst their    
foliage1 as do the most famous of       
,rome's ,emperors and ,philosophers1 the
 signs of the ,zodiac and many other    
symbols4 ,twisted shafts1 one of the    

types of ,venetian ,gothic1 terminate   
the three angles of the upper part of   
the two faades4 ,their bases are        
composed of sculptured groups4 ,the     
angle nearest to ,s4 ,mark's has the    
,archangel ,michael with the ,judgment  
of ,solomon below him4 ,the next1 at the
 south-west corner1 is a group of ,adam 
and ,eve with ,gabriel above4 ,in the   
last1 ,noah1 drunk with wine1 is being  
covered by two of his sons1 and above   
them is ,s4 ,raphael with ,tobias1 who  
holds a fish4  ,a noble window and      
pierced balcony of early                
fifteenth-century work occupies the     
centre of the upper arcade which faces  
the sea4 ,this beautiful window and     
marble balcony open out from the great  
,sala ,maggiore ,consiglio4 ,above the  
moulding of the window is a figure of   
,justice1 and below in flanking niches  
are ,,ss4 ,peter1 ,paul and ,mark2      
,faith1 ,hope and ,charity2 and the four
 ,cardinal ,virtues4 ,a fine loggia1    
with cusped arches and quatrefoils      

above1 runs round both the exposed sides
 of the ,palace4 ,the plan of the       
building is an irregular square with a  
great courtyard inside4 ,the courtyard  
is ,renaissance1 the east side being a  
particularly good example of a period   
when the wealth of ,venice was lavished 
on her buildings4  ,in the north-east   
corner of this court and opposite to the
 ,porta della ,carta1 is the famous     
,scala dei ,giganti1 erected by ,rizzio 
in #adhc4 ,at the head of this          
magnificent ,staircase of the ,giants1  
the ,doges were crowned with the ,cap of
 ,authority4 ,from it an open corridor  
runs right and left4 ,on the right the  
,scala d',oro ascends to the second     
floor4 ,only those whose names were     
inscribed in the ,libro d',oro were     
permitted to use this stairway1 which   
led to that portion of the ,palace      
occupied by the ,doges and their        
attendant nobles4 ,the continuous suite 
of magnificent apartments through which 
the visitor wanders seem full of        

emptiness and sadly want the stately    
figures and quaint dress1 the sonorous  
voices and courtly manners of the bygone
 age that once peopled them and made    
them live4 ,the gorgeously gilded and   
coloured ceilings become not only       
oppressive from their magnificence1 but 
wearisome by their repetition2 and      
despite the great traditions that cling 
to the ,palace and the remembrance of   
the history made within these chambers1 
it is with a sigh of relief that one    
steps out on to the balcony where       
,justice holds the ,scales above our    
head1 and drinks in the balmy air that  
floats in over the lagoons keeping      
,venice pure and sweet4  ,illustration3 
,,the ,,lion ,,of ,s4 ,,mark',s1        
,,venice  ,outside on the ,riva at the  
end of the ,piazzetta are two columns of
 granite that were brought to ,venice in
 #aahj by ,doge ,michiel4 ,one came from
 ,syria1 the other from ,constantinople4
 ,on the capital of one is the ,winged  
,lion of ,s4 ,mark1 the emblem of       

,venice's patron saint2 an emblem which 
is to be found in every city in the     
country that owned allegiance to the    
,doge's rule4 ,on the other is a figure 
of ,s4 ,theodore1 who stands over a     
crocodile4 ,s4 ,theodore1 it will be    
remembered1 was the tutelary saint of   
,venice before his deposition on the    
arrival of ,s4 ,mark's body2 but this   
statue was not put up on the monolith   
until the year #acbi4 ,these two great  
columns look across the water to the    
isle of ,s4 ,giorgio ,maggiore1 where   
,palladio's great church stands in its  
chilly splendour4 ,beyond are the       
lagoons and the open sea4 ,the          
marble-paved landing-stage on which they
 stand is from one point of view the    
most interesting part of ,venice4 ,on it
 her great traders and merchants        
gathered when the long-expected ships   
from the ,east came into sight2 and as  
they swept proudly up the channels and  
dropped anchor opposite1 one can well   
imagine the excitement of the thankful  

owners who would in a few minutes go on 
board and learn of the success or       
failure of the long voyage just ended4  
,the oldest part of ,venice lies across 
the ,rialto bridge1 on the island of    
,rivo ,alto1 where the fish and         
vegetable markets now are4 ,as this     
little town grew more prosperous a      
wooden bridge1 replaced in #aehh by the 
present one1 was built to connect ,rivo 
,alto with the island opposite2 and by  
degrees the seventy-two islands on which
 the city is built became absorbed      
within her borders4 ,it must never be   
forgotten that ,venice1 until connected 
with the mainland by a railway bridge1  
always faced the sea1 which1 as ,grant  
,allen writes1 was the front door4      
,long before the ,venice of ,rivo ,alto 
came into being1 there was a flourishing
 little city not many miles away on the 
island of ,torcello4 ,at the time when  
,attila and his ,huns descended on the  
,roman colony of ,aquileia and wrought  
devastation throughout that flourishing 

outpost of the world's greatest city1   
many of the inhabitants1 leaving their  
desolate homes to the mercy of the      
invader1 fled to the swamps and islands 
at the estuaries of the rivers ,po1     
,adige1 and ,brenta4 ,amidst these      
dismal surroundings the greater number  
found refuge on the island of ,torcello4
 ,from ,torcello the refugees in time   
pushed out to the surrounding islands1  
and an important station was established
 on ,rivo ,alto4 ,thus began ,venice2   
and from this little island grew that   
great ,republic1 the ,mistress of the   
,seas1 which down to the time of the    
,french ,revolution had never seen a    
conquering host enter its waterways4    
,as early as #fda ,torcello possessed a 
cathedral4 ,this was rebuilt in #hgd1   
and parts of the structure were later on
 incorporated into the building which   
stands to-day just as it did when       
finished in the early eleventh century  
by ,bishop ,orseolo4 ,its architectural 
interest lies in its being an ,italian  

church on strict ,byzantine lines1 and  
it is one of the earliest examples of   
cultivated native art4 ,its exterior    
possesses the simplicity of all early   
work and stands up like a great barrack1
 with its campanile a landmark for miles
 over the dreary waste of waters4 ,the  
interior is very austere and cold4 ,the 
bays on either side of the nave separate
 it from the aisles4 ,the columns that  
support the round arches are a light    
grey marble2 the capitals1              
,corinthianized ,byzantine4 ,the        
clerestory lights1 which are placed just
 under the roof1 are on the south side  
only1 those on the north having been    
blocked up at some remote period4 ,the  
south aisle is lit by narrow            
round-headed windows1 each of which has 
a great marble shutter slab on the      
outside still swinging in its marble    
socket--a reminiscence of ,ancient      
,rome1 and one that exists in the ,roman
 butchers' shops of to-day4 ,a          
rood-screen shuts off the choir1 the    

four panels of it facing the nave are   
particularly fine examples of the art of
 the early eleventh century4 ,the two   
centre panels have each a couple of     
peacocks with necks outstretched feeding
 on foliage2 and in the two outer two   
lions are sculptured in perspective1 a  
rather unusual thing for so early a     
work4 ,these panels support six elegant 
columns1 which in their turn hold a     
series of painted panels of wood of the 
fourteenth century on which the ,madonna
 and twelve ,apostles are represented4  
,a very fine pulpit1 with reading-desk  
below1 is to the north of the screen4   
,it has an interesting bas-relief at the
 base1 reconstructed in the twelfth     
century4  ,behind the high altar1 under 
which rest the remains of ,s4           
,eliodorus1 is the tribune4 ,this part  
of the church is unique4 ,the apse is   
arranged in eight semicircular rows of  
seats1 occupied at one time by the      
lesser clergy1 in the centre of which1  
elevated to a position just under the   

small eastern light1 is the bishop's    
throne4 ,the throne is approached by a  
dozen steps separated from the rows of  
seats by a marble wall4 ,the seats in   
times gone by were white marble1 but    
have been recently restored and are now 
of brick4 ,despite their present warm   
colour1 the damp chilliness of this     
beautiful little church strikes a       
mournful note hardly relieved by the    
flaring red brick1 or the gorgeous tone 
of the mosaics which cover the vaulting 
of the choir and apse4  ,in the         
semi-dome of the apse a dignified       
,madonna and ,child gaze serenely below1
 with white-robed ,apostles ranged      
round4 ,the mosaics1 however1 which     
cover the west wall are of greater      
artistic interest1 being of the ninth   
century4 ,they illustrate the narrative 
of early ,christian tradition and are   
divided into five bands carrying out its
 ideas4 ,the marvellous tessellated     
floor of the cathedral has withstood1 in
 a wonderful manner1 the damp and       

ravages of time1 but1 like that of ,s4  
,mark's1 is very uneven4 ,there is an   
air of decay and long oblivion about the
 whole building that nothing can efface4
  ,outside1 and joined to the cathedral 
by a cloistered walk1 is the church of  
,sta4 ,fosca4 ,originally a basilica of 
the ninth century1 this much dilapidated
 little edifice was rebuilt in #ajjh in 
the shape of a ,greek cross4 ,a rotunda 
occupies the centre1 inside which runs a
 grey pillared arcade built to support a
 dome that was never constructed4 ,there
 are three apses2 the middle one has two
 rows of blind arcading with ornamental 
brickwork above4 ,a brick loggia1       
covered with whitewash1 is outside1 and 
connects with the cloister and the      
cathedral4 ,sta4 ,fosca suffered        
martyrdom at ,ravenna her native city1  
and her remains were brought here1 and  
this now damp ruinous little church     
built around them4  ,on the green grass 
of the little piazza1 which one can     
hardly realise was once the focus of a  

thriving city1 stands an ancient stone  
chair called ,the ,throne of ,attila4   
,it most probably was used at the       
inauguration ceremony of ,torcello's    
chief magistrates4 ,a column of later   
date is beside it1 and behind them1     
occupying one side of this deserted     
square1 is the ,palazzo del ,commune1 a 
building of the thirteenth century1 now 
used as the museum wherein are gathered 
all the relics of ,torcello's ancient   
glory that time unearths4 ,as the       
gondola carries one back to ,venice it  
threads deserted canals1 and passes     
under many a bridge the voussoirs of    
which are the only remaining stones of  
structures that spanned the water and   
connected the islands over which a      
populous civilisation spread itself4    
,save for the quack of an occasional    
duck hidden in the reeds of the marsh   
and the garrulity of the gondolier all  
is silence and solitude4 ,a vast sky    
above but adds to the feeling of        
desolation1 as1 level with the water's  

edge1 we skim along4 ,who can tell      
whether ,venice herself one day may not 
become what fascinating though dreary   
,torcello now is6  ,illustration3 ,s4   
,,fosca ,,and ,,cathedral1 ,,torcello   
,,rimini   ,it is not every visitor to  
,rome who1 passing under the ,porta del 
,popolo and seeing in front a straight  
road with a row of squalid dwellings on 
one side1 knows that that road1 the old 
,via ,flaminia1 terminates on the       
,adriatic coast at far-off ,rimini4     
,this1 the great highway out of ,rome   
northwards1 enters ,rimini under the    
noble ,arch of ,augustus1 a very fine   
gateway built of travertine4 ,passing   
through the market-place named the      
,piazza ,giulio ,cesare--for here stands
 a pedestal with the legend that from it
 ,julius ,csar harangued his troops     
after the crossing of the ,rubicon--it  
runs on and out of the city over the    
bridge that crosses the river           
,marrecchia4 ,this bridge1 which was    
commenced during the reign of ,augustus 

and finished by ,tiberius1 is one of the
 best preserved in ,italy4 ,of its five 
arches1 that in the centre has the      
greatest span1 and the two which flank  
it are a little larger than those at    
either end4 ,traces of pediments may    
still be seen on its massive buttresses4
 ,the parapet is capped by a rounded    
stone course4 ,from the two central     
piers inwards and over the arch this    
course is raised to a higher level than 
on the remainder of the bridge4 ,in     
summer a shallow little river meanders  
in silvery threads over the pebbles     
which form the almost dry bed of the    
stream1 and finds its way under the     
arches into the harbour half a mile     
beyond4 ,in winter a rushing torrent has
 for centuries beaten against the piers 
that the workmen of ,augustus' time laid
 so well4 ,the road above1 no longer the
 ,via ,flaminia but now the ,via milia1 
runs out over the plain in a            
north-westerly direction to ,rome's     
ancient colonies in the province from   

which it derives its name4 ,many        
fragments and columns1 let into the     
walls and forming part of the building  
material of the houses of ,rimini1 are  
evidence of its importance in the days  
of the early emperors4 ,those were days 
when it formed with ,pesaro1 ,fano1     
,sinigallia and ,ancona1 the group known
 as the five ,maritime ,cities1 and was 
one of the ,capital's great ,adriatic   
ports4 ,the sea is but a mile off and   
the level sands of ,rimini nowadays     
attract hundreds of summer visitors who 
take advantage of their unrivalled      
bathing facilities4  ,the first bishop  
was appointed to ,ariminium as early as 
#bfj1 and ninety-nine years later the   
celebrated council of the ,arians and   
,athanasians met to deliberate over     
their differences in the city4 ,in the  
sixteenth century1 when it formed part  
of ,otho ,,iii4's empire1 a ,malatesta  
was appointed viceroy of ,le ,marche1   
and the long connection of this family  
with ,rimini then commenced4 ,the most  

renowned member of the ,wrong-heads was 
undoubtedly ,sigismondo1 a man of great 
ferocity of disposition and licentious  
in his habits4 ,like many another       
bellicose noble1 ,sigismondo had two    
sides to his nature1 and whatever his   
faults1 it is to his credit that many of
 his leisure hours were spent in the    
company of philosophers and men of      
pacific tastes4 ,it is due to his       
patronage of ,art that the genius of    
,leo ,battista ,alberti1 another curious
 and complex product of the age1 found  
scope in the great church of ,s4        
,francesco4 ,we owe to these two        
men--one the patron1 the other the      
architect--the best example of          
transition from ,gothic to ,renaissance 
which ,italy possesses4  ,the cathedral1
 a ,gothic edifice dedicated to ,s4     
,francesco1 was but one hundred years   
old when ,sigismondo set ,alberti to    
work on its transformation4 ,malatesta  
undoubtedly intended it to be the       
mausoleum of his race1 and that is what 

this most unecclesiastical building1    
which is called the ,tempio di          
,malatesta1 is4 ,the faade is extremely 
simple4 ,it is spaced out into three    
equal divisions4 ,the centre is occupied
 by the portal which has a good pediment
 and a round arch borne by highly ornate
 pilasters4 ,on either side are four    
,corinthian columns supporting the three
 flat-membered arches of the faade4     
,over them is a broad frieze4 ,the bases
 of these columns stand on a very       
beautiful course which is continued     
round the two sides of the ,tempio4 ,at 
intervals1 amidst finely-chiselled      
heraldic roses and little elephants1 are
 alternating shields bearing the ,i and 
,s of ,isotta and ,sigismondo--initials 
that are found in every available place 
throughout the building--and the coat of
 arms of the ,malatesta4  ,on the north 
and south sides of the building a grand 
row of seven broad round arches1 on     
massive rectangular piers1 throws a deep
 shadow on to the sarcophagi of the men 

who were ,sigismondo's companions in his
 peaceful hours4 ,these sarcophagi are  
placed between the piers1 well above the
 spectator1 on the basement which is    
built out from the brick wall of the    
original ,gothic cathedral4 ,like the   
faade1 this grand colonnade and its base
 are lined with white marble4 ,among the
 sarcophagi is one which contains a     
trophy brought by ,sigismondo from the  
,east4  ,the civilisation of the ,middle
 ,ages produced a curious phase of      
religion that showed itself not only in 
the ,church1 which distributed the      
bodies of ,christian martyrs all over   
the country and robbed the catacombs of 
,rome for sacred relics in order that   
they might be adored in other places1   
but also in the action of the great     
nobles1 who1 to gain a little           
immortality1 brought back from distant  
wars all they could lay hands on that   
might redound to their heavenly credit4 
,in the case of ,sigismondo it was1 let 
us believe1 a love of literature that   

prompted the theft of the bones of the  
great ,platonist1 ,gemisthus ,pletho1   
and placed them in the stone chest under
 one of ,alberti's arches4 ,there they  
rest near those containing the remains  
of kindred natures whom the warlike     
noble claimed as intimate friends4  ,the
 interior of the ,tempio consists of a  
nave with side chapels and an apsidal   
choir4 ,the roof is good open woodwork4 
,there are four chapels on either side  
with the original pointed vault and     
groining4 ,the ,gothic arches which open
 on to the nave are covered with classic
 ornament4 ,the spandrils are coloured  
green and are embossed with shields and 
a splendid floral design4 ,the wall     
spaces between each chapel1 as well as  
the west end1 have a wonderful          
arrangement of very beautiful           
,corinthian pilasters that rest on a    
sculptured frieze with a blue ground on 
which are shields bearing the ,i and ,s4
 ,from this frieze depend floral        
festoons on bands of green and red1 with

 medallions of coloured marble beneath4 
,at the bases of the pilasters are      
figures holding shields4 ,the whole of  
this design is executed in a grey stone 
of the same colour as that in the       
illustration4 ,the piers of the arches  
of the two first chapels on either side 
are enriched by figures of knights and  
dames2 the third by beautiful panels of 
nymphs and children carrying garlands1  
c41 on a light blue ground reminiscent  
of the ,della ,robbia4 ,the fourth      
chapel on the south side has figures    
symbolical of the months of the year and
 the signs of the ,zodiac2 while that on
 the north has figures of saints on its 
piers1 to which1 instead of the usual   
classic bases1 elephants of black marble
 have been substituted4 ,the first      
chapel south is dedicated to ,s4        
,sigismondo1 who sits on two of these   
great beasts4 ,the ,malatesta crest is  
above the altar4 ,on one wall are       
delicately carved figures of angels     
drawing aside curtains from a crucifix2 

repeated on another1 where the angels in
 even better attitudes part the curtains
 from a small closed window that looks  
into the ,sanctuario4 ,so delicately cut
 are these beautiful figures that the   
art which produced them seems almost    
plastic4 ,the ,sanctuario is closed and 
contains a fresco of ,sigismondo        
,malatesta kneeling before his patron   
saint4 ,the next chapel appears in the  
illustration4 ,it is dedicated to ,s4   
,michele1 whose figure above the altar  
is supposed to be a portrait of ,isotta4
 ,she is interred in the tomb which the 
sketch shows4 ,during the life of       
,sigismondo's two wives she was his     
mistress1 but at the death of the second
 he married her and the record of their 
wedded life is a happy one4 ,her tomb is
 borne by elephants on brackets and is  
surmounted by a knight's helm with the  
,malatesta crest above4  ,illustration3 
,,isotta',s ,,tomb ,,in ,,the           
,,cathedral1 ,,rimini  ,the first chapel
 on the north side of the nave has a    

tomb placed high up on the wall1 which  
contains the remains of as many of      
,sigismondo's least famous ancestors as 
he could lay hands on4 ,the chapel is   
known as the ,capella dell' ,acque from 
an ancient statue of the ,madonna which 
represents her as sending down rain4 ,on
 the base of the pillars of this chapel 
are portraits in low relief of          
,sigismondo4 ,the low brow1 hooked nose1
 and cruel mouth tell one plainly that  
the sardonic expression of the face does
 not belie the character of this        
extraordinary man4 ,on the wall to the  
right of the west door is his tomb1     
which1 considering the part he played in
 the history of his day1 must be        
acknowledged as very simple and plain4  
,the other chapels are full of the tombs
 of the illustrious members1 male and   
female1 of the ,house of ,malatesta4    
,along the length of the nave in front  
of all these chapels runs a splendid    
marble screen or balustrade4 ,at every  
fourth pillar1 on the marble rail1      

stands a charming little cherub resting 
on a shield or holding a bunch of       
flowers or basket of fruit4 ,the screen 
of the last chapel on each side is of   
red ,verona marble and is perforated by 
the elephant head of the ,malatesta and 
gorgeously designed arabesques in       
circles4 ,from one end to the other the 
screens stand out from the chapels into 
the nave1 and are raised two steps above
 the red-tiled floor4 ,such are some of 
the features which go to make the       
,tempio di ,malatesta one of the most   
extraordinary cathedrals in ,italy4     
,there is little else to attract the    
visitor to ,rimini1 unless it be to     
undertake a visit to the tiny ,republic 
of ,s4 ,marino4 ,a pleasant day's       
excursion may be taken to this quaint   
little stretch of territory which is so 
picturesquely situated on a spur of the 
,alban mountains a few miles from the   
city4     ,,ferrara   ,at the foot of   
the ,euganean hills1 those hills which  
stand like sentinels detached from the  

northern ramparts of ,venetia1 and      
guarding the tract of country that      
stretches eastwards to the sea between  
,rovigo and ,venice1 are the ruins of a 
castle--the ,castello d',este--whose    
lords at one time played a prominent    
part in the history of ,italy4 ,of      
,lombard origin1 these ,margraves of    
,este had ruled the surrounding country 
for three centuries prior to #adeb1 in  
which year ,pope ,paul ,,iii4 created   
,borso d',este ,duke of ,ferrara1 and   
the family1 as long as it lasted1 was   
thenceforth inseparably connected with  
the subject of this chapter4 ,more      
honours were bestowed on ,borso when the
 ,emperor ,frederick ,,iii4 gave him the
 titles of ,duke of ,modena and ,reggio1
 and he held the domains of those places
 as fiefs for his overlord4 ,borso's    
grandson ,alphonso married the notorious
 ,lucrezia ,borgia2 but to ,azzo        
d',este1 ,margrave of ,este in the year 
#aaaj1 belongs a greater claim to fame4 
,scion of a junior branch of the ,welfs 

or ,guelphs he succeeded to the ,duchy  
of ,bavaria on the death of his         
grandfather1 the last male              
representative of the elder branch of   
the family1 and from his off-spring grew
 the ,guelph ,houses of ,hanover and    
,brunswick1 from the former of which is 
descended our own ,royal line4 ,in the  
sixteenth century the ,court of ,ferrara
 was second to none in ,europe for its  
patronage of the ,arts and ,literature1 
and the ,house of ,este will always be  
handed down to posterity as one that did
 much to raise the culture of ,italy to 
a very high pitch4  ,in the centre of   
the city1 surrounded by a moat and      
entered by two bridges which span it1   
the great pile that ,ferrara's rulers   
erected stands haughtily four-square1   
with four immense towers at the corners4
 ,here in safety dwelt those mighty     
princes who brought renown to the city  
that lay around and beyond2 and here in 
a dungeon below the level of the water1 
,duke ,niccolo ,,iii4 caused his wife   

and her paramour1 who was one of his own
 natural sons1 to be put to death2 a    
tragedy which gave ,byron his subject in
 the poem ,parisina4 ,this huge         
fortress1 like most of the other        
buildings in ,ferrara1 is constructed of
 brick4 ,ferrara's streets are wide1 and
 though its palaces and houses do not   
rise to any great height1 the gardens   
behind them1 enclosed by high walls1    
give an air of spaciousness and         
aristocratic bearing that attest its    
former importance4 ,most of these       
palaces and houses are decorated with   
beautifully moulded brick or terra cotta
 courses2 and the well-proportioned     
windows on their flat street fronts     
create the impression of great space1   
which is the chief characteristic of    
,ferrara4 ,there is one important       
building1 however1 which is constructed 
of stone1 the ,palazzo de' ,diamanti1 so
 called from the peculiar facets of the 
material with which it is built4        
,ferrara possessed a school of painting 

of its own1 and it is in this palace    
that the best examples have been placed4
 ,the great palace of the ,bentivoglio  
family1 where many celebrities have     
lodged1 has a heavy stone cornice and   
baroque decoration on its vast brick    
sides4 ,the ,casa di ,ariosto1 built by 
the poet himself in the years #aebf-bh1 
and in which he died1 with an           
inscription on its walls he composed1 is
 another fine house4 ,the hospital of   
,sta ,anna1 a most beautiful red brick  
and terra cotta building1 has cloistered
 courts2 and the cellar which was       
,tasso's prison for five months until he
 was removed1 still a prisoner1 to a    
better room1 can be seen4 ,in the       
castello itself ,calvin the reformer    
found an asylum1 befriended by ,rene1   
the wife of ,duke ,ercole d',este1 who  
paid forfeit for her temerity by being  
separated from husband and children by a
 ,papal ,bull4  ,the ,cathedral was     
begun in #aace1 and its exterior belongs
 almost entirely to that period4 ,the   

west faade is a very good example of    
,lombardo ,gothic4 ,it is divided into  
three equal portions each of which is   
surmounted by a gable containing what   
was at one time a wheel window4 ,the    
central part has a good porch somewhat  
similar in design to the one at ,verona4
 ,the semicircular arch is borne by     
columns supported by two dwarf figures  
bent double with the weight of their    
burden2 they squat on the backs of      
lions1 one of which holds a bull and the
 other a ram between its forepaws4      
,above this is an open gallery with very
 beautiful twisted pillars and          
quatrefoil piercing in the three arches4
 ,in the spandrils of these1 and of     
earlier date1 are bas-reliefs of the    
dead rising from their tombs1 and over  
them at the base of the canopy above are
 reliefs of the ,life of ,our ,saviour1 
the ,virtues1 the ,vices and ,seven     
,mortal ,sins1 as well as the ,day of   
,judgment4 ,the two flanking parts of   
the faade1 one of which appears in the  

illustration1 have each three tiers of  
arcading4 ,the lowest is composed of    
nine rounded arches with four-sided     
columns grouped in triplets1 which are  
enclosed by three pointed arches4 ,the  
next tier is of nine pointed arches2 and
 over this are four pointed arches      
deeply recessed4 ,following the line of 
the gable is an extremely effective     
gallery of elegant double columns and   
pointed arches1 one of the great        
features of ,pisan ,gothic so prominent 
in the churches of ,lucca4 ,near the    
base of this wall in a curious pilgrim's
 dress with a pleated skirt is the      
figure of ,alberto d',este4             
,illustration3 ,,the ,,cathedral1       
,,ferrara  ,the whole of the south wall 
has a double range of arches which very 
pleasantly break the monotony of so vast
 a space of yellow brick4 ,the grand    
campanile at the south east-corner was  
put up by ,ercole ,,ii41 and is composed
 of four tiers of round arches on       
columns with ,corinthian capitals4 ,the 

alternate bands of red and cream toned  
marble with which the exterior is faced 
give a good decorative effect to this   
big tower4  ,the interior of the        
,cathedral has been modernised and      
painted to represent carved stone4      
,whitewash1 generally the alternative to
 painted imitation of something         
substantial in construction1 is perhaps 
preferable to this form of deception as 
it does not really interfere with the   
proportions of the architect's design4  
,here1 however1 the really fine         
proportion of the interior is almost    
destroyed by the obtrusive colours of   
the false marble walls1 and the         
representation of bosses and capitals4  
,the semicircular choir by ,rossette was
 built in #adii and has a ceiling       
covered with a fresco of the ,last      
,judgment by ,bastianino1 who was one of
 ,michael ,angelo's favourite pupils4   
,this fresco contains portraits of many 
of the painter's friends who are        
depicted in ,heaven1 while those with   

whom he was not on good terms are       
enduring the tortures of another place4 
,in the piazza outside the ,cathedral a 
market goes on all day long throughout  
the year4 ,it is difficult to analyse   
the feelings of folk who in the         
bitterest of weather unfold their great 
umbrellas over the fruit and vegetables 
exposed for sale4 ,but so it is in      
,ferrara during ,november when the      
accompanying sketch was made1 and every 
morning sees a thick coat of ice on the 
moat surrounding the castle4 ,for       
although the good people wrapped        
themselves in heavy cloaks and thick    
coats and shivered over charcoal stoves1
 they still sat under their umbrellas4  
,habit breeds custom and custom lasts   
for ages4  ,the old city walls afford a 
delightful promenade of four miles or   
more in length4 ,on one side1 the town  
seems to be right in the middle of a    
huge market garden above the trees of   
which long red roofs and towers rise    
upwards4 ,on the other1 at this time of 

year1 the last leaves from rows of      
poplars and plane trees may be seen     
gently falling to the ground in the     
tranquil frosty air1 and when at rest   
forming a glorious carpet of russet and 
orange4 ,great teams of oxen1 six couple
 to a team1 are straining hard at the   
plough that cuts deep furrows in the    
stiff soil4 ,the trees have long ago    
been trimmed and the peasants now turn  
their hands to the cutting of clay--that
 stiff clay through which the oxen      
toil--for brick-making4 ,ice covers the 
water in the fosse1 and although the sun
 shines brilliantly and the malarial    
mosquito is no more for at least eight  
months1 one soon realises that ,ferrara 
is better in the spring than in late    
autumn4     ,,ravenna   ,ravenna is one 
of those ancient cities the origin of   
which is lost in the mist of ages4 ,it  
is1 however1 no guess work to say that  
in the days before the first unknown    
settlers found their way to the spot    
which became their permanent home1 the  

fertile land in which it now lies       
embowered was a vast waste of waters and
 salt marshes4 ,the first inhabitants of
 this dreary region drove piles into the
 mud1 and erected their dwellings on    
such foundations as these afforded4     
,wooden piles will not last for ever1   
and the subsequent buildings that were  
put up1 pulled down and replaced1 have  
accordingly suffered in stability4 ,when
 the march of ,rome carried her legions 
north1 ,ravenna was encircled by a      
seagirt wall1 and a ,roman colony was   
established which became in ,pompey's   
day a first-class naval station4 ,alive 
to the great strategic value of the city
 the ,emperor ,augustus constructed a   
new and second harbour capable of       
holding two hundred and fifty ships1    
which he named ,portus ,classis4 ,this  
he connected by a canal with one of the 
estuaries of the river ,po4 ,portus     
,classis lay three miles south of       
,ravenna1 and between the two there soon
 sprang up a connecting link1 the town  

of ,csarea4 ,the ,emperor ,honorius made
 ,ravenna the capital of the ,west1 and 
both he and his celebrated sister       
,placidia resided there4  ,in #dic      
,theodoric1 king of the ,ostrogoths1 who
 had extended his conquests southwards  
over the ,alps1 captured the city1 and  
,ravenna then became the capital of the 
,gothic kingdom4 ,during his reign1 a   
reign marked by absolute religious      
toleration1 ,italy was at peace for     
thirty years4 ,ravenna must have been at
 that time some miles from the coast4   
,jordanes1 the historian1 has handed    
down the fact that its celebrated       
,pineta1 or ,pine ,forest1 was in       
existence in ,theodoric's day4          
,justinian1 who drove out the ,goths    
with the help of ,belisarius and        
,narses1 left the administration in the 
hands of the latter1 who became the     
first ,exarch4 ,the ,exarchs of ,ravenna
 practically governed the entire        
,italian kingdom2 even the ,popes were  
subject to a rule which lasted one      

hundred and eighty-five years4 ,in #aeab
 the ,italian war that followed the     
,league of ,cambray brought a ,french   
army under ,gaston le ,foix into        
,romagna1 and the bloodiest battle ever 
fought on ,italian soil took place not  
far from the city2 ,gaston losing his   
life towards the close of the engagement
 at a spot marked by an obelisk4  ,it   
is1 however1 in early ,christian ,art1  
nowhere so well exemplified as in the   
mosaics of ,ravenna1 that interest is   
chiefly centred4 ,more than fourteen    
centuries have come and gone since the  
first of these wonderful wall           
decorations were placed where they      
remain to-day4 ,and though ,ravenna and 
its celebrated ,pine ,forest are        
inseparably connected with the immortal 
,dante and the poet ,byron1 and though  
the sarcophagus and tomb of the former1 
tucked away in a corner of a little     
piazza1 draw many a pilgrim to worship  
at his shrine1 ,ravenna lives in its    
mosaics and will continue thus to live  

as long as the walls last on which they 
are encrusted4  ,theodoric's great      
basilica possesses one that is          
universally accepted as the finest in   
the world1 but the church of ,s4 ,vitale
 is enriched with the most splendid of  
all4 ,close to ,s4 ,vitale is the       
mausoleum which ,honorius' sister1      
,galla ,placidia1 built in the form of a
 ,latin cross for herself and her       
husbands4 ,in its way it is one of the  
most perfect gems of good taste in mural
 decoration extant4 ,the interior walls 
are lined with rare marbles4 ,the arch  
over the entrance has a mosaic of the   
,good ,shepherd and ,his ,sheep in      
subdued greens and greys4 ,the vault of 
the first arm of the cross is covered   
with a most glorious blue ground out of 
which shines a multitude of stars in    
white and gold2 this leads the eye in a 
perfect harmony of colour to the        
blue-green ground of the dome1 whereon  
the four ,evangelists and their symbols 
are portrayed in white and a dull red4  

,the sarcophagus of the ,empress still  
remains in the recess beyond1 and in the
 lateral arms of the cross are those of 
her brother ,honorius and her second    
husband ,constantius ,,iii4 ,these three
 stand exactly in the same places as    
they did fourteen hundred years ago4    
,the mosaic above ,placidia's tomb      
represents ,our ,lord with an open book 
in one hand and a cross in the other4   
,in the centre is a gridiron towards    
which ,he proceeds4 ,on the left side a 
sort of tomb or cupboard stands open    
disclosing on its shelves the bodies of 
the four ,evangelists1 their names being
 written beneath each body4  ,in the    
other recesses stags are seen drinking  
at fountains1 and birds and arabesques  
cover the beautiful tesser groundwork4  
,the soffits of all the windows1 which  
are filled with thin slabs of alabaster1
 are adorned by a deep red1 and a black 
and white pattern on a gold ground4     
,illustration3 ,,ravenna  ,s4 ,vitale1  
the building to the right in the sketch1

 was erected in the reign of ,justinian 
by ,archbishop ,ecclesius on the spot   
where ,s4 ,vitalis suffered martyrdom4  
,like most of the early buildings of    
,ravenna it has suffered from the nature
 of the ground on which it stands1 and  
is buttressed up and held together by   
great iron ties and clamps4 ,the        
interior is a vast circle with a domed  
roof supported by eight arches and the  
same number of piers1 between which are 
semicircular two-storied recesses4      
,these are divided by three arches with 
plain columns that have double capitals4
 ,a circular aisle extends round the    
lower part of the church carrying a     
gallery above4 ,the brick walls1 against
 which are placed many ancient          
sarcophagi1 were originally covered with
 slabs of marble1 and as ,s4 ,vitale and
 most of ,ravenna's other churches are  
now monumentali nazionale it is to be   
hoped that marble may some day once more
 line this effective interior4  ,the    
superb mosaics on the vault of the      

,choir and ,tribune are of the sixth    
century1 and as fresh to-day as when    
first put up4 ,the semi-dome of the apse
 has a fine gold ground on which the    
,almighty is enthroned on a globe with  
,archangels around4 ,above them float   
crimson and blue clouds4 ,he gives to   
,s4 ,vitalis1 who stands at ,his right  
hand1 the crown of martyrdom2 on ,his   
left is ,s4 ,eutychius offering a model 
of the church4 ,the vault of the        
,tribune itself is decorated with one of
 the most gorgeous arrangements of      
colour in arabesques and birds that     
could be imagined4 ,on one wall is a    
fine mosaic of ,justinian surrounded by 
courtiers1 and ,s4 ,maximianus with two 
accompanying priests4 ,the ,emperor's   
robe is deep purple embroidered with    
gold and mother-of-pearl1 those that the
 others wear are white and gold with    
coloured edging4 ,on the opposite wall  
is the ,empress ,theodora attended by   
the ladies of her court4 ,here again the
 costumes give a fine colour note1 and  

the expressions on the different faces1 
which are very ,eastern in type1 are    
remarkable4 ,a curtain forms part of the
 background of this mosaic1 and is1     
curiously enough1 green1 white and red1 
the ,italian colours of the present day4
 ,on the arch are half-lengths of our   
,saviour and the twelve ,apostles1 and  
the two martyred sons of ,s4 ,vitalis1  
,,ss4 ,gervasius and ,protasius whose   
remains rest in the church of ,s4       
,ambrogio in ,milan4  ,all the angles of
 the mosaics are rounded off as in ,s4  
,mark's at ,venice and elsewhere4 ,but  
in ,s4 ,vitale they are patterned with  
bands of distinct colours1 and do not   
interfere with the general effect as    
they do in ,s4 ,mark's1 where the       
brilliant gold catches the light and    
accentuates the angle4 ,the whole colour
 scheme of the decoration is green and  
white relieved by a dull purple1 black  
and deep red set on a rich dull golden  
ground4 ,however much one admires the   
later mosaics of ,venice and ,torcello1 

,palermo and ,monreale1 the palm for    
beautiful colour must be awarded to the 
glorious art of ,ravenna4  ,at the bases
 of the columns in the ,choir stand the 
celebrated pagan bas-reliefs called the 
,throne of ,neptune4 ,in both1 a        
sea-monster lies extended beneath the   
throne of the god4 ,that on the right   
has a winged figure holding a trident2  
in the other1 two figures bear a huge   
conch shell4 ,sea-horses1 dolphins and  
shells1 crowded in between ,corinthian  
pilasters1 form the lower panels which  
two nude boys bear on their shoulders   
staggering under the heavy weight4      
,ravenna's cathedral contains nothing of
 any architectural interest1 as it was  
rebuilt in the bad period of the        
eighteenth century4 ,the original       
edifice1 which was erected by ,s4 ,ursus
 in the fourth century1 was known as the
 ,basilica ,ursiana4 ,the ,archbishop's 
,palace adjoins the east end1 and in it 
is one of ,ravenna's earliest places of 
,christian worship4 ,the little chapel  

to which we refer was probably built    
about #dcj and was the work of ,peter   
,chrysologos4 ,with the exception of    
painted restorations to some of its     
frescoes it is to-day just as it was    
when the decorators left it more than   
fourteen hundred years ago4 ,in the     
vestibule leading to the chapel one may 
see the ivory throne of ,s4 ,maximianus4
 ,this fine specimen of sixth-century   
art is covered with little ivory panels 
on which bas-reliefs tell the history of
 ,joseph4 ,in front of the seat are the 
,saint's monogram1 the panels beneath   
representing the favourite theme of our 
,lord as a shepherd amidst his sheep1   
with the four ,evangelists attendant4   
,the four legs of the throne appear to  
be solid ivory2 those at the back go    
right up to the top and must at one time
 have been splendid tusks4  ,to the     
north of the ,cathedral is the          
,baptistery4 ,the mosaics of the fifth  
century which line the interior are in a
 very light key of colour1 the scheme   

employed being light blue1 white and    
gold4 ,situated between the eight arches
 of the octagon are sixteen bas-reliefs 
of the prophets executed in a           
cream-coloured marble4 ,the arches      
themselves are composed of two members1 
one within the other1 the outer of which
 is gold edged with white2 and the inner
 has a remarkably fine quality of blue  
tesser4 ,in the centre of the dome ,s4  
,john is seen baptizing our ,saviour1   
who stands in the waters of ,jordan     
surrounded by the twelve ,apostles4 ,the
 font1 which stands on a fine inverted  
,corinthian capital1 was at one time a  
vase in the ,temple of ,jupiter4 ,this  
,temple was situated on the site of the 
,baptistery1 and eight of its columns   
form the support of the octagon arches4 
,the cathedral1 which is the church with
 a dome in the illustration1 possesses  
one of the round towers peculiar to     
,ravenna4 ,the date of these towers is  
uncertain1 but is probably the eleventh 
or twelfth century4 ,insecure           

foundations have caused most of them to 
tilt to one side--note the angle of the 
,torre del ,pubblico in the sketch--and 
necessitated a great deal of            
restoration4  ,theodoric erected his    
palace and the basilica which adjoins1  
in the wide thoroughfare that runs north
 and south from the ,porta ,serrata to  
the ,porta ,nuova4 ,very little1 if     
anything1 remains of the first-named    
building4 ,and judging from the         
,romanesque features of a brick         
colonnade and the portion of a sometime 
large dwelling that stands behind it1 it
 is very doubtful whether any of the    
original palace exists4 ,we have it on  
record1 too1 that ,charles the ,great   
carried off the marble columns of       
,theodoric's building to adorn his own  
palace in ,aachen2 and1 as he did this1 
there is every probability that he took 
other material as well4 ,but1 if we have
 nothing left of the ,gothic king's     
residence1 we have his grand ,arian     
basilica intact4 ,theodoric dedicated   

his church to ,s4 ,martin1 but when the 
body of ,s4 ,apollinaris was deposited  
in it1 a rededication to him took place4
 ,s4 ,apollinare ,nuovo1 as it has since
 been called in contradistinction to the
 other basilica at ,classis1 is famous  
throughout ,christendom2 famous for the 
finest mosaic in the world4 ,on the     
north wall1 in the blank space where the
 triforium might be1 facing the sun1 the
 ,virgin is seen seated on an orange    
coloured cushion which rests upon a     
throne4 ,she holds in her lap the       
,child4 ,two angels stand on either     
side4 ,their robes are white1 hers is   
deep purple fringed with gold and       
sparkling jewels4 ,advancing towards her
 are the ,three ,kings of the ,east1    
whose names appear above each1          
,melchior1 ,gaspar and ,balthassar4 ,in 
their hands are silver vessels4 ,the    
first angel holds his out to receive    
them4 ,beyond the kings1 in a row1      
twenty-two virgins come bearing crowns4 
,they are garbed in light purple with   

white veils2 round their waists are     
bejewelled belts4 ,the expression on the
 face of each is different1 and each is 
in a slightly different attitude2 one is
 accompanied by a little white dog4     
,they tread lightly on the green sward  
from which many little flowers lift     
their humble heads4 ,between each a     
palm-tree grows with spreading leaves   
and clustering dates4 ,it is a wonderful
 procession4 ,the eagerness and haste of
 the ,three ,kings1 the dignified and   
stately rhythm of the slowly pacing     
,virgins are so well realised1 that1    
although there is no idea of anything   
but flat decoration in the rendering1 a 
feeling of continuous motion holds one  
throughout4 ,in the darkened corner at  
the west end of the mosaic are the walls
 of the ,city of ,classis4 ,the golden  
tesser of these walls are so dark and   
frowning that they might almost be      
called brown4 ,brown they appear to be1 
but this is because1 through an arched  
opening1 three ships with white sails   

come gliding into port over the crulean 
blue of the sea4 ,the eye is thus       
carried along the whole length of the   
mosaic without a single jarring note4   
,from the white angels at one end to the
 white sails at the other1 it travels   
along with a consciousness of repose1   
and one feels instinctively that one is 
in the presence of a masterpiece4       
,illustration3 ,s4 ,,apollinare ,,nuovo1
 ,,ravenna  ,on the opposite wall1      
occupying the same position as ,classis1
 are the city of ,ravenna and the palace
 of ,theodoric4 ,corresponding with the 
two and twenty virgins are figures of   
twenty-five saints clad in white--save  
one--and all bearing crowns4 ,our       
,saviour1 seated between four angels1   
gives ,his benediction to the saints1   
who advance towards ,him4 ,the first1 in
 a violet robe1 is ,s4 ,martinus1 the   
patron of the ,church when the sound of 
the ,arian creed filled its aisles4     
,above both these mosaics are           
round-headed clerestory windows with    

saints and prophets in the panels       
between4 ,the ancient marble throne of  
the ,arian bishops still exists in a    
little chapel in the north aisle2 and   
here also are some relics of ,s4        
,apollinaris4  ,one of the architectural
 features of ,ravenna's churches may be 
seen in the double capitals of the      
columns1 which give them a sort of      
stilt1 a peculiarity which does not     
prevail in churches elsewhere of the    
same date--the fifth and sixth          
centuries4 ,into these two centuries    
were crowded the great architectural    
works and their interior decorations    
that have made ,ravenna famous4 ,but it 
is sad to think that the names of those 
whose genius found scope on their walls1
 if ever recorded1 have been lost4  ,the
 other great basilica1 dedicated to ,s4 
,apollinaris1 ,s4 ,apollinare in        
,classe1 stands in solemn loneliness    
some three miles south of the city4 ,of 
,augustus' great port this church1      
emblem of stability1 alone remains4 ,its

 round campanile towers up over the     
swampy meadows and uninhabited district 
that seem given up entirely to the sky  
and winds4 ,an atrium1 now reduced to a 
portico1 stood at one time in front of  
the faade1 but there is nothing to      
attract one in the barn-like exterior of
 the building save the glamour attached 
to its history1 which is accentuated by 
the dreary desolation around4  ,inside1 
the nave is divided by twelve round     
arches on each side2 these are supported
 by columns of cipollino marble4 ,the   
,byzantine capitals1 as in ,s4          
,apollinare in ,nuovo1 are surmounted by
 an impost with a cross in relief4 ,a   
fine flight of steps leads up to the    
,high ,altar1 ,choir and ,tribune4 ,the 
crypt is beneath4 ,the floor of the     
nave1 which slopes upwards towards the  
east1 is four feet above the original1  
which was partly covered with mosaic4 ,a
 temple of ,apollo stood on the site    
before the church was erected in the    
year #ecd1 and this older floor may be  

part of the pagan building4  ,the       
mosaics of the ,choir and ,tribune were 
undergoing restoration at the time when 
this was written1 but although partly   
covered up enough was visible to show   
that in the semi-dome of the apse a     
large golden cross1 with a              
representation of the ,almighty's ,head 
in the centre1 occupied the middle of a 
very brilliant blue circle4 ,the soffit 
of the arch of the ,choir has a blue    
ground covered with multi-coloured birds
 and arabesques4  ,amongst other of     
,ravenna's churches the modernised      
basilica of ,s4 ,francesco1 the church  
contiguous to ,dante's tomb1 contains   
some ancient sarcophagi and the finest  
tomb slab in ,italy4 ,this is now out of
 danger and has been placed on the west 
wall of the nave4 ,it originally covered
 the remains of ,ostasio da ,polenta1   
,lord of ,ravenna4 ,he is represented in
 the garb of a ,franciscan friar and    
lies outstretched1 with beautifully     
modelled hands and face1 under a very   

rich ,gothic canopy4 ,the ,polenta      
family were the first to befriend the   
great poet when he sought refuge here   
from ,florence4  ,adjoining the back    
premises of one of the hotels is the old
 ,arian baptistery1 now the oratory of  
,sta4 ,maria in ,cosmedin4 ,it was here 
that the first ,christian baptism in    
,ravenna took place4 ,the church of ,s4 
,spirito built by ,theodoric opens on to
 the same courtyard2 but1 next to the   
,gothic king's great basilica1 the most 
interesting building connected with his 
name is that which is situated half a   
mile outside the ,porta ,serrata4  ,a   
pleasant avenue with well-kept rose beds
 leads one on towards a circular        
building of grey ,istrian limestone1    
which is covered with a dome of the same
 material1 and we are in the presence of
 the tomb which ,theodoric erected as   
the resting-place for his mortal        
remains4 ,we do not see it now as it was
 when the great king's bones reposed in 
a sarcophagus within4 ,to the ,church of

 ,rome ,theodoric was a heretic1 and    
when the ,goths were driven out of      
,ravenna and the ,arian ritual was heard
 no more1 the ,church ordered the       
sarcophagus to be broken up1 and the    
ashes of him who was tolerant to all    
creeds to be scattered to the winds4    
,the tomb was despoiled of its          
ornaments1 and consecrated and used as a
 chapel4 ,even now it is sublime in its 
simplicity1 and grand in its massive    
construction4 ,its plan is a rotunda    
resting on a decagonal lower chamber1   
each side of which is recessed and      
arched by great blocks of limestone set 
as the ,etruscans set the roofs of their
 tombs4 ,rising in two storeys from the 
ground1 which is six feet below the     
present level of the surrounding        
orchards1 its dome is barely visible    
above the tops of the fruit trees4 ,the 
lower storey rests on a platform of     
stone4 ,its pavement is always under a  
few inches of water4 ,the upper storey  
is reached by two flights of steps      

which1 built outside1 give entrance to  
the sepulchral chamber from a gallery or
 platform that circulates round the     
exterior4 ,this gallery formed at one   
time a portico4 ,the shafts and bases of
 the colonnade were found buried in the 
ground when the last restoration took   
place in #aheg4 ,a massive cornice with 
a circular pattern is on the wall above1
 and the empty sockets placed at regular
 intervals1 which one sees below it1    
presumably held the stone that formed   
the roof4 ,the dome is one huge block of
 stone estimated to weigh two hundred   
tons4 ,on its exterior1 close to the    
edge1 are a dozen perforated            
projections4 ,it is thought that these  
were used as handles when the mass was  
put into position4 ,the summit is flat1 
and on it at one time a statue may have 
stood4 ,simplicity is almost always one 
of the characteristics of the great1 and
 the mausoleum which he erected was     
worthy1 in its strength and plainness1  
of ,theodoric the ,goth4     ,,bologna  

,the traveller in ,italy must often have
 noticed the difference in the shape of 
the battlements that nowadays add so    
much to the picturesqueness of old      
towers and half-ruined fortress walls4  
,no doubt he has heard the term ,guelph 
or ,ghibelline applied to them4 ,it is  
supposed that ,welf and ,waiblingen were
 first used in ,germany as battle-cries 
at the conflict of ,weinsberg in #aadj4 
,when the struggle for the imperial     
throne between ,philip of ,swabia and   
,otto of ,brunswick was hanging in the  
balance1 the sympathies of ,brescia1    
,milan1 and other ,lombard cities were  
enlisted on the side of ,otto the ,welf4
 ,in the subsequent feuds between the   
,pope's party and the ,emperor's it     
became a necessity for the inhabitants  
of the cities of the northern part of   
the peninsula1 if they wished to exist  
at all1 to favour either one side or the
 other4 ,the ,guelph party were for the 
,pope1 and the ,ghibelline were         
partisans of the ,emperor4 ,and thus we 

find in the history of most of these    
towns an espousal1 as policy dictated1  
of the ,pope's cause at one time1 and of
 the ,emperor's some decades later4     
,this apparent inconsistency was the    
outcome of family feuds within the city 
walls4 ,for a term of years the         
,guelphic nobles might be in the        
ascendant1 until1 on the death or murder
 of a leading member1 they succumbed to 
the prowess of the imperial party4 ,the 
great families that pinned their faith  
to the ascendency of the latter adopted 
the swallow-tailed battlement on the    
towers of their castle walls1 to        
distinguish them from the square-shaped 
that were already in existence4 ,italy  
throughout the middle ages was torn by  
internecine strife which was reflected  
throughout every class of society1 and  
the subject of this chapter was no      
exception4 ,owning allegiance to the    
,pope1 the ,bolognese overran ,romagna  
and forced the towns of that province to
 declare for the ,church4 ,in #abdi they

 defeated the ,modenese at ,fossalto and
 took ,king ,enzio prisoner4 ,for       
two-and-twenty years--in fact1 for the  
rest of his life--they kept the unhappy 
man confined in the ,palace of the      
,podest1 treated however1 as we should  
treat a first-class misdemeanant1 and   
according to his rank4 ,the             
long-drawn-out feuds of the ,lambertazzi
 and ,gieremei families1 and later on   
those between the great ,visconti and   
,bentivoglio1 kept the ,bolognese in a  
perpetual state of faction fights1 which
 lasted until the warlike ,pontiff      
,julius ,,ii4 annexed the city to the   
,states of the ,church4  ,to go back to 
its earliest days1 we learn that the    
,etruscan king1 ,felsina1 founded a city
 in #ihd ,b4,c4 where ,bologna now      
stands4 ,he gave it his own name1 and   
made it the chief of his twelve         
,etruscan cities4 ,bologna can thus1    
with legitimate pride1 point to a       
history approaching three thousand      
years4 ,we find it to-day a typical     

modern place1 with just enough of the   
middle ages left to make it one of the  
most desirable of all ,north ,italian   
cities4 ,it possesses hardly a street   
which is not arcaded2 and the thought   
arises3 ,how admirably adapted for      
street fighting were these sheltered    
walks in the days when one half of the  
town was at strife with the other6 ,in  
the oldest parts of the city the streets
 are tortuous and narrow4 ,arcades in   
such streets would be just the very best
 cover for raiders to steal along at    
night2 and such must have been the      
terror of the inhabitants during        
centuries of discord that there is      
scarcely a house which has any windows  
opening into the arcades1 and those that
 do are heavily barred4 ,walking through
 these streets1 silent witnesses of     
bloody feuds and severe fights1 one     
cannot suppress the feeling that the old
 quarters of ,bologna are full of       
mystery1 and it does not require much   
imagination to see the ,visconti party  

creeping along in the shadowed ways for 
an attack on their hereditary foes1 the 
,bentivoglio4  ,so much for the thoughts
 awakened by ,bologna's narrow          
thoroughfares4 ,its chief open square is
 the ,piazza ,maggiore1 as fine an old  
,italian square as can be found         
anywhere4 ,the celebrated ,fontana de   
,nettuno is in the centre4 ,a nude      
bronze statue of the god by ,giovanni da
 ,bologna stands eight feet high1 in a  
somewhat repellent attitude1 above the  
pedestal and basin4 ,it is always the   
centre of a lounging crowd which throngs
 the square throughout the day4 ,on the 
west side of the ,piazza is the ,palazzo
 ,pubblico1 with a faade that still     
retains1 despite restoration1 traces of 
eight elegant pointed windows4 ,a figure
 of the ,virgin in terra-cotta1 once    
gilded1 stands under a good canopy high 
up on the empty space of the great wall 
of the faade4 ,these comparatively empty
 wall spaces are a feature of ,bolognese
 architecture of the thirteenth century4

 ,pierced by a few windows1 they give a 
great idea of solidity and strength2 and
 though one finds the same character in 
the palaces of ,tuscan cities1 it is not
 so prominent there as in the big       
buildings of ,bologna4 ,an immense      
entrance gateway opens into a courtyard1
 and from this a very fine staircase by 
,bramante leads up to the interior4 ,in 
a smaller court beyond is a very        
beautiful cistern by ,terribilia4 ,the  
,hall of ,hercules1 so called from the  
colossal statue by ,alfonso ,lombardo1  
vies with the ,sala ,farnese in         
splendour4 ,up to the year #ahdh the    
palace was the residence of the ,legate 
and the ,senator4 ,the lower portion is 
now the chief post office of the city4  
,on the north side of the ,piazza is the
 ,palazzo del ,podest4 ,it is a building
 that was begun at the commencement of  
the thirteenth century1 but not until   
the year #adhe was the faade erected4   
,of magnificent proportions1 it is      
chiefly famous as the prison of ,king   

,enzio4 ,the great saloon is still      
called the ,sala del ,re ,enzio1 and    
among other vicissitudes was at one time
 a theatre1 and at another the court in 
which the national game of pallone was  
played4 ,a solid-looking and lofty      
tower1 the ,torrazzo dell' ,aringo1     
rises at one end of the faade above the 
arcades4 ,on the piers which carry the  
arches of these may still be seen the   
huge wrought-iron brackets1 the rings1  
and the sockets for supporting banner   
poles and holding lighted torches4      
,along the east side of this part of the
 ,piazza which is ,l-shaped1 is the     
,portico de' ,banchi1 a continuous      
arcade1 extending beyond the limits of  
the square the whole length of          
,bologna's great church4 ,this1 the     
church that the ,bolognese in their     
pride intended should be the largest in 
,italy1 has not been completed beyond   
the commencement of the transepts4 ,the 
nave and aisles alone are finished2 they
 are three hundred and eighty-four feet 

long1 and the width1 including the      
chapels1 measures one hundred and fifty4
 ,the building is proportionately high1 
and1 as will be seen in the             
illustration1 is very spacious4 ,it was 
commenced in #acij and dedicated to ,s4 
,petronio4 ,the architect1 ,antonio     
,vincenzi1 was one of the celebrated    
,riformati1 and went as ambassador to   
the ,venetian ,republic in #acif4  ,the 
,piazza ,maggiore slopes downwards from 
the south4 ,s4 ,petronio is situated at 
its southern end1 and orientates south  
by west4 ,the faade therefore faces     
north-east1 and for the construction of 
a level floor the great church is placed
 at this end some dozen steps above the 
sloping ,piazza4 ,in the museum attached
 to ,s4 ,petronio there may be seen the 
original designs1 elevations1 and a     
model of the finished structure4 ,had   
funds permitted1 this faade1 placed so  
well1 and with such magnificent         
buildings surrounding it1 would have    
been one of the best ,italian attempts  

to realise a ,gothic church4 ,as it is1 
it is a grand scheme unfulfilled4  ,the 
lower portion of the faade is extremely 
good1 the three canopied doorways being 
pure ,italian ,gothic4 ,they are adorned
 with bas-reliefs which represent       
different scriptural events from the    
,creation onwards4 ,tribolo1 an intimate
 friend of ,benvenuto ,cellini1 was     
responsible for the beautiful angels and
 sibyls round the arch of that on the   
left hand4 ,the fine bas-relief of the  
,resurrection in the lunette1 where     
,christ is seen among sleeping soldiers1
 is by ,alfonso ,lombardi4 ,the central 
portal is considered the masterpiece of 
,jacopo della ,quercia1 who was not     
overpaid by the three thousand golden   
florins he received for the work1       
considering that it took him twelve     
years to complete4 ,his noble figure of 
the ,almighty1 surrounded by thirty-two 
patriarchs and prophets1 is extremely   
fine4 ,the right-hand doorway is another
 example of ,tribolo's purity of style4 

,the brickwork of the exterior is       
covered1 round the whole church at the  
base1 by a very fine base-table of white
 marble with good mouldings4 ,in the    
model the entire brick surface is hidden
 by the same material4 ,the buttresses  
are good1 and so are the pointed windows
 of the aisles1 some of which1 by the   
way1 contain good glass4  ,the interior 
is very lofty and expansive4 ,twelve    
immense piers carry the arches of the   
nave1 twenty-four smaller ones those of 
the aisles4 ,the height of all these may
 be judged from the illustration1       
wherein also the peculiar ,italian      
,gothic capital is seen4 ,milan's great 
cathedral and ,s4 ,anastasia in ,verona 
are other specimens of the same style of
 capital4 ,they appear to be stuck on to
 the columns1 of which they seem to form
 a part1 rather than a separate cap for 
the arches to rest on4 ,one hardly knows
 how this particular style grew or where
 it emanated1 but it is not unlike the  
palm-leaf capital of an ,egyptian       

column4 ,the aisles are rather shallow  
for the width of the nave4 ,the side    
chapels are shut off from them by good  
metal grilles or beautiful marble       
screens4 ,four very ancient black       
pillars with crosses engraved stand     
against four of the aisle piers4 ,they  
are supposed to have been placed at the 
gates of old ,bologna by ,s4 ,petronio  
himself1 and are much venerated by the  
,bolognese4 ,on the floor of the church 
is traced the celebrated meridian line  
of ,gian ,domenico ,cassini4 ,under the 
immense canopy which stands over the    
high altar ,charles ,v4 was crowned in  
#aecj by ,pope ,clement ,,vii4 ,the     
,emperor had been invited to ,italy by  
the last of the ,ducal ,house of        
,sforza1 and with his coronation        
commenced the foreign occupation of     
,north ,italy4  ,bologna's cathedral is 
dedicated to ,s4 ,pietro4 ,it is        
situated in the ,via dell'              
,indipendenza1 but is so wedged in      
between the high buildings which adjoin 

it on both sides that it is difficult to
 find4 ,s4 ,pietro is a huge barn-like  
edifice commenced in the bad period of  
#afje4 ,it is a very ancient foundation 
with no redeeming architectural         
features4 ,the most interesting thing it
 contains is ,ludovico ,carracci's      
celebrated ,annunciation4 ,after the    
scaffolding had been removed on the     
completion of the work which is over the
 arch above the high altar1 ,carracci   
discovered some bad drawing in one of   
the figures4 ,he died soon after        
this--from grief1 so the story goes1 as 
the authorities would not permit him to 
re-erect it at his own cost and remedy  
the defect4  ,illustration3 ,,interior  
,,of ,s4 ,,petronio1 ,,bologna  ,the    
church of ,s4 ,stefano1 or rather the   
seven different edifices which are thus 
named1 occupies the site of a temple of 
,isis4 ,it stands below the level of the
 little ,piazza de ,s4 ,stefano1 and on 
its exterior wall is one of the open-air
 pulpits not uncommon in ,italy4 ,the   

first church1 called ,il ,crocifisso1 is
 of the sixteenth century and not       
interesting4 ,from a door in the north  
wall one goes down half a dozen steps   
into the second church of the ,santo    
,sepolcro4 ,this is a circular building1
 supposed to have been the old          
baptistery4 ,twelve columns1 brick and  
marble alternating1 support a good      
,romanesque gallery under the dome4 ,the
 six marble shafts came from the pagan  
temple4 ,in the centre is a grand       
altar-pulpit1 which has a stairway      
leading up on either side4 ,under the   
altar is an urn which at one time held  
the remains of ,s4 ,petronio4 ,on the   
stone floor a shutter of iron covers the
 well that possesses miraculous         
properties1 these having been imparted  
to it by the saint4 ,the church dates   
from the tenth century4 ,an iron grille 
in one of the walls shuts off the oldest
 church of all1 a basilica of the fourth
 century4 ,it is dedicated to ,,ss4     
,paolo e ,pietro4 ,forty-eight columns  

with ,byzantine and ,greek capitals     
support the brick barrel vault of the   
nave4 ,this is dimly lighted by small   
round clerestory windows4 ,the altar    
stands in the tribune at the top of     
much-worn limestone steps4 ,this also   
has a brick vault4 ,at the end of the   
narrow aisles are the sarcophagi of ,s4 
,agricola and ,s4 ,vitalis--,bologna's  
,s4 ,vitalis4 ,the next church1 if it   
may be so called1 is formed by the small
 court known as the ,atrio di ,pilato4  
,it has never been touched since the    
eleventh century1 and contains a very   
ancient font4 ,down more steps is the   
church of the ,confessio4 ,this old     
crypt must be a good twenty feet below  
the level outside4 ,the quadripartite   
vaulting is borne by thick stunted      
columns that are barely five feet high1 
though one is said to be the exact      
height of ,christ4 ,it is very dark1 and
 dates from the tenth century4 ,the     
sixth church is the passage which leads 
to the seventh and last1 that of the    

,trinity4 ,four rows of columns with    
,byzantine and ,romanesque capitals     
support the roof of this square         
building4 ,in one of the chapels1 in a  
galleried niche1 there is an            
extraordinary life-sized wooden group of
 the ,adoration of the ,magi4 ,mary     
wears a crown of brass studded with     
uncut stones4 ,on the ,child's head is a
 mitre of the same4 ,the expressive     
faces of the ,three ,kings1 who bring   
offerings1 are extremely nave4 ,the     
first wears the conical hat of the      
ancient shepherds of the hills of       
,venetia that one still comes across in 
out-of-the-way districts4  ,the         
adjoining cloisters of the suppressed   
,celestine monastery are remarkable in  
the solidity of the short pillars1 not  
four feet high1 which form the lower    
colonnade4 ,these are in absolute       
contradistinction to the elegant double 
shafts of the upper gallery4 ,the       
brickwork throughout the whole of ,s4   
,stefano is very good4 ,concentric      

patterns1 squares1 chequer work where   
small squares of marble and glazed tiles
 have been introduced1 diamonds1 and    
oblongs are arranged in a perfect       
harmony of design the like of which one 
cannot find in ,italy4 ,the exterior of 
,s4 ,sepolcro is1 in this respect1      
unsurpassed4  ,bologna's university is  
one of the oldest in ,italy1 and the    
first in which academical degrees were  
conferred4 ,it was founded in #aaai by  
,irnerius4 ,numerous schools were       
established in the ,west after          
,byzantine authority had faded away4    
,among the first was that of ,bologna1  
where ,pepo began to expound the law in 
#ajge4 ,irnerius followed him           
five-and-twenty years later and         
introduced the ,justinian code4 ,his    
followers became known as ,glossatori1 a
 word derived from the ,greek ,greek3   
glssa1 originally meaning a tongue4 ,the
 last of these glossators was           
,accursius1 who compiled the gloss known
 as the ,glossa ordinaria1 a work which 

soon became the acknowledged authority4 
,the visitor who wanders through the    
city and finds himself in the           
market-square will there see outside the
 church of ,s4 ,francesco three canopied
 tombs4 ,the sarcophagi which rest on a 
platform borne by pillars are those of  
three ,glossatori1 and one of them      
contains the remains of ,accursius4 ,the
 canopies of these tombs are covered    
with green tiles4 ,s4 ,francesco is a   
fine ,gothic church with two elegant    
campanili4 ,it is undergoing extensive  
restoration1 and1 though of some        
architectural interest1 does not compare
 in other ways with that of ,s4         
,domenico4  ,this church1 wherein repose
 the remains of the founder of the      
,order of ,preaching ,friars or         
,dominicans1 was begun with the         
intention of following the prevailing   
fashion of the day and constructing     
another ,gothic fabric4 ,except for the 
pointed windows in some of the chapels1 
,s4 ,domenico bears no traces of this   

intention4 ,the interior of white       
marble1 in a medley of styles in which  
poor ,renaissance predominates1 is very 
cold4 ,the exterior has a very heavy    
frieze of white marble2 the commencement
 of its outer covering carried no       
further than this4 ,it is seen in the   
sketch1 which also shows the canopied   
tomb of the learned jurist1 ,rolandino  
,passageri1 who was selected by the city
 to frame the reply to the letter in    
which the ,emperor ,frederick ,,ii4     
demanded the release of his illegitimate
 son ,enzio4 ,in the church lie ,guido  
,reni1 whose tomb is in the chapel shown
 with the heavy frieze1 and his talented
 fellow-artist ,elisabetta ,sirani1     
,king ,enzio1 ,taddeo ,pepoli1 ,captain 
of the ,people in #accd1 and the great  
,s4 ,dominick4  ,illustration3 ,s4      
,,domenico1 ,,bologna  ,born in ,old    
,castile in #aagj1 ,s4 ,dominick was    
ordained priest in #aaih4 ,his fiery    
zeal against heretics and his           
extraordinary preaching powers soon     

brought him into great prominence4 ,he  
was instrumental in establishing courts 
for trial and punishment of obstinate   
heretics4 ,the commissioners1 who were  
invested with a jurisdiction that gave  
them powers of torture1 and life and    
death1 were known as ,inquisitors1 and  
their conclaves paved the way for the   
dreaded ,inquisition4 ,s4 ,dominick's   
tomb is one of the finest in ,north     
,italy4 ,it is one of the earliest works
 that the genius of ,niccol ,pisano     
produced1 having been completed thirty  
years before his masterpiece at ,pisa   
was begun4 ,a magnificent iron grille   
separates the chapel from the nave4 ,on 
the top rail are four very charming     
little figures in bronze of saints4 ,the
 tomb is adorned by bas-reliefs         
illustrating the chief events in the    
life of the saint4 ,below these is a    
very delicately carved set of smaller   
ones by ,alfonso ,lombardi1 which form a
 sort of predella1 and are nearly three 
hundred years later4 ,the urn which     

contains the saint's remains is behind  
the upper set4 ,a small statue of ,s4   
,petronio in front is by ,michael       
,angelo1 and the best of the beautiful  
little angels at the corners claims the 
same hand as its sculptor4 ,cherubs at  
the top of the monument hold two very   
heavy festoons of flowers1 which        
somewhat mar the fine composition of the
 whole4 ,from this it is evident that   
the exuberance of ,pisano's youth had   
yet to learn the reticence which comes  
with age4  ,no description of ,bologna  
would be complete without mention of its
 wonderful towers4 ,the graceful ,torre 
,asinelli rises to a height of three    
hundred and twenty-one feet1 and1       
although nearly four feet out of the    
perpendicular1 tapers upwards so        
imperceptibly that the inclination is   
not noticeable4 ,close by it stands the 
,torre ,garisenda1 built by the two     
brothers ,garisenda4 ,it leans ten feet 
in one direction and three in another1  
and rises to a height of one hundred and

 sixty feet4 ,although the guide-books  
tell one it was thus constructed1 it has
 undoubtedly sunk into its position1 as 
the different stages inside slope with  
the inclination of the tower4 ,these two
 are not the only towers of ,bologna1   
but1 being situated in the centre of the
 oldest quarters of the city1 are those 
that are best known4     ,,parma        
,parma is very much like any other of   
the smaller cities of ,italy4 ,it can   
however boast of a prehistoric          
lake-dwelling settlement1 unearthed in  
#ahfd1 and a still later1 though very   
early origin as an ,etruscan colony4    
,to-day it is a bright little place     
pleasantly situated on the broad stream 
that gave it its name4 ,if it were not1 
however1 for its cathedral1 its ancient 
baptistery1 and its inseparable         
connection with the art of ,correggio1  
there would be but little to interest   
the stranger or even call for a halt at 
its railway station4 ,four bridges span 
the river ,parma1 and from each the blue

 line of the ,apennines may be seen     
stretching away over the tops of the    
orchards until lost in the distant haze4
 ,the old ,roman road1 the ,via milia1  
which we have already seen started out  
of ,rimini1 bisects ,parma from east to 
west1 and crosses the river by a fine   
old bridge1 the ,ponte de ,mezzo4 ,this 
is the only structure of the four which 
can lay claim to any age4 ,it has a     
narrow roadway inclining up to the      
centre with high parapets on either     
side1 and partakes very much of the     
character of a ,roman edifice4 ,except  
for a few inscribed slabs there is      
nothing of any consequence left to      
remind one that the pleasant little city
 of to-day was once a flourishing colony
 of ,imperial ,rome4 ,in the ,guelph and
 ,ghibelline feuds it espoused the      
,pope's cause and successfully withstood
 a siege by ,frederick ,,ii4 ,in #acda  
it came into the hands of the ,visconti1
 ,dukes of ,milan1 and was associated   
with that duchy for two hundred years4  

,pope ,julius ,,ii4 incorporated it with
 the ,papal ,states1 and thirty years   
after this the reigning ,pope1 ,paul    
,,iii41 gave it to his natural son      
,pietro ,luigi ,farnese4 ,this family   
supplied seven dukes to ,parma where    
they reigned until the male line became 
extinct in the year #agca4 ,the         
,bourbons came into possession of the   
duchy through ,marie ,louise1 and with  
the assassination in the public         
thoroughfare of ,duke ,charles ,,iii41  
its history may be said to have come to 
an end4  ,the cathedral and baptistery1 
with the ecclesiastical buildings which 
form the square in which they stand1    
make a group of much interest4 ,the     
first named is a very fine example of   
,romanesque work4 ,it was commenced in  
#ajeh1 but not consecrated until fifty  
years later1 nor really completed till  
the middle of the thirteenth century4   
,the faade is however entirely the      
original design4  ,illustration3 ,,the  
,,cathedral ,,and ,,baptistery1 ,,parma 

,two rows of arcades traverse its       
length2 the lower is on a level with and
 carried through the upper portion of   
the central porch4 ,a third follows the 
line of the gable under a heavy cornice4
 ,the porch is similar to the one       
illustrated of ,verona's cathedral4 ,two
 colossal lions bear the burden of the  
double canopies and were the work of    
,bono da ,bisone4 ,the sun is sculptured
 on the keystone of the arch1 and in the
 soffits the months are illustrated by a
 series of reliefs of agricultural      
pursuits1 as in ,s4 ,mark's at ,venice4 
,a good many ,roman tablets have been   
used as decoration and for building     
material along the whole faade4 ,two    
other doors1 as well as the central     
portal1 give entrance to the church4    
,the only other feature of the exterior 
worth mention is the beautiful red brick
 campanile with its green tiled spire4  
,the first impression one receives of   
the interior is that of extreme         
solemnity and great majesty4 ,it never  

wears off4 ,the high altar1 a blaze of  
silver and gilt1 stands well placed     
eighteen steps above the nave4 ,the     
transepts also are thus situated1 and   
there is enough length in the seven bays
 that separate the aisles from the nave 
to put the choir well back from the     
spectator as he enters at the west door4
 ,from the high altar the eye           
instinctively travels upwards to the    
spandrils in the drum of the dome where 
part of ,correggio's grand frescoes are 
seen4 ,the fourteen fluted columns of   
the nave are quadrangular4 ,seven have  
,corinthian capitals and seven are      
,romanesque with traces of ,byzantine   
origin in the figures1 beasts and birds 
which form the volutes4 ,some of these  
are peacocks with curling outstretched  
necks2 others are the heads and upper   
limbs of human figures4 ,the triforium  
gallery has elegant pillars in pairs1   
that support round arches4 ,the         
clerestory is placed very high4 ,the    
vaulting of the nave is peculiar1 it is 

elliptical4 ,the whole of the walls are 
covered with frescoes by ,lattanzio     
,gambara and ,girolamo ,mazzuola1 who   
was a pupil of ,parmigianino4 ,a frieze 
is above the capitals of the fluted     
pilasters that support the arch of the  
choir and runs on into the transepts4   
,it is symbolical of the strength of the
 ,church4 ,lions are seen here hunting  
antelopes1 deer1 and other animals2 that
 is1 the ,church is chasing away all    
evil doers4  ,the crypt under the choir 
is architecturally interesting1 as it   
shows in some of the capitals of its    
thirty-eight columns the evolution from 
pure ,byzantine to ,lombardo-,romanesque
 work4 ,but perhaps it will be the      
frescoes in the dome that draw visitors 
to this fine church rather than its     
architectural features4 ,in the         
decoration of this ,correggio surpassed 
himself in his mastery of chiaroscuro   
and the foreshortening of the human     
figure4 ,the ,assumption of the ,virgin1
 though very adversely criticised when  

finished1 and now greatly injured by    
damp and neglect1 is still one of the   
grandest paintings of its sort extant4  
,almost adjoining the south-west corner 
of the cathedral1 and built on sloping  
ground1 stands ,parma's celebrated      
baptistery4 ,it was begun in the year   
#aaif1 from designs by ,benedetto       
,antelami4 ,the construction was for    
many years very spasmodic1 and wholly   
ceased when the bloodthirsty ,ezzelino  
da ,romana governed ,north ,italy for   
,frederick ,,ii4 in the thirteenth      
century1 and forbade the inhabitants to 
quarry any more marble4 ,at his death it
 was pushed on1 and in the end finished 
towards the close of that century1 a    
date which accounts for the pointed     
arches at the top of the interior4 ,it  
is built of ,verona marble1 and is an   
octagon with three arched portals1 on   
which are some very interesting         
sculptures of ,old ,testament history4  
,jacob1 out of whom grows a tree in the 
branches of which are his brothers with 

,moses at the top1 is on one side of the
 north door4 ,another tree1 with ,david 
and ,solomon and the ,prophets1 is a    
pendant on the other4 ,the south doorway
 is decorated in a similar style1 but   
the trees are full of all the birds     
apparently then known4 ,barn-door fowls1
 storks1 parrots1 eagles1 ducks1 and    
peacocks1 c4 c41 find a place in this   
extraordinary aviary in stone4 ,signs of
 the ,zodiac form a sort of frieze on   
the lower portions of the eight sides of
 the exterior4 ,four tiers of columns   
forming open galleries support a        
continuous architrave1 which1 whatever  
the architectural merits1 is not        
artistically a pleasing arrangement4    
,the interior is sixteen-sided4 ,between
 each division a long marble shaft is   
carried from its base on the floor right
 up to the converging ribs of the       
pointed vaulting4 ,the whole of the     
walls and vault are covered with        
frescoes4 ,the upper are early1 and     
appear to be almost contemporaneous with

 the finishing of the building4 ,the    
lower bear the names of ,niccolo da     
,reggio and ,bartolino da ,piacenza1 and
 are of fourteenth-century date4 ,the   
,life of ,john the ,baptist naturally   
takes precedence in these interesting   
examples of mural decoration4 ,the huge 
font in the centre of the baptistery is 
cut out of a single block of marble4 ,it
 has a centre compartment like that     
already described in ,s4 ,giovanni in   
,fonte1 in ,verona4 ,the registers of   
the baptistery go back as far as the    
year #adei1 since when it is known that 
all the babies born in ,parma have been 
received into the ,faith within its     
walls4  ,the church of ,s4 ,lodovico1   
also called ,s4 ,paolo1 was formerly    
attached to a ,benedictine nunnery4     
,correggio's celebrated series of pagan 
frescoes cover the walls of the parlour 
of the nunnery4 ,they were executed to  
the order of the abbess1 ,giovanna da   
,piacenza1 and are more fitted for a    
,trianon than a convent4 ,minerva1      

,juno1 ,bacchus1 and other heathen gods 
and goddesses1 with ,cupids1 and        
such-like profanities1 are most         
charmingly arranged amidst a lattice    
pattern of flowers and foliage4 ,at the 
period1 the beginning of the sixteenth  
century1 when this dainty scheme was    
painted1 great licence and              
irregularities prevailed in some of     
these conventual establishments4 ,the   
abbess and her nuns often entered into  
all the gaieties of the outside world   
and indulged in the vices pertaining to 
it4 ,in this case the wrath of the      
austere ,adrian ,,vi4 was visited on    
,giovanna and her flock1 and ,s4 ,paolo 
was closed1 the abbess dying within a   
month after this humiliation4           
,,genoa   ,the poet ,tasso in his       
,jerusalem ,delivered sings of the      
exploits of the great commander of the  
,first ,crusade2 and although ,godfrey  
de ,bouillon had little to do with      
,genoa1 it was from its port that his   
fleet spread sail in #ajif and          

disappeared over the southern horizon on
 its way to the ,holy ,land4 ,nearly    
three years had passed in hard fighting 
before ,godfrey and his army found      
themselves before the walls of          
,jerusalem4 ,meanwhile the ,second      
,crusade had started from ,genoa1 under 
the command of ,guglielmo ,embrianco4   
,he joined forces with ,de ,bouillon1   
and the ,holy ,city fell to their arms  
on ,july #ae1 #ajii4 ,embrianco covered 
himself with glory2 and on his return1  
among other treasures1 brought home the 
celebrated ,sacro ,catino1 which he     
presented to his native city4 ,this dish
 of green glass is in the ,cathedral4   
,for centuries it was supposed to have  
been fashioned from a single emerald1   
and tradition has it as the very dish1  
the ,holy ,grail1 which held the        
,paschal ,lamb at the ,last ,supper4    
,the port of ,genoa is very different   
now to what it was in those early days4 
,ships of all nationalities and every   
sort of build find refuge behind the    

numerous breakwaters which protect them 
from every gale that blows4 ,the ,molo  
,vecchio is the oldest of these         
shelters1 and built upon half its length
 is an old quarter that is one of the   
fast-vanishing slums of the city4 ,on   
the sea-ward side of this mole the ,mura
 della ,malapaga frowns on incoming     
craft1 just as when in days gone by it  
bid defiance to the enemies of ,genoa   
whose temerity had led them thus far in 
attacks on the city4 ,it is terminated  
by a grand sea-gateway of very massive  
construction4 ,at the end of a          
subsequent extension the old lighthouse 
rises1 now well within the port4 ,the   
house still stands in the old quarter in
 which ,marco ,polo was imprisoned after
 the defeat of the ,pisans at the battle
 of ,curzola1 when he was taken captive4
 ,the ,molo ,nuovo stretches from the   
west side of the port near the tall     
,pharo1 and1 running outwards1 bends    
back and covers the ,molo ,vecchio from 
the southerly gales4  ,illustration3    

,,an ,,old ,,street1 ,,ravenna  ,genoa's
 quays present a busy picture with the  
endless traffic that makes her the      
premier port of ,italy4 ,strings of     
heavily laden carts drawn by teams of   
great mules are continually passing to  
and fro4 ,cabs rattle on the pavements1 
their drivers cracking their whips1 the 
horses' heads decorated with the long   
tail feathers of the ,amherst pheasant  
that dance about to the music of the    
harness-bells4 ,groups of boys play     
pitch and toss with coins1 and still cry
 ,croce e ,griffo 7,cross or ,gryphon71 
a cry as old as the wars with ,pisa4    
,itinerant pedlars pester folk to buy   
what no one seems to want4 ,under the   
arcades that face the sea-front shops of
 all sorts exhibit everything the       
seafarer can possibly require1 and a    
lively business goes on in restuffing   
the emigrants' mattresses with dry      
sea-weed or hay4 ,up1 behind all this1  
narrow streets wind through the old     
parts of the city and form an intricate 

maze wherein it is not difficult to miss
 one's way4 ,many of the houses here are
 seven1 eight1 or nine storeys high4    
,all the day's washing--and every day is
 washing day--hangs out from the windows
 on long bamboos1 or flutters from a    
cord stretched across the confined      
thoroughfares4 ,fowls1 in their         
inquisitive endeavours to find food1 try
 to satiate an appetite which is never  
satisfied4 ,they are all scraggy4 ,dark 
courtyards at the bottom of these tall  
dwellings teem with screaming children  
and scolding women who are engaged at   
the fountain troughs with the washing4  
,the ear-splitting cries of hawkers     
hasten one's footsteps down the steep   
descents1 and one dodges out of their   
way only to lose oneself in vain        
attempts to leave the picturesque but   
squalid quarters of old ,genoa4         
,however fascinating these slums may    
be--and they can hold their own from the
 painter's point of view with those in  
any other ,mediterranean port--it must  

be acknowledged that the palaces for    
which ,genoa is justly famous have      
hardly a rival4 ,historically the most  
interesting is the ,palazzo di ,s4      
,giorgio1 which stands close to the     
quayside at the east end of the ,piazza 
,caricamento4 ,it was erected in #abfa  
by ,guglielmo ,boccanegra1 ,captain of  
the ,people1 for his own residence4 ,at 
his death it was taken over as the      
government office for the registration  
of public loans1 or compere1 and named  
the ,palazzo della ,compere4 ,in #adjg  
the ,banking ,company which practically 
ruled commercial ,genoa acquired it as  
their headquarters1 and its name was    
changed to that of the city's patron    
saint4 ,this bank was the oldest in the 
world4 ,it originated after the ,genoese
 had driven the ,venetians out of       
,constantinople1 and so crippled the    
trade of their great ,adriatic rival    
that for a time they were masters of    
nearly all the ,eastern commerce that   
flowed westwards4 ,this increase in     

prosperity was to a great extent the    
cause of the formation of a trading     
company1 which accepted deposits and    
advanced loans to others than its own   
members4 ,thus was founded a bank that  
carried on its business successfully    
until the last ,doge of ,genoa was      
unseated and the mushroom ,republic of  
,liguria proclaimed4 ,the bank's        
property was then confiscated1 and      
,genoa1 governed by time-servers and    
place-hunters1 fell upon evil days4     
,the ,palazzo has been much altered and 
restored1 but retains some of the       
original ,genoese ,gothic of            
,boccanegra's building4 ,the ,grand     
,hall on the first floor contains many  
statues of the city's benefactors and   
prominent men1 and is an interesting    
epitome of their charities1 which are   
commemorated on tablets attached to     
each4 ,some of these statues are seated1
 others are standing4 ,the former are of
 men who purchased their niche in this  
,temple of ,fame by payment of one      

hundred thousand livres to the state2   
while those who wished to be handed down
 to posterity at a cheaper rate had to  
content themselves with effigies that   
for ever are on two legs4 ,the building 
is now the ,customs ,house1 and so once 
more money passes through different     
hands within its walls4  ,there are no  
other streets in ,italy which can boast 
such an array of noble houses as the    
renamed ,strada ,nuova1 now the ,via    
,garibaldi1 and the ,via ,balbi4 ,the   
,palazzo ,rosso has a magnificent sala  
that has a roof decorated with the      
armorial bearings of the ,brignole      
family and those they intermarried with4
 ,the ,municipality is now lodged in the
 ,palazzo ,doria ,tursi4 ,it has a grand
 faade flanked by open arcades with     
gardens on top1 and was built for one of
 the ,grimaldi by ,rocco ,lurago1 a     
,como architect4 ,christopher ,columbus 
was born in ,genoa1 and a bust of him   
stands in the great hall of the palace1 
the ,sala della ,giunta4 ,in its        

pedestal are some of his autograph      
letters to the ,banco di ,s4 ,giorgio4  
,his family came from ,piacenza1 but at 
the time of his birth his father was    
warden of the ,porto dell' ,olivella1   
one of the city gates4 ,the ,palazzo    
,ducale1 a huge building of mixed       
styles1 was begun in the thirteenth     
century but not finished until the      
sixteenth4 ,the ,palazzo ,durazzo has a 
grand vestibule and the finest staircase
 of all4 ,the ,palazzo ,doria1 standing 
alone in a delightful garden which      
extends towards the harbour1 is         
beautified by a good loggia with        
arcades4 ,many are the palaces built by 
the great families of ,genoa1 the       
,spinola1 ,pallavicini1 ,balbi1         
,fieschi1 ,cambiasco1 and others1 as    
well as those already mentioned4 ,they  
all contain large collections of        
pictures and other treasures1 and it can
 certainly be said that the old nobility
 have left a hall-mark on their city4   
,the earlier buildings all possessed    

towers1 and during the ,guelph and      
,ghibelline feuds1 when street fighting 
was ever recurrent1 these vantage       
positions were of immense strategic     
value--it was so pleasant to put the    
opposing faction hors de combat by      
pouring boiling pitch and molten lead on
 to the heads below6 ,street fighting   
became at length such a nuisance to the 
peaceable inhabitants that the order    
went forth that all towers were to be   
demolished1 with one exception1 the     
tower that ,guglielmo ,embrianco        
attached to his house4 ,this alone was  
spared4 ,and it is due to the veneration
 in which his name was held that it     
stands to-day the solitary defensive    
relic of ,genoa's family feuds4 ,it will
 be noticed that some of these palaces  
are faced1 like the ,cathedral1 with    
bands of black and white marble4 ,this  
distinction was granted to the four     
noble houses of ,doria and ,spinola1 who
 were adherents of the ,pope1 and       
,fieschi and ,grimaldi1 who took the    

,emperor's side in all wars4  ,the      
,cathedral is a good example of what may
 be termed ,genoese ,gothic4 ,it is     
dedicated to ,s4 ,lorenzo1 and was      
consecrated by ,pope ,gelasius ,,ii4 in 
#aaah4 ,the faade1 separated into three 
unequal parts1 is a good example of     
thirteenth-century ,gothic4 ,the piazza 
on to which it faces slopes sharply     
downhill--all ,genoa is up and down     
hill--and the ,cathedral rises well on  
its tier of steps4 ,bands of black and  
white form the exterior wall of the     
whole building1 and are effectively     
carried through the recesses of the     
portals4 ,the centre porch has twisted  
columns1 which are carried round the    
splay of the arch4 ,the columns         
themselves alternate with others that   
are circular4 ,the bases and pedestals  
are covered either with carving or      
inlaid chequer and lozenge patterns4    
,the two flanking porches are similar1  
and assist very greatly to increase the 
pleasing effect of this somewhat        

elaborate treatment1 which is heightened
 by the two detached spiral columns on  
either side and those that terminate the
 faade at each end4 ,in the tympanum    
over the central doorway is a figure of 
,s4 ,lawrence lying nude on a gridiron4 
,the fire beneath is stoked and kept    
alive by bellows handled by those who   
assisted at his martyrdom4 ,above is a  
figure of the ,almighty surrounded by an
 angel1 a lion1 a peacock1 and a deer4  
,the detached column at the south-west  
angle of the faade1 seen in the         
illustration1 carries a figure of the   
patron saint under a canopy4 ,it rests  
on the back of a lion2 four smaller     
beasts of the same species encircle the 
base4 ,the two huge couchant lions at   
either end of the steps are of much     
later date than these4 ,from the        
south-west angle a fine turreted tower  
rises upwards from the square1 and with 
its copper dome forms a great feature of
 the ,cathedral as one walks up the     
,strada ,carlo ,felice4 ,this street is 

narrow and full of traffic1 so much so  
that it is with difficulty one makes out
 the many mutilated tablets with ,roman 
inscriptions1 built haphazard into the  
south wall of the ,cathedral1 and the   
canopied medival tombs let in above4    
,illustration3 ,,fa,,ade ,,of ,,the     
,,cathedral1 ,,genoa  ,the interior of  
the building is disappointing4 ,one     
expects to find more space4 ,a gallery  
at the west end1 under which you find   
yourself directly upon entering1 forms a
 sort of atrium4 ,it is supported by    
very massive clustered columns which    
carry a good groined vault with heavy   
ribs4 ,this was originally the cantoria1
 or organ-loft4 ,nine small bays on     
either side separate the nave from the  
aisles4 ,the single columns of the      
arches are of red and purple marble from
 the renowned quarries at ,tortosa1 in  
,spain4 ,at each corner of the black    
marble bases1 and touching the torus of 
the column1 the head of a bird or animal
 has been carved4 ,the arches of the    

bays are pointed4 ,above them is an open
 triforium formed by rows of small      
stunted arches that are carried by      
single and clustered columns in banded  
black and white4 ,the clerestory is of  
small narrow single lights4 ,the        
transepts are ,renaissance1 and the     
choir a mixture of styles4  ,the chapel 
of ,st4 ,john the ,baptist in the north 
aisle bears a resemblance to that of ,il
 ,santo at ,padua4 ,four slender carved 
pillars support the entablature of good 
,renaissance design1 on which are       
exceptionally well arranged panels      
illustrating the saint's life4 ,filippo 
,doria erected the canopy borne by      
porphyry columns which stands over the  
altar4 ,under this1 enclosed in an iron 
casket within a marble ark1 on which are
 sculptured reliefs1 are the remains of 
,st4 ,john4  ,genoa's fleet was homeward
 bound after one of the crusades1 when1 
through stress of weather1 it took      
shelter in the port of ,myrra1 in       
,lycia4 ,hearing that a monastery close 

by contained the sacred remains of the  
saint1 some of the bolder spirits of the
 fleet entered the church attached1 and1
 despite the protests of their          
co-religionists1 carried off in triumph 
all that remained of ,st4 ,john4 ,the   
relics were presented to their own      
,cathedral of ,s4 ,lorenzo on arriving  
home4 ,here they have rested ever since4
 ,no women are admitted into the        
chapel--a prohibition imposed by ,pope  
,innocent ,,viii4 in remembrance of the 
guilt of ,herodias4 ,the ,treasury holds
 many things of value and interest      
besides the ,sacro ,catino already      
described4 ,among them is a fine piece  
of ,byzantine much-bejewelled metal work
 known as the ,cross of ,zaccaria4 ,it  
was carried off from ,phocea by ,ticino 
,zaccaria at the capture of that place4 
,the church of ,s4 ,bartolommeo degli   
,armeni contains the celebrated picture 
on a cloth of the head of ,christ4 ,it  
was given to one of the ,montaldi1 a    
noble ,genoese family1 by ,john         

,paleologus1 ,emperor of                
,constantinople1 in return for important
 services rendered4 ,the legend runs    
that ,agbarus1 ,king of ,edessa1 sent an
 artist1 ,annanias by name1 to paint our
 ,lord's portrait4 ,annanias was no     
portrait painter1 and failed in the     
attempt4 ,our ,lord then took a cloth1  
pressed it to ,his face1 and sent the   
impression back to the ,king4 ,leonardo 
,montaldo bequeathed it to the church in
 #achb4  ,the church of ,s4 ,donato1    
with its ,romanesque tower that was     
built into the walls of ,genoa forming  
one of its defences1 dates from the     
eleventh century4 ,there are many other 
ecclesiastical fabrics in a place which 
is fast losing all traces of old        
associations4 ,of the three sets of     
walls built at different times as the   
city slowly enlarged itself1 the outer  
alone bears any semblance of its        
pristine state1 and modern ,genoa1 with 
up-to-date improvements1 is encroaching 
on these4 ,but for all this its         

situation is superb1 and it is in every 
way a bright and charming place4 ,to    
those who enter by rail it is impossible
 to grasp the incomparable position the 
city occupies4 ,coming in along the     
,cornice road from the west1 or that    
from the east1 it can be better         
realised4 ,but the best approach is by  
sea4 ,the long line of distant mountains
 that first appears on the horizon      
gradually opens up1 peak rises beyond   
peak1 the nearer hills become detached1 
valleys are revealed1 and soon white    
houses may be discerned dotting the dark
 grey slopes4 ,a long1 broken array of  
villages fringes the blue waters1       
gathering closer together as land is    
approached4 ,the mass of warm yellowish 
tint scintillating in the brilliancy of 
a ,mediterranean sun takes shape1 and   
the eye by degrees separates long       
terraced rows of buildings1 church      
towers and domes from one another4 ,the 
colour changes1 and a heterogeneous     
combination of pink1 white1 yellow1 and 

grey discloses the far-famed city rising
 tier above tier from the busy port that
 lies at its base4 ,a whistle sounds1   
the rattling cable rushes out1 the      
anchor plunges into the water1 and our  
ship is at rest4 ,we are in the historic
 port from which the ,first ,crusade    
started1 and from which not so long ago 
the patriot ,garibaldi1 with the        
friendly aid of ,rubattino1 sailed with 
his devoted thousand for ,sicily4       
,,pisa   ,you will not find in all      
,italy anything that is placed quite so 
well with an eye to effective grouping  
as the ,baptistery1 ,cathedral1 and     
,campanile of ,pisa4 ,nowhere does      
anything approach so near to the        
ecclesiastical exclusiveness of an      
,english cathedral close as the great   
square of level green sward in which    
these three remarkable fabrics stand4   
,from one corner of the ,piazza del     
,duomo part of the university buildings 
looks over the turf to the ,baptistery4 
,hard by the seat of learning is the    

,porta ,nuova1 a fine gateway that      
pierces the old walls of the city--walls
 of an almost unpaintable red4 ,within  
the walls1 on the other side of the     
,cathedral--that is1 to the north--the  
,campo ,santo stands with bare faade and
 domed tower4 ,adjoining it on the east1
 conventual buildings and the ,palace of
 the ,archbishop occupy the angle of the
 ,piazza4 ,they face the ,campanile4    
,the one or two establishments which    
come next as we continue our giro are   
full of little marble ,leaning ,towers  
and other souvenirs which the tourist   
delights in4 ,save for the intrusiveness
 of these shops1 there is nothing else  
in the surroundings of the vast square  
that detracts from the fascination of   
the wonderful group in the centre4  ,the
 ,pisa of to-day cannot have changed    
much from the ,pisa of two hundred years
 ago4 ,it is true that1 outside the old 
walls which encircle her1 a straggling  
suburb is growing up1 but within them   
noble palaces still front the ,river    

,arno1 and others occupy the best       
positions in the city4 ,dwellings of the
 poorer classes line the narrow streets 
that connect the wider and more spacious
 thoroughfares2 they crowd thickly      
together1 and the life of the pavements 
is the life of ,italy as the tourist    
loves to find it--the life of days gone 
by4  ,it has been said that all roads   
lead to ,rome2 in ,pisa all roads lead  
to the ,piazza del ,duomo4 ,in the      
centre stands the ,cathedral2 to the    
west of it1 the ,baptistery2 to the east
 rises the ,campanile1 or ,leaning      
,tower4 ,pisa had well-nigh reached the 
zenith of her power when in #ajfc her   
people resolved to commemorate a great  
victory over the ,saracens by building a
 new cathedral4 ,ninety years later1    
having destroyed their ,southern rival  
,amalfi1 the ,pisans commenced the      
,baptistery4 ,the year #aagd saw the    
first stone of the ,campanile laid4     
,thus in a little over one hundred years
 these three buildings1 which mark so   

important an epoch in ,italian          
ecclesiastical architecture1 were under 
construction4 ,the advent of a man of   
unknown origin1 ,busketus1 who designed 
the ,cathedral1 and whose epitaph is on 
one of its walls1 heralded a new phase  
in the art of the country4 ,and although
 he adapted something from the          
,romanesque1 this grand church of his   
was the precursor of a style that we    
find amplified1 but not improved upon1  
in ,ferrara1 ,pavia1 ,parma1 and1 most  
notably of all1 in the neighbouring city
 of ,lucca4 ,in the history of ,italian 
ecclesiastical architecture ,pisa stands
 pre-eminent4  ,the faade of the        
,cathedral is very striking4 ,the seven 
round arches of the blind arcade that   
form the lowest tier or base are        
continued round the entire fabric4 ,the 
pedestals from which the columns of this
 arcade spring rest on a bold but simple
 base-table that also encircles the     
building4 ,these columns are round on   
the faade1 the eastern apse1 and the    

apse at the end of each transept1 but   
become pilasters elsewhere4 ,this       
extremely good arrangement does not     
break up the flat walls by too many     
obtrusive perpendicular lines4 ,on the  
contrary1 it enhances their noble       
length1 and at the same time improves   
the semicircle of the apses4 ,three     
bronze doors occupy three arches of the 
faade arcade4 ,they are good examples of
 the seventeenth century4 ,crude mosaics
 in the tympanums above are a jarring   
colour note which one would willingly   
suppress4 ,it is otherwise1 however1    
with the wonderful patterns of inlaid   
marble and the rich ornamentation of    
vine-leaves and floral forms1 human     
heads and animals1 that embellish the   
whole faade--a character of decoration  
that finds a fitting terminal in the    
crockets on the gables and the figures  
at their ends4 ,above the arcade four   
deeply recessed galleries fill the whole
 space of the faade4 ,the lowest of     
these is on a level with the clerestory 

lights in the aisles4 ,the next is cut  
off at either end by the angle of the   
gable2 the columns diminish in size with
 the slope of the aisle roof4 ,the third
 is in a line with the clerestory of the
 nave1 and the topmost diminishes with  
the gable1 which is carried beyond and  
above the ridge of the roof of the nave4
 ,the slender pillars that support the  
arches of these galleries have          
wonderfully carved capitals1 and stand  
out in the brilliant afternoon sun from 
the deep shadow behind with marvellous  
effect4  ,one enters the ,cathedral by  
the south and only door which escaped   
the great conflagration of #aeif4 ,its  
bronze panels are by ,bonannus1 who has 
handed down twenty-four episodes of     
,gospel history in the very ingenuous   
style of his time4 ,a lead-covered      
penthouse wards off the inclemency of   
the weather4 ,the fine cupola which     
rises above the crossing is rather      
dwarfed by the ,gothic arcade and       
finials which surround its base4 ,the   

grand effect of the ,cathedral is due in
 a measure to the mellowing of the white
 marble1 which the sun has seemingly    
baked to a beautiful warm yellow and    
light red4 ,on the north side1 which is 
exposed to the bitter tramontana wind   
from the ,monti ,pisani1 the marble is  
blistered and scored1 and has acquired  
an ashen white that in this sunny land  
is not pleasant4  ,the interior is      
lofty4 ,the effect obtained by the bands
 of black and white marble of which the 
walls are composed is not so            
embarrassing to the eye as in ,siena's  
holy fane4 ,the nave is divided into ten
 bays2 the columns that support the     
round arches are magnificent monoliths  
of granite4 ,these bays are carried in a
 continuous colonnade across the        
transepts and along their east and west 
walls4 ,the aisles are double4 ,as a    
consequence the forest of columns and   
arches is almost bewildering2 and if it 
were not for the fine proportions of the
 nave1 the eye would have but little    

rest from a multiplicity of shadows and 
disturbing spots of light4 ,the pointed 
triforium1 that is borne by the arches  
of the nave1 is continued across the    
transepts into the choir4 ,the base of  
the cupola at the crossing is           
elliptical1 the length being east and   
west and the narrow sides north and     
south4 ,the interior of the dome is     
covered with frescoes4 ,the design of   
the six altars in each aisle is         
attributed to ,michael ,angelo4 ,the    
transepts are terminated by two apsidal 
chapels with mosaics in the semi-domes  
said to be designed by ,cimabue4 ,the   
same origin can be more justly claimed  
by that which decorates the vault of the
 choir apse1 and in which the great     
artist has depicted our ,lord in ,glory1
 and ,s4 ,john4 ,the pavements of the   
choir and crossing are exceptionally    
fine opus ,alexandrinum4 ,the huge      
bronze lamp that hangs1 swinging        
slightly1 from the coffered and gilded  
roof of the nave is supposed to have    

suggested to ,galileo the idea of the   
principle of the pendulum4  ,to the west
 of the ,cathedral is ,pisa's beautiful 
,baptistery4 ,this building was         
commenced by ,diotisalvi in #aaec1 and  
continued later on in #abgh4 ,the lowest
 storey is of the first mentioned date1 
and1 like the ,cathedral1 is composed of
 a blind arcade1 pierced in this case   
with small round-headed windows4 ,an    
open gallery circulates round the whole 
edifice above this4 ,its columns support
 round arches that are surmounted in    
piers by crocketed gables1 pierced and  
cusped4 ,a figure stands on the apex of 
each1 while between every pair small    
open turrets thrust their pinnacles     
upwards4 ,above this gallery a series of
 windows with a similar arrangement     
breaks the base-line of the somewhat    
ugly pear-shaped dome4 ,as a prevention 
against the corroding influence of the  
salt sea winds1 this dome is tiled on   
its south-west surface4 ,the other      
portion is covered with lead4           

,illustration3 ,,the ,,baptistery1      
,,pisa  ,in the centre of the interior1 
generally entered by the door opposite  
the west faade of the ,cathedral1 stands
 the font in which baby ,pisans have for
 many generations been baptized4 ,like  
others1 it is made for total immersion4 
,the walls which surround the           
appropriately waved black-and-white     
pattern of its floor are extremely      
beautiful4 ,a delicately carved         
framework of marble encloses wonderful  
panels of inlaid mosaic somewhat in the 
style of the pulpit in the illustration 
to ,salerno4 ,six small basins are let  
into the walls of the font and are used 
now for the ,holy ,rite4 ,near the altar
 stands ,niccol ,pisano's masterpiece4  
,this hexagonal pulpit rests on seven   
slender columns of marble and granite4  
,some of these columns rise from their  
bases on the backs of lions1 gryphons1  
and crouching human figures1 thus in a  
way representing the dominion of the    
,word of ,god over creation4 ,the       

rectangular panels of the pulpit stage  
are beautifully carved in high relief4  
,niccol ,pisano's art1 which bears      
evident traces of pagan influence1 is   
seen at its best in these panels of the 
,nativity1 ,adoration of the ,magi1     
,presentation in the ,temple1 the       
,crucifixion1 and ,last ,judgment4 ,on  
the steps is a red marble pillar        
standing on the back of a lion4 ,it     
supports a small marble book-rest from  
which the ,epistle was read4 ,the desk  
on the pulpit itself is placed on an    
eagle1 and was used for the reading of  
the ,gospel4 ,eight marble piers and    
eight granite columns support the       
gallery beneath the dome4 ,the whole of 
this noble interior is very light and   
airy1 and ,pisan mothers should have    
more cause to hope for a bright future  
for their babes than their sisters in   
,parma1 if a comparison is permissible  
between the bright cheeriness of the one
 place and the mystical gloom of the    
other4  ,the ,campanile stands to the   

east of the ,cathedral4 ,its base is    
some feet below the restful green of the
 grass that covers the whole of the     
,piazza4 ,four different architects     
carried out its erection during a period
 that extended over nearly two hundred  
years4 ,the base1 another blind arcade1 
was begun in #aagd by ,bonannus2 the    
fourth gallery was added by ,benenato1  
the next two by ,william of ,innsbrck1  
and the topmost by ,tommaso4 ,the       
foundations were unfortunately laid in  
sea-sand1 and the tower settled at an   
angle that causes it to lean towards the
 south thirteen feet out of the         
perpendicular4 ,galileo utilised this   
feature for experiments on the velocity 
of falling bodies4  ,illustration3 ,,the
 ,,campanile ,,and ,,duomo1 ,,pisa  ,the
 ,campo ,santo1 the dome of which is    
seen in the illustration to the right of
 the ,cathedral1 is a quiet cloistered  
court on the walls of which are an      
extraordinary series of frescoes4 ,those
 on the north wall1 by the ,florentine1 

,benozzo ,gozzoli1 who was a pupil of   
,fra ,angelico1 are the most            
interesting4 ,the ,gothic arches and    
slender columns of the cloister1 and the
 well-kept garden-plot in the centre1   
out of which tall cypress-trees rear    
themselves in ordered array1 add much to
 the dignity of this quiet spot4  ,the  
old ,dominican basilica of ,sta         
,caterina stands in a corner of the     
piazza of the same name4 ,great         
plane-trees almost hide from view its   
beautiful faade1 which1 like that of the
 ,cathedral1 is gabled and arranged in  
galleries4 ,here1 however1 these are    
,gothic1 with trefoil cusped arches1    
developing in the topmost to cinquefoil1
 and giving an air of elegance to the   
whole that is lacking in the ,cathedral4
 ,a comparison of the two faades ends   
with the opinion that while in ,sta     
,caterina there is more grace1 the      
,cathedral possesses more architectural 
fitness for the design and proportions  
of the outline4 ,diotisalvi built the   

little octagonal church of ,s4 ,sepolcro
 for the ,knights ,templars1 and ,niccol
 ,pisano erected the fine campanile     
attached to the church of ,s4           
,francesco4 ,this tower is partly       
supported by consoles1 or brackets1     
within the church4 ,the staircase runs  
up both inside and outside its walls4   
,s4 ,stefano1 which contains a ,s4      
,george by ,donatello1 is close to the  
,carovana in the ,piazza dei ,cavalieri4
 ,the piazza is thought to be the old   
,roman forum4 ,the ,carovana was the    
,palace of the ,knights of ,s4 ,stephen1
 and was another of ,niccol ,pisano's   
works1 and1 although altered later on by
 ,vasari1 is a fine example of ,domestic
 architecture4 ,a double flight of steps
 leads up to the entrance-door1 on      
either side of which are tall windows4  
,the faade is covered with frescoes and 
adorned by six busts in niches of the   
first half-dozen ,grand ,dukes1 ,masters
 of the ,order4 ,the roof projects far  
out1 and the eaves1 supported by        

well-carved cantilevers1 throw a deep   
shadow down the front of the palace4    
,the ,order of ,s4 ,stefano was founded 
in #aefa by ,cosimo ,i41 but never      
distinguished itself amidst the ,orders 
of ,chivalry1 and was dissolved in      
#ahfi4 ,a statue of the founder stands  
over a fountain in front of the steps4  
,among the buildings that face the      
,arno1 the ,palazzo ,lanfreducci1 with  
the words alla ,giornata and a chain    
pendant over the doorway1 the ,palazzo  
,lanfranchi1 where ,byron lived1 and the
 fine old fortress-tower1 the ,torre    
,guelfa1 are the most notable in a city 
that at one time disputed with the      
mighty ,genoa the rule of the           
,mediterranean4 ,the rivalry between    
these two maritime powers ended only    
when1 after the disastrous battle of    
,meloria1 the ,genoese filled up the    
harbour of ,pisa1 and she became no     
longer of any account as a naval base4  
,,lucca   ,lucca is one of the most     
delightful little cities in the         

peninsula1 and its seventy-two churches1
 taken as a whole1 the most interesting 
in ,italy4 ,in matters ecclesiastical it
 is one of the oldest foundations in the
 country1 and is reputed to have been   
the first place to have embraced        
,christianity4 ,the first bishop of     
,lucca1 a disciple of ,s4 ,peter1 was   
,s4 ,paulinus1 and the long line of     
prelates who followed him were elevated 
to the higher dignity of ,archbishop in 
#agbf4 ,the canons of ,lucca are mitred1
 and the prelate has the privilege of   
wearing the insignia of a cardinal4 ,it 
was always a ,ghibelline city2 even in  
the days of the ,countess ,matilda its  
inhabitants sided with the imperial     
party4 ,when the attempt of ,francesco  
,burlammachi to confederate the ,tuscan 
cities failed1 the ,luchesi formulated  
the ,martiniana ,law1 which permitted   
only a few of the leading families to   
participate in the government4 ,the     
result of this was a peace that         
prevailed for many years4 ,but perhaps  

the most important historical event that
 occurred within its walls took place in
 far earlier days than the sixteenth    
century4 ,the first triumvirate was     
formed when ,julius ,csar1 ,pompey1 and 
the wealthy ,crassus met and entered    
into an agreement whereby the power was 
divided between the three4 ,more        
tangible relics of ,roman occupation are
 to be found where the amphitheatre once
 stood4 ,the oval form of this is well  
preserved in the extremely picturesque  
,piazza ,mercato--the ,market ,place4   
,the wooden stalls of the market folk   
are practically little huts with tiled  
roofs1 that follow the lines of the     
amphitheatre seats in gracefully curved 
alleys4 ,in the ,pinacoteca may be seen 
a print dated #aghe1 in which the space 
is enclosed by a high wall4 ,in the     
centre is a tastefully laid out garden  
adorned with statues and rose bushes1   
around which a horse race is in         
progress4 ,many columns used in the     
erection of churches1 and fragments of  

all sorts built into the walls1 are     
evidences of ,lucca's importance among  
the colonies of ancient ,rome4          
,illustration3 ,,the ,,porch ,,of ,,the 
,,cathedral1 ,,lucca  ,the cathedral was
 founded as early as #egc by ,s4        
,frediano4 ,the first building was close
 to the present ,duomo1 and was erected 
on the site of the church of ,s4        
,giovanni--a very interesting ,lombard  
edifice4 ,the square baptistery attached
 to ,s4 ,giovanni1 with its original    
waved black and white pavement and      
ancient square font1 is well worthy of  
study4 ,pope ,alexander ,,ii41 who      
supplied ,william of ,normandy with a   
holy banner to assist in the invasion of
 ,england1 consecrated the cathedral1   
which1 although much altered in the     
fourteenth century1 still bears the     
impress of the architectural vogue of   
the tenth4 ,the faade was added in #abjd
 by ,giudetto4 ,a portico of three      
unequal arches supports three tiers of  
small arches4 ,these form galleries     

diminishing in length as they rise one  
above the other to the horizontal       
cornice at the top4 ,a magnificent      
square campanile rises at the south end 
of the portico4 ,huge iron braziers     
stick out under its battlements at the  
four corners4 ,it seems to crush the    
arch that springs from one side of its  
base1 out of all proportion with the    
other two4 ,this is very apparent from a
 distance1 and produces an uncomfortable
 feeling4 ,but1 when one makes the      
intimate acquaintance of the portico and
 begins to examine the exquisitely      
designed arabesques1 c41 that decorate  
its arches1 there is nothing but        
admiration for a mind that could play   
with stone as ,giudetto has done in this
 case4 ,the piers which support the     
three round arches have each four       
slender columns4 ,these are beautifully 
carved with all manner of intricate     
patterns4 ,on the central pier ,eve is  
seen tempting ,adam to eat of the       
,forbidden ,fruit4 ,they are at the base

 of a tree1 which growing upwards       
spreads out branches whereon rest the   
early ,kings of ,israel and the         
,prophets4 ,the exterior members of the 
arches are covered with finely cut      
foliage4 ,the capitals are formed by the
 semi-,gothic classical acanthus leaves 
of the period4 ,above the abaci of the  
capitals three lions1 crouching on      
consoles or brackets1 grip in their thin
 claws a snake1 a dragon1 and a demon4  
,between two of the arches there is a   
good stone group of ,s4 ,martin dividing
 his coat with a beggar by the use of a 
bronze sword4 ,the interior wall of the 
portico has a flat arcade of red marble 
columns and arches4 ,three doors give   
entrance into the cathedral4 ,their     
tympanums are decorated by well-executed
 reliefs4 ,a double frieze runs along   
the wall4 ,on the lower portion figures1
 engaged in agricultural pursuits1 and  
the ,signs of the ,zodiac are cut2 on   
the upper1 the life of ,s4 ,martin      
depicted in a series of panels4 ,some   

excellent examples of graffiti work     
decorate part of the wall4 ,the         
galleries of the faade are like those   
that appear in the illustration of the  
church of ,s4 ,michele4  ,the chief     
feature of the interior of the ,duomo is
 a fine ,gothic triforium4 ,as in       
,pisa's ,cathedral1 this goes round the 
whole nave1 transepts1 which it also    
crosses1 and choir1 stopping short only 
at the apse4 ,it is formed of double    
divisions of three pointed and cusped   
arches1 which on the west wall are      
increased to groups of four each4 ,the  
transepts are double4 ,a massive pier in
 each carries the triforium across in a 
most effective manner4 ,the nine bays on
 either side of the nave have round     
arches4 ,the fine roof1 which is vaulted
 and groined1 is unfortunately spoilt by
 a very bizarre scheme of colour that is
 not redeemed by the beautiful glass in 
the windows of the apse4 ,half up the   
north aisle is an octagonal chapel built
 of marble1 but almost entirely covered 

with gilt4 ,it is known as the          
,tempieto1 and contains the venerated   
relic of the ,vlto ,santo1 or ,holy     
,face4 ,it is supposed to be an image of
 ,our ,lord1 executed by ,nicodemus1 but
 is evidently a work of the eleventh    
century carved in two different species 
of wood4 ,a much finer work of art is   
the beautiful tomb of ,ilaria ,caretti  
in the north transept4 ,with her little 
dog1 emblem of fidelity1 at her feet1   
the figure of this gracious lady lies   
extended on a noble sarcophagus4 ,little
 winged putti surround its base1 and it 
ranks among the best productions of the 
accomplished ,jacopo della ,quercia4    
,one of the most perfect ,gothic arcades
 in all ,italy is to be found in the    
church of ,sta ,maria della ,rosa4 ,it  
is situated close to the ,archbishop's  
palace at the east end of the cathedral4
 ,the spaces between the pointed arches 
and the top lights of the church are    
filled with exquisitely carved cherubs  
peeping out from a mass of foliage4 ,in 

the ,piazza dei ,servi stands another   
small church1 that possesses a carved   
wooden roof not in any way inferior to  
the marvellous one that adorns the      
,badia in ,florence4 ,it was erected    
during the days when ,lucca was a       
republic1 and one panel has the coat of 
arms of the city1 with two great        
leopards as supporters and ,libertas for
 a legend4  ,the church of ,s4 ,frediano
 is close to the city walls4 ,its fine  
tower is seen on the right in the       
illustration4 ,frediano1 or ,fair ,hair1
 was a son of a ,king of ,ulster4       
,trained in ,galloway1 he travelled to  
,rome1 where he was well received by    
,pelagius ,i41 and housed in the        
,lateran4 ,he became ,bishop of ,lucca  
in #efe1 and after the destruction of   
the first cathedral by the ,lombards    
commenced the erection of the present   
archi-episcopal edifice4 ,the church is 
full of interest1 and contains the huge 
rectangular block of stone1 computed to 
weigh three tons1 which the saint lifted

 into a cart drawn by oxen1 and which   
was to be used in the building of his   
cathedral4 ,there is a fine circular    
font in the church1 with the ,passage of
 the ,red ,sea carved on its panels by  
the unknown ,magister ,robertus4 ,close 
to this1 in the chapel dedicated to the 
patroness of domestic servants1 ,sta    
,zita1 is a good example of ,giovanni   
,della ,robbia's work4 ,most of the     
church is built from the stones of the  
,roman ,amphitheatre4 ,the altar is     
placed at the west end4 ,the faade is a 
very dignified composition1 in which an 
,ionic colonnade and a good mosaic of   
our ,lord in glory play an important    
part4 ,the grand campanile1 however1 is 
its glory4 ,this rises with tiers of    
open arches2 but here they depart from  
the usual plan and increase in pairs4   
,one tier of a single pair is the       
lowest2 above are two of three arches1  
and the next two of four arches4 ,two   
sides of this splendid tower are of     
greater width than the others4          

,illustration3 ,,lucca ,,from ,,the     
,,city ,,walls  ,in the sketch a distant
 tower can be seen on which is growing a
 clump of trees4 ,it is attached to the 
beautiful1 red-brick ,palazzo ,borghi1  
one of the two fine palaces in ,lucca   
built in the ,venetian ,gothic style4   
,the story goes that the tower was built
 by ,paolo ,guigni1 and that on its top 
he planted trees1 under which he gave a 
series of banquets to show his          
indifference for the enemy who were then
 besieging the city4 ,a very pleasant   
walk leads us along under the grand     
limes and elm trees that compose the    
shady boulevards on ,lucca's old walls4 
,many a good study of roofs and distant 
mountains1 in which the bare crags and  
rugged peaks of the ,carrara range form 
a fine background1 can be obtained from 
these walls2 and many a beautiful peep  
through the foliage on to gardens below 
will reward the painter who strays out  
of the accepted route and makes a       
sojourn in the bright little city4  ,the

 church of ,s4 ,michele has the most    
striking faade of any so-called         
,pisan-,gothic building4 ,it is another 
work of ,giudetto's1 but is anterior to 
that which he added to the cathedral4   
,it is interesting to note how the fine 
colonnade at the base of ,s4 ,michele's 
faade was amplified in the later work of
 the cathedral by the portico which     
takes its place4 ,between the columns of
 this colonnade the closed              
lozenge-shaped lights1 a familiar       
feature in the churches of the ,pisan   
style1 give a certain amount of solidity
 by their deep shadows4 ,above is an    
open gallery1 under which is a          
marvellously intricate frieze of        
arabesques4 ,some of the pillars of this
 gallery are covered with inlaid marble1
 others are twisted or decorated with   
chevrons4 ,on two of them               
repulsive-looking dragons1 snakes1 and  
demons crawl downwards in high relief4  
,at each end is a cluster of four       
slender columns bound by knots4 ,the    

capitals are boldly cut1 with heavy     
square abaci1 from which bosses and     
floral work protrude4 ,the corbels of   
the round-headed arches are composed of 
heads of animals and demons1 and the    
arches themselves are beautifully inlaid
 with geometrical designs4 ,the frieze  
above is divided into panels of         
graffiti1 wherein lions1 goats and      
birds1 c41 are depicted in all sorts of 
attitudes4 ,the gallery above this is   
very similar1 but with even better      
pillars supporting its arches4 ,it      
slopes upwards from the gable ends4     
,then comes the strange and airy feature
 of this remarkable faade--a false gable
 with two galleries ending in a pointed 
apex4 ,standing on canopied turrets at  
each end of the gable are angels blowing
 bronze horns4 ,their robes are         
embroidered with inlaid marble and their
 outspread wings are of bronze4 ,on the 
acroteria1 or pedestal1 at the top1 is a
 colossal statue of ,s4 ,michael with   
vestments adorned by a gilded pattern4  

,his wings are formed of separate bronze
 plates to diminish wind pressure1 and  
make a good note of colour against a    
blue sky4 ,at the back of this false    
gable a flight of steps ascends from the
 roof to the statue4 ,as will be seen in
 the illustration1 the colonnade is     
carried along the other walls of the    
church and campanile4 ,this again is a  
grand tower and like that of ,s4        
,frediano has two sides greater than the
 others4 ,the interior of ,s4 ,michele  
is very simple1 very beautiful and      
dignified1 and quite unspoilt by any    
whitewash or colour4  ,illustration3 ,s4
 ,,michele1 ,,lucca  ,there are many    
other churches worthy of description if 
space allowed1 but passing mention must 
be made of the earliest known work of   
,niccol ,pisano4 ,this is a relief of   
the ,deposition from the ,cross in the  
tympanum of the arch of a side door at  
,s4 ,martino4 ,there is much else to see
 in the compact and well-ordered little 
city that is situated so beautifully in 

a great bowl with mountains on every    
side4 ,much1 too1 to wonder at in the   
legend ,s4,p4,q4,l4 that the municipio  
still writes up on public notices as a  
reminder of the days when its           
inhabitants made the laws that governed 
the ,republic of ,lucca4     ,,florence 
,although ,florence has no doubt an     
,etruscan origin1 her first historical  
record dates from the time of ,tiberius4
 ,during his reign the inhabitants      
presented a petition to the august      
presence praying him to prevent the     
diversion of the ,river ,clanis into the
 ,arno4 ,through many subsequent        
vicissitudes she rose from an obscure   
beginning to be the centre of the ,art  
of the civilised world4 ,this was       
accomplished in the days when           
,florentines were not ashamed of soiling
 the fingers with trade1 and was due to 
the good taste and patronage of her     
wealthy merchant citizens1 who took the 
keenest interest in the development of  
their city as the home of all things    

cultured4 ,the ,florence of to-day is   
rapidly becoming as cosmopolitan as     
,london1 and as a consequence has a     
growing trade in the manufacture of     
antiques4 ,but so great is the charm of 
this wonderful city that every year sees
 an addition to the long list of those1 
who coming from other lands1 either rent
 a flat within the walls or occupy a    
villa outside4 ,it is a charm that never
 dies--indeed1 becomes intensified4     
,bitter winds may whistle through the   
draughty streets1 and tearing down the  
,arno from the mountains howl across its
 bridges2 the end of the merrie month   
may still see deep snow on the hilltops1
 yet no one who has once been in        
,florence1 even under these undesirable 
conditions1 but wishes to come again4   
,and this charm--what is it8 ,is it that
 the city stands in the midst of a      
garden1 a veritable bed of roses8 ,does 
it lie in her classic river along the   
banks of which ,dante oftentimes        
wandered8 ,is it because ,cimabue1      

,giotto1 ,leonardo1 ,michael ,angelo1   
,raphael1 the della ,robbias1 ,fra      
,angelico1 and ,donatello1 all were at  
their zenith in ,florence8 ,go to the   
,pitti and ,uffizi and marvel at their  
powers4 ,is it in her glorious          
buildings1 her magnificent palaces1 and 
the traditions of her great             
families--the ,medici1 ,buondelmonti1   
,uberti8 ,in all of these surely lies a 
charm that nothing can dissipate6 ,yes1 
in all these2 but still there is a      
something beyond them1 a subtle1        
indefinable spell that enwraps the      
senses and captures one body and soul in
 this ,queen of cities4  ,illustration3 
,,or ,s4 ,,michele ,,and ,,the ,,palazzo
 ,,dell' ,,arte ,,di ,,lana1 ,,florence 
,of all the great ,florentine           
trade-guilds1 the ,wool-weavers were the
 richest1 and the illustration shows a  
restored corner of their ,hall with the 
redecorated altar behind the iron       
grille4 ,on the opposite side is the    
,gothic church of ,or ,s4 ,michele4     

,originally the site was occupied by a  
corn market1 in the loggia of which     
stood the figure of a much-worshipped   
,madonna4 ,walls were built round the   
loggia and the market removed to the    
storey above4 ,the niches on the        
exterior of the church contain statues  
of the patron saints of the numerous    
trade-guilds4 ,among them was a fine ,s4
 ,george1 the patron saint of the       
,armourers ,guild1 by ,donatello4 ,this 
is now in the ,bargello1 having been    
replaced by a cast4 ,the figures of     
,,ss4 ,mark and ,peter were gifts from  
the linen merchants and the butchers1   
and are by the same master-hand4 ,the   
best stained glass in ,florence         
decorates the fine ,gothic windows of   
the church4 ,their very elaborate       
tracery is cleverly designed to get the 
greatest effect from the top light--so  
necessary in the narrow and dark street4
 ,the ,misericordia ,brethren may be    
seen in the sketch carrying out one of  
the self-imposed tasks for which they   

receive no payment whatever4 ,the       
,compagnia della ,misericordia was      
founded by ,pier di ,luca ,borsi in the 
year #abdj4 ,men of all grades of       
society belong to the ,order1 and once a
 year attend a service in the cathedral1
 when they take a pledge to abstain from
 profane language4 ,they nurse the sick1
 carry patients to the hospitals1 and   
the dead to their last home4 ,every one 
who knows ,florence is familiar with the
 hurrying footsteps of the black-robed  
figures as they proceed on their errands
 of mercy4 ,the headquarters of this    
noble self-sacrificing ,order are on the
 left in the illustration of the        
,campanile4  ,those who recollect       
,florence in the eighties will remember 
that the picturesque old quarter1 the   
,mercato ,vecchio1 occupied the site of 
the fine ,piazza ,vittorio ,emmanuele4  
,this pestilential plague spot1 into    
which it was hardly safe to venture1 was
 done away with in the years #ahij-ie4  
,when the work of demolition was begun  

it was found to be so foul and          
insanitary that no house-breakers were  
allowed to touch a single stone until   
three months of stringent disinfection  
had elapsed4 ,this is one of the very   
few clearances that have taken place in 
the heart of the city since the         
fifteenth century1 and the thought of it
 carries one back to the days when that 
great reformer1 ,fra ,girolamo          
,savonarola1 set ,florence on fire with 
his fierce disputations4 ,a great bronze
 disc with a medallion portrait of the  
ascetic monk marks the spot in the      
,piazza della ,signoria where he ended  
his days at the stake with two brave    
companions4 ,in his little cell in the  
monastery of ,s4 ,marco there are two   
pictures which present us with the      
details of the tragedy4 ,save for the   
flight of steps that has taken the place
 of the platform where his judges are   
seen sitting1 the ,palazzo ,vecchio1    
wherein he was condemned1 is the same   
to-day as it was then4 ,it is the       

grandest secular building in ,florence1 
and this is saying a great deal4 ,built 
of huge blocks of rough stone1 it was   
commenced in #abii by ,arnolfo di       
,cambio1 and is a testimony to the      
splendid construction of the fourteenth 
century4 ,the top storey projects on    
brackets from the walls1 which stand    
four-square4 ,under these brackets are  
the ,ghibelline and ,guelph arms2 the   
former is a white lily on a red ground1 
the latter a red lily on a white ground1
 quartered with the crescent of         
,fiesole4 ,the present arms of          
,florence1 so familiar all over the     
city1 are a red fleur-de-lys with two   
sprays on a white ground4 ,the          
battlements that surmount this storey   
are square-shaped ,guelph1 while those  
of the great tower which dominates this 
part of the city are the swallow-tailed 
,ghibelline4 ,this fine landmark is     
three hundred and seven feet high1 and  
has a projecting gallery underneath the 
loggia with which it terminates4 ,the   

palace was built to accommodate the     
eight ,priori1 who1 under the presidency
 of the ,gonfaloniere1 ruled ,florence4 
,it remained the seat of government for 
over three hundred years until ,cosimo  
de ,medici1 having usurped the power1   
removed his court to the ,pitti ,palace4
  ,from ,michelozzo's beautiful cortile1
 which one enters first1 a noble        
staircase ascends to the ,salone dei    
,cinquecento4 ,it was in this           
magnificent hall1 where a statue of     
,savonarola is now placed1 that he was  
tried and condemned4 ,there are other   
fine rooms in the ,palazzo ,vecchio1 but
 nothing approaches the beauty of the   
little cortile below4 ,nine columns of  
grand proportions bearing round arches  
support the arcade that forms part of   
the courtyard4 ,each column has a       
different design above the fluting which
 runs half-way up them all4 ,the        
delicate low relief of these exquisitely
 modelled devices1 some of which are    
grape clusters1 others children with    

garlands1 heads1 and classic            
ornamentation1 is so slight1 that the   
effect on every column obtained by the  
light which pours down from high above  
makes each one seem a simple mass of    
half-tone thrown strongly out against   
the deep shade of the arcade beyond4 ,it
 is an architectural masterpiece of what
 the painter calls values4 ,a delightful
 fountain in the centre of the cortile1 
by ,verrochio1 adds to the sense of     
repose that one experiences when the    
glare and noise of the piazza are left  
behind4  ,the south side of the ,piazza 
dei ,signoria is taken up by the ,loggia
 dei ,lanzi--a good specimen of the     
domestic ,gothic style of ,italy4 ,three
 arches form the base that supports the 
lower storey4 ,a rich balustrade and    
projecting cornice adorn the top4       
,benvenuto ,cellini's ,perseus1 and     
,judith and ,holofernes by ,donatello1  
are among the statuary placed in the    
loggia4 ,the building was erected for   
the use of the ,priori1 and from it they

 witnessed all great spectacles that    
took place in the square4 ,it derives   
its name from the guard of foreign      
soldiers that ,cosimo ,i4 established in
 quarters hard by4 ,to the east and     
running south is the great ,ufizzi      
,palace1 which contains some of the     
finest art treasures that ,florence     
possesses4  ,dante's house stands in the
 ,via ,dante1 to reach which one leaves 
the piazza at the north-east corner1    
passing the back of the ,badia on the   
way thither4 ,the ,badia was the ,church
 of the ,benedictines1 and is built in  
the shape of a ,greek cross4 ,it is     
notable for the grandest coffered wooden
 roof in ,italy4 ,just above the frieze 
which runs round the top of the walls1 a
 fine series of well-carved brackets    
carries the first portion of the roof--a
 flat space beautifully ornate with good
 arabesques4 ,deep-set bosses in        
recesses circulate round the carving    
beyond this1 until they centre in a     
recess so deeply set that it almost     

becomes a miniature dome4 ,heavy        
brackets support and carry the outward  
thrust4 ,the miniature dome takes the   
form of a ,greek cross1 and from it the 
whole design springs in a very          
symmetrical manner4 ,such a massive     
wooden ceiling speaks volumes for the   
constructive art of the day4  ,opposite 
the ,badia stands the ,bargello1 or     
,palazzo del ,podest4 ,in its courtyard 
is the well-known outside staircase     
that1 sketched to death1 is to be seen  
represented in almost every shop in     
,florence4 ,the palace is the national  
museum1 and among its grand collections 
the work of the della ,robbia family can
 best be studied4 ,florence is such a   
treasure-house in every way that one    
might wander on from church to palace1  
and museum to gallery for a year1 and   
then be barely acquainted with what lies
 behind its walls4  ,florence1 too1 was 
the home of the ,renaissance1 and       
although ,giotto preceded the great     
master of early ,renaissance1           

,brunelleschi1 his famous ,campanile is 
more classic in style than ,gothic4 ,the
 accompanying sketch was made towards   
twilight when a day's heavy rain had    
cleared off4 ,the general impression one
 carries away of the beautiful bell     
tower is that of a white mass rising    
majestically above the congested traffic
 of the noisy street below4 ,the year   
#accd saw the commencement of ,giotto's 
design4 ,his death1 however1 took place 
when the work had but reached the first 
storey of the five4 ,taddeo ,gaddi and  
,francesco ,talenti carried it on1 and  
to the latter are due the windows of the
 upper storeys4 ,small lozenges in the  
lowest depict the ,development of       
,civilised ,man from the ,creation4     
,above these is a series of sculptures1 
and in niches yet higher up are the     
,prophets1 ,evangelists1 ,patriarchs and
 ,sibyls4 ,giotto intended to add a     
spire to the heavy balcony which        
projects from the top of the last       
storey4 ,the whole structure is cased in

 white1 pink and green marble1 and thus 
harmonises with the exterior of the     
,duomo which it adjoins4 ,had the spire 
been added1 the campanile would not have
 the rather top-heavy appearance it has 
when seen from some distance away4      
,illustration3 ,,the ,,campanile1       
,,florence  ,the cathedral is a building
 that stands on the site of a very early
 church dedicated to ,s4 ,salvadore4    
,appropriately named ,sta ,maria del    
,fiore1 the construction was commenced  
in #abih from the designs of ,arnolfo di
 ,cambio4 ,many hands worked for nearly 
two centuries at ,arnolfo's designs1 and
 continually altered them4 ,on the      
whole1 whatever its merits1 the building
 cannot be said to be an architectural  
success4 ,the faade1 completed as       
recently as #ahhg by ,emilio di ,fabris1
 is perhaps the most fortunate feature4 
,the ,gothic windows on the north side  
are certainly very beautiful4 ,the mass 
of the huge dome seen from the corner of
 the ,via del ,orviolo piles extremely  

well above the domes of the apse and    
south transept4 ,but most of the good   
points of the exterior are lost in the  
noisy pattern of the different coloured 
marble panels1 which1 like those in     
,giotto's campanile1 encase the whole   
building4  ,the interior is vast and    
empty1 and the dull grey colour that    
covers the walls is almost worse than   
whitewash4 ,four immense bays constitute
 either side of the nave4 ,the heavy    
piers that support the arches would be  
better without the ugly caps above the  
capitals4 ,there is a gallery above with
 pointed arches1 and four circular      
windows on each side form the           
clerestory4 ,the best portions of the   
interior are the two aisles4 ,the glass 
in the windows of these1 although almost
 obscured by dust and cobwebs1 is very  
lovely4 ,the interior of the great dome 
was painted by ,vasari and ,zuccaro1 but
 reveals no beauties of design4 ,the    
,high ,altar is situated beneath this1  
and the choir stalls which are around   

are enclosed by a high marble screen4   
,under the altar1 in a fine bronze      
casket1 lie the remains of ,s4          
,zenobius1 who was bishop of ,florence  
at the end of the fourth century4 ,the  
apse of the cathedral consists of five  
chapels2 the middle one is dedicated to 
the saint4 ,behind the ,high ,altar is a
 fine1 though unfinished ,piet1 the last
 work commenced by ,michael ,angelo4 ,he
 intended it for his own tomb1 but died 
before it was completed4 ,there are many
 things of value in both the ,sagrestia 
della ,mese1 the beautiful bronze doors 
of which are by ,michelozzo1 and the    
,sagrestia ,vecchia1 over the door of   
which is one of ,lucca della ,robbia's  
very best works4 ,it is true that with  
oft-repeated visits the vast building   
grows on one1 but1 however much its size
 may impress1 it cannot be called a     
landmark in ,italian architecture4      
,close by these two structures and due  
west of the cathedral faade1 in the     
middle of the ,piazza del ,duomo1 stands

 the ,baptistery4 ,its eight walls were 
covered with marble by ,arnolfo di      
,cambio some time after the west door   
had been removed and the rectangular    
space for the altar constructed inside4 
,the three doors that remain are1 with  
the lintels1 superb examples in bronze  
of the ,renaissance period4 ,the twenty 
panels which depict the life of ,s4     
,john the ,baptist on the south door are
 the work of ,andrea ,pisano4 ,at the   
base of one lintel two nude male figures
 carry children at a vintage festival2  
at the base of the other are two female 
figures1 amidst a cluster of corn       
stalks4 ,andrea ,pisano has almost      
excelled himself in the exquisite       
foliage which grows up both posts4      
,above the door is a bronze group in    
which ,s4 ,john kneels to receive the   
stroke from the executioner's sword1    
while an angel holds up a hand shielding
 the sight from her eyes4 ,the ,east    
door by ,ghiberti contains prophets and 
sibyls in niches between the ten panels 

that illustrate episodes of the ,old    
,testament4 ,the third door is by the   
same hand4 ,its twenty panels of ,gospel
 history are surrounded by exquisite    
foliage1 amidst which snails and beetles
 crawl and bees suck honey1 while here  
and there the fascinating head of an    
impudent little frog peeps out4  ,the   
interior does not compare with ,pisa's  
,baptistery4 ,granite columns with gilt 
,corinthian capitals support a triforium
 gallery composed of round arches with  
,ionic pillars4 ,the square lights of   
the clerestory1 which alternate with    
mosaic panels1 are behind another       
gallery that leans inwards4 ,from this  
springs the mosaic-covered dome4 ,up to 
the year #aega a large font stood in the
 centre1 directly under the opening in  
the middle of the dome1 which until then
 had no cupola4 ,it was moved in that   
year by ,francesco ,i4 for the baptism  
of his son6 ,an act of sacrilege which  
speaks volumes for the absolute power of
 the autocratic grand dukes of those    

days4  ,illustration3 ,,ponte ,,vecchio1
 ,,florence  ,it is very interesting to 
examine the almost interminable series  
of portraits that hang on the walls of  
the long passage connecting the ,ufizzi 
and ,pitti ,palaces4 ,this passage      
crosses the river1 and may be seen in   
the illustration of the ,ponte ,vecchio1
 with its square barred windows looking 
up the river4 ,it is above the          
jewellers' shops--a favourite haunt of  
the tourist--that hang so airily like   
spiders over the water and crowd the old
 bridge4 ,amongst this extraordinary    
collection of portraits of the ,medici  
and their collaterals1 may be seen one  
of our own ,charles ,,ii41 ,eleanor of  
,toledo1 wife of ,cosimo ,i41 and       
,catherine de ,medici1 whose sly eyes1  
cunning and cruel mouth in no way belie 
her character4 ,all the reigning grand  
dukes are here1 and not one of them can 
be said1 if these are faithful          
portraits1 to have a really open honest 
countenance4 ,to judge by their         

physiognomies1 they ruled by brute force
 and craft4 ,however1 there are bronze  
figures of two of the race who in metal 
appear more like noblemen than these    
travesties in paint4 ,indeed when one   
sees the gilded figures of ,ferdinand   
,i4 and ,cosimo ,,ii4 standing over     
their tombs in the ,capella ,medicea1 we
 feel they were men of the great race   
that made ,florence famous throughout   
the civilised world4  ,the ,capella     
,medicea stands at the back of the fine 
church of ,s4 ,lorenzo4 ,it is a gloomy 
octagonal building with a dome1 and     
lined throughout in a dull and heavy    
scheme1 with most costly marble4 ,the   
interior of the dome is painted and     
gilded4 ,six members of the great family
 lie here in their sarcophagi4 ,the     
remains of two more rest in the         
,sacristy4 ,but it is not in connection 
with any reverence for the scions of the
 ,medicean ,house that our footsteps are
 drawn hither4 ,no1 the little sacristy 
is crowded all day with those who come  

to see the work of ,michael ,angelo4    
,beneath the statue on the tomb of      
,giuliano de ,medici are the colossal   
figures of ,day and ,night4 ,these two  
wonderful creations are surpassed by    
,dawn and ,twilight on the tomb of      
,lorenzo1 a grandson of ,lorenzo the    
,magnificent1 and father of ,catherine  
de ,medici4 ,his well-known seated      
figure is on the tomb4 ,more simple than
 these is the beautiful1 but unfinished1
 group of the ,virgin and ,child4 ,the  
little altar1 too1 is a masterpiece of  
simplicity by the same great hand4  ,to 
the church of ,s4 ,lorenzo is attached  
the celebrated ,laurentian ,library1    
which contains the most valuable        
collection of ,,mss4 in ,italy1 the     
,vatican alone excepted4 ,among these is
 the seventh-century ,,ms4 of the       
,vulgate ,bible1 written by ,ceolfrid   
,abbot of ,jarrow4 ,at the corner of the
 ,piazza de ,s4 ,lorenzo is a fountain  
surmounted by a statue of ,giovanni     
delle ,bande ,nere1 leader of the ,black

 ,hand1 whose son became the ,grand     
,duke ,cosimo ,i4 ,opposite this        
fountain is the magnificent palace of   
the ,medici1 the ,palazzo ,riccardi4    
,from its beautiful cortile1 with       
reliefs by ,donatello1 a fine staircase 
leads up to the big hall that has a     
ceiling painted by ,luca ,giordano4 ,the
 palace was built by ,michelozzo for    
,cosimo1 who lavished his wealth to such
 an extent that the title he acquired of
 ,pater ,patri was perhaps no misnomer4 
,by the same profuse expenditure his    
grandson ,lorenzo became known as       
,lorenzo il ,magnifico4 ,the family of  
,medici appears in the chronicles of    
,florence towards the end of the twelfth
 century2 but the first member to lay   
claim to any distinction was ,salvestro1
 who took a prominent part in the revolt
 of the ,ciompi in #acgh4 ,the leader of
 this insurrection was ,michele di      
,landi1 a ciompo or wool-carder4        
,giovanni1 the banker1 amassed the great
 wealth which enabled his son ,cosimo to

 carry out his ambitions4  ,apart from  
the ,capella ,medicea the church of ,s4 
,croce may be looked upon as the        
,westminster ,abbey of ,florence4 ,in it
 is the tomb of the great master who    
created ,dawn and ,twilight4 ,the       
monument to ,michael ,angelo ,buonarotti
 is the work of ,vasari4 ,alas6 one     
cannot but lament that the irony of     
,fate has ordained the resting-place of 
genius should stand against a wall on   
which are painted red curtains6 ,not    
only red curtains1 but a hideous red    
canopy with gold tassels drawn aside by 
vulgar little abominations in the shape 
of fat cherubs4 ,for once1 one longs for
 the whitewash brush4 ,the cenotaph of  
,dante is placed close to the beautiful 
,renaissance tomb of ,leonardo ,bruni4  
,the recumbent figure of the diplomatist
 lies stretched out on a slab borne by  
eagles1 and represents real repose in a 
marvellous manner4 ,the red brick floor 
of the church is almost covered with    
tomb slabs1 some still in good relief1  

others worn flat4 ,among them is that of
 ,john ,ketterick1 ,bishop of ,exeter1  
who died in ,florence in #adai when on  
an embassy for his sovereign4  ,the airy
 interior of ,s4 ,croce is very fine4   
,slender octagonal columns of a russet  
hue bear pointed arches with            
,italian-,gothic capitals4 ,the aisles  
have wooden roofs4 ,the glass in the    
windows is good2 and the chapels at the 
east end and in the transepts are       
covered with most interesting frescoes  
by ,giotto1 ,taddeo and ,agnolo ,gaddi  
and others4 ,s4 ,croce is still served  
by the ,black ,conventuals1 a sub-order 
of ,s4 ,francis4 ,the cloisters attached
 to the monastery were designed by      
,arnolfo di ,cambio1 and through them   
one reaches the ,capella ,pazzi1 one of 
,brunelleschi's best buildings4 ,the    
fine portico with its colonnade of      
,ionic columns has a frieze of cherubs  
attributed to ,donatello4 ,the entrance 
to the cloisters is from the ,piazza ,s4
 ,croce1 the buildings on the south side

 of which are typical of old ,florence4 
,the upper storeys of these grey-brown  
walls overhang and are supported by huge
 wooden cantilevers4 ,one house1 the    
,palazzo di ,niccolo dell' ,antela1 is  
covered with allegorical paintings by   
,giovanni da ,s4 ,giovanni1 and on it is
 a white marble disc that marked the    
goal in the game of calcio4 ,the        
,piazza1 which is one of the largest in 
the city1 was in bygone days the public 
games-ground4  ,another fine church of  
one of the great preaching ,orders is   
,s4 ,maria ,novella1 which stands in the
 piazza of the same name1 not far from  
the railway station4 ,the faade is a    
very clever adaptation by the genius who
 planned the transformation of ,il      
,tempio in ,rimini1 ,leo ,battista      
,alberti4 ,in ,s4 ,maria ,novella he    
fitted ,renaissance ideas to the earlier
 ,gothic construction of the arcades and
 lower portions of the buildings4 ,like 
all ,dominican churches the nave is     
disproportionately large1 built always  

thus to accommodate the great           
congregations who flocked to hear the   
sermon2 and so that all could hear1 the 
pulpit was placed nearer the west than  
the east end4 ,in the sixteenth century 
,vasari altered the interior and took   
away the marble screen that divided the 
conventual from the public part of the  
church4 ,it stood where a couple of     
steps run right across the church at the
 fourth bay of the nave4 ,this is lofty1
 with a groined vault and pointed       
arches4 ,the transepts have lateral     
chapels and the choir is very shallow4  
,one of these chapels is that of the    
,rucellai family1 whose coat of arms    
with an inflated sail has been used with
 as good an effect by ,alberti in the   
decoration of the faade as the          
,malatesta coat at ,rimini1 where it    
will be remembered the little elephants 
play so important a part in his scheme4 
,in this chapel is the famous panel1 the
 so-called ,cimabue's ,madonna1 which   
some critics attribute to ,duccio da    

,siena4 ,speaking personally1 however1  
,i failed to discover the greenish      
undertones that are a feature in        
,duccio's work4 ,the story tells us that
 when the picture left ,cimabue's studio
 it was hailed by the people in the     
streets with great admiration and holy  
fervour4 ,attached to the west wall of  
the church are the cloisters4 ,the      
,chiostro ,verde1 so called from the    
greenish colour of its frescoes1        
contains the ,spanish chapel4 ,one can  
here spend a very instructive morning   
examining the fine mural decorations    
that cover the walls4 ,the ,chiostro    
,grande is now a military gymnasium2 but
 the upper part is devoted to the       
,institution for ,deaf ,mutes and the   
,society for ,repressing ,beggars4 ,many
 useful articles can here be purchased  
that are made by the very poor4         
,tourists1 make a note6  ,there is      
another useful institution1 and one     
perhaps that is much better known4 ,the 
,spedale degli ,innocenti1 or ,foundling

 ,hospital1 which admits infants without
 any inquiry1 and when the children are 
old enough boards them out in peasant   
families1 where they are trained to earn
 a livelihood4 ,the hospital is the work
 of ,brunelleschi4 ,in the spandrils of 
the loggia are the medallions of infants
 in blue and white by ,andrea della     
,robbia1 reproductions of which hang on 
many a wall throughout the civilised    
world4  ,not far off is the monastery of
 ,s4 ,marco1 the cloistered courts of   
which once ran red with the blood of the
 monks4 ,fra ,angelico's intensely      
religious frescoes in the monastic cells
 surely helped to inspire the brethren  
to defend their home by force of arms   
against those who were determined to    
eradicate every vestige of their beloved
 ,savonarola4 ,a few relics of this     
great democrat are still to be seen in  
his cell4 ,the writing-desk he used1 a  
book of commentaries in his own minute  
hand1 his crucifix and other personal   
objects1 remain as silent witnesses of  

the fierce struggles in a mind brought  
to the lowest depths of despair and     
well-nigh prostrate when the last act   
was accomplished in the ,piazza della   
,signoria4  ,of the many great          
,florentine palaces the two that hold   
the incomparable collections of pictures
 are the best known4 ,the ,uffizi stands
 on one side of the river1 the ,pitti on
 the other4 ,emulating the lavish       
expenditure of their rivals1 the        
,medici1 the ,pitti family employed     
,brunelleschi and ,fancelli to erect a  
building which should outshine all the  
,medicean palaces in ,florence4 ,so much
 was spent on it that eventually the    
family were ruined1 and ,fate1 that so  
often plays with the over-ambitious1    
ordained that their rivals should step  
in and purchase the huge building4 ,the 
,grand-dukes of the ,medici took up     
their residence in the building1 part of
 which is now the ,royal ,palace4 ,from 
the beautiful ,boboli ,gardens at the   
back1 a very good view is obtained of   

the cathedral and ,giotto's ,campanile1 
with ,fiesole and the mountains in the  
north rising beyond4 ,but if we wish for
 a comprehensive impression of ,florence
 as she lies in the valley of the ,arno1
 we must ascend the hill on the top of  
which the church of ,s4 ,miniato al     
,monte stands4 ,beneath the cypress     
trees at our feet the classic stream1   
crossed by its famous bridges1 winds    
away in the direction of the ,monti     
,pisani4 ,the great dome of the         
,cathedral seems almost out of          
proportion with the lesser landmarks    
around it4 ,more than ever does one wish
 to see the spire that ,giotto designed 
to finish his grand bell-tower4 ,and as 
the eye wanders over roofs and embattled
 walls1 the mind goes back to ,medicean 
days1 ignoring for once the utilitarian 
vandalism that has carried the noisy    
tramcar through the intricacies of the  
maze below us in desecration of the     
memorials of a great age4               
,illustration3 ,,the ,,duomo1           

,,florence1 ,,from ,,the ,,boboli       
,,gardens     ,,perugia   ,in the       
vicinity of ,perugia many remains of    
,etruscan civilisation have come to     
light1 and part of the old ,etruscan    
city walls still stand4 ,on top of the  
huge blocks of stone of which they are  
composed one may also see the defensive 
superstructure added by the ,romans1 and
 above this the red brick of a later    
date4 ,wandering in the older parts of  
the city1 where the houses are terraced 
on the steep hill-slopes and the narrow 
streets1 often burrowing under them1    
wind sinuously in and out1 one is       
carried right back without an effort    
into medival times4 ,neither does it    
require any effort to picture the       
sanguinary faction fights between the   
great ,perugian families1 the ,oddi and 
,baglioni4 ,niccol ,pisano's last work1 
the figures on the fountain by the steps
 of the ,cathedral1 and the unfinished  
wall of the building itself1 are to-day 
just as they were in the fifteenth      

century when these same steps ran red   
with blood in the accomplishment of the 
diabolical plot which wiped out a whole 
family1 save one4 ,so tired of these    
conflicts were the more law-abiding     
,perugians after this deed1 or so       
surfeited with blood1 that the might of 
the ,church ,militant was called in to  
put an end to all distracting feuds4    
,the advent of ,pope ,paul ,,iii4 was   
looked upon at the time as a real       
deliverance2 but the crafty ,pontiff1   
knowing the hornet's nest he came into1 
was sagacious enough to build for       
himself a fortress-palace in an         
impregnable position4 ,this1 the ,rocca 
,paolina1 stood partly on the ground at 
the end of the ,corso ,vannucci where a 
big hotel is now1 and on the garden     
space in front of it4 ,the visitor to   
,perugia can never forget the           
incomparable view from the wall of this 
garden2 nor wonder1 when he looks over  
the veritable precipice beneath it1 that
 the ,baglioni1 whose palace was        

demolished to make way for ,paul's      
fortress1 could hold in terror the rest 
of ,perugia from the security afforded  
by their own walls4 ,perugia is like an 
octopus1 with a central hill on which   
the ,cathedral is situated1 and from    
which long feelers stretch out in all   
directions4 ,a statue in a public garden
 at the end of one of these feelers1 or1
 more correctly speaking1 promontories1 
commemorates the expulsion of the ,swiss
 ,papal ,guard by ,general ,fanti in    
#ahfj4 ,the city then joined the newly  
formed kingdom of ,italy and made an end
 of the ,church's supremacy by          
demolishing the ,rocca ,paolina4        
,illustration3 ,,the ,,cathedral ,,and  
,,old ,,town1 ,,perugia  ,it is rather  
extraordinary that when the strife      
between the nobles of ,perugia was at   
its height art was in the most          
flourishing condition4 ,fashion1 or     
perhaps the hall-mark of the gentleman  
of those days1 dictated that he should  
patronise art4 ,we see this in the      

records of all the great families of the
 fourteenth and fifteenth centuries2 and
 however bloodthirsty and revengeful    
they were amongst themselves1 they had  
this one great merit4 ,and so we find   
that while the ,oddi were slaying the   
,baglioni1 ,perugino1 ,pinturicchio1    
,raphael1 and ,signorelli were all at   
work in ,umbria1 where one half of the  
people seem to have given up their lives
 to bloodshed and the other half to the 
contemplation of sweet-faced ,madonnas  
and paintings of religious fervour4  ,in
 the middle of this ancient city stands 
its ,cathedral1 but1 alas6 with no      
redeeming architectural feature1 either 
outside or within4 ,the exterior reminds
 one of the tale of the man who1 having 
made a little money1 built a house like 
a cube with windows1 telling his friends
 that when he could afford it he would  
have the architecture put on4 ,all that 
can be said about its outer walls is    
that if the design of pink marble       
quatrefoil slabs had been carried out   

and finished1 it would have looked even 
worse than it does now4  ,the bronze    
statue of ,pope ,julius ,,iii4 on the   
south faade was erected by the          
subscriptions of the people to show     
their appreciation for the restitution  
of those privileges of which they had   
been deprived by the builder of the     
,rocca ,paolina4 ,it is placed on one   
side of a door1 and on the other side   
the pulpit1 put up for the use of ,s4   
,bernardino of ,siena1 who came to      
,perugia to preach peace and allay the  
feuds of the nobles1 is a sort of       
pendant4  ,ten octagonal columns1       
painted to represent marble1 stand in   
the nave and support the ,gothic groined
 vaulting which springs from gilded     
,corinthian capitals4 ,the first bay on 
the south side is enclosed by a good    
iron grille4 ,within is the ,capella del
 ,s4 ,anello1 containing ,perugia's most
 sacred relic1 the wedding-ring of the  
,blessed ,virgin4 ,this was filched one 
day from ,chiusi1 the pleasant little   

town where one so often changes trains  
on the way from ,rome4 ,to prevent a    
repetition of the theft it has1 since   
its arrival in ,perugia1 been enclosed  
in a reliquary that can be opened only  
by fifteen different keys kept by       
fifteen different citizens4 ,the        
,capella de ,s4 ,bernardino occupies the
 opposite bay of the north aisle4 ,the  
choir is a five-sided apse1 round which 
are the canons' stalls of good intarsia 
work4 ,the central of the three windows 
is almost filled by the organ loft1 and 
the choir gallery is above the stalls4  
,in the north transept a little door in 
an almost hidden angle of the wall opens
 out into the cloisters4 ,of the two    
courts the inner1 with two galleries1 is
 a very picturesque and quiet spot4     
,creepers come trailing down the walls1 
flowers in boxes add a touch of colour1 
and the cooing of doves gave one the    
idea that here at any rate1 in the      
precincts of a sanctuary1 was a haven of
 rest from the brawling world outside4  

,the ,cathedral library has a great     
treasure in the possession of the ,codex
 of ,st4 ,luke of the sixth century4 ,it
 is bound in silver and written in      
letters of gold on purple-coloured      
vellum--a splendid combination4  ,not   
many of ,perugia's churches can rejoice 
to-day in the preservation of their     
original state4 ,those attached to the  
disendowed monasteries are now mostly   
barracks1 and others have been restored 
or propped up as a consequence of       
intermittent earthquakes that developed 
great cracks in their walls4 ,coming    
through the ,porta ,susanna1 the lowest 
part of which is ,etruscan masonry put  
together without any cement1 one leaves 
the ancient city behind1 and1 turning to
 the right1 sees across the vacant      
,piazza de ,s4 ,francesco the gem of    
,perugia's ecclesiastical architecture4 
,the little oratory of ,s4 ,bernardino  
stands adjoining the ruined church of   
,st4 ,francis4 ,the lovely faade of this
 tiny building is by ,agostino ,ducci1  

who built it in marble and terra-cotta4 
,its two doors are enclosed by a rounded
 archway1 in the tympanum of which is a 
figure of our ,lord in ,glory with two  
archangels4 ,s4 ,bernardino is beneath4 
,around him are many angels who sing to 
the accompaniment of the musical        
instruments on which they play4 ,beyond 
the angels are two rows of cherubims    
with heavenly faces4 ,the ground colour 
of the tympanum on which all these      
delicately modelled bas-reliefs stand   
was evidently at one time a gorgeous    
blue and gold4 ,it has faded to a       
beautiful broken cerulean4 ,the jambs of
 the portal are green serpentine1 and   
contain three figures of angels on each 
side4 ,they carry implements of         
husbandry and agriculture4 ,six panels  
on the faade have more angels with      
musical instruments4 ,arabesques cover  
the posts of the portal1 and laurel is  
carved on them as well4 ,four           
terra-cotta saints occupy niches2 under 
these are scenes in higher relief       

illustrating events in the life of ,s4  
,bernardino4 ,in one he is depicted     
saving a boy from a watery grave4 ,the  
delicate pink and warm opaque yellow of 
the terra-cotta1 the white marble and   
green serpentine1 and the exquisite note
 of blue1 with traces over all of faded 
and half-obliterated gilding1 make this 
gem one of the best pieces of external  
colouring to be met with in ,italy4     
,illustration3 ,,the ,,porta ,,susanna1 
,,perugia  ,one finds a church situated 
at the extremity of each of ,perugia's  
promontories4 ,the ,romanesque church   
just outside the ,s4 ,costanza ,gate is 
well worth a visit1 if it be only to    
look at its eastern portal4 ,slender1   
twisted pillars of marble support the   
architrave1 on which is a central figure
 of ,christ seated in a circle4 ,on     
either side are the saint with a dove1  
and a lion with a gryphon4 ,elegant     
pilasters are carried from the steps up 
above the architrave4 ,they are carved  
with quaint trees growing out of        

monsters1 and support goats and other   
animals4 ,leo ,,xiii41 when ,bishop of  
,perugia1 restored the faade1 but very  
judiciously left this portal alone4     
,crosses and other ,christian symbols in
 terra-cotta are the fruit of the       
restoration4 ,on to all these--in fact1 
wherever they could find a purchase--the
 mason-bees have settled and built their
 nests4 ,the drowsy hum from the busy   
little colony adds much to the pleasure 
of a reverie as one sits on the steps of
 the doorway and looks across the vale  
to ,assisi1 baking in the sun1 and to   
the scarred mountains beyond4  ,the     
never-completed church of ,s4 ,domenico1
 which ,giovanni ,pisano designed as a  
,gothic building1 contains a grand      
,gothic monument by that master4 ,the   
figure of ,pope ,benedict ,,xi41 who    
died by eating poisoned figs1 lies on   
his sarcophagus behind curtains which   
two charming figures draw aside4 ,the   
fine ,gothic canopy of the tomb is      
supported by twisted columns inlaid with

 tesser in the same style as the pillars
 in the portico of ,lucca's cathedral4  
,the ,benedictine church of ,s4 ,pietro 
would have been a very impressive       
basilica had not every inch of its walls
 been covered by poor frescoes and huge 
canvases of mediocre paintings4 ,the    
nave is simple1 with a good coffered    
roof4 ,in one of the aisle chapels there
 is a very beautiful altar by that      
delightful artist1 ,mino da ,fiesole2   
and the tabernacle over the high altar  
is a good example of marble work4 ,it is
 surmounted by bronze figures standing  
at the angles round the base of its     
little cupola4 ,the magnificent         
reading-desk is also worthy of note4 ,it
 rests on a table with good carved      
panels illustrating events in ,s4       
,peter's life4  ,illustration3 ,,the    
,,piazza ,,garibaldi1 ,,perugia  ,one of
 the finest ,domestic ,gothic faades in 
,italy is that of the ,palazzo          
,pubblico4 ,a grand doorway of clustered
 and twisted columns ornamented with    

arabesques gives on to the ,corso       
,vannucci4 ,above the portal are the    
city's three protectors1 ,,ss4 ,lorenzo1
 ,ercolano1 and ,costanza4 ,by their    
sides and overhanging the pavement1 on  
brackets1 are two huge gryphons holding 
a sheep and a calf4 ,within the building
 are the ,municipal ,offices1 and on the
 third floor the pinacoteca1 on the     
walls of which hang some of ,perugino's 
best work4 ,the faade1 which faces the  
,piazza del ,duomo1 has a fine flight of
 steps leading to an entrance on the    
first floor4 ,above this are two more   
gryphons in bronze and a lion4          
,depending from the gryphons is the     
great chain and bar which were captured 
from the ,sienese4 ,three fine arches   
support a loggia1 outside which is a    
pulpit1 removed hither from the         
demolished church of ,s4 ,salvatore4    
,this side of the ,palazzo is the oldest
 part of the building1 preceding in     
construction that which is in the ,corso
 ,vanucci by fifty years4 ,a third part1

 that was added in #adbi for the        
,bankers' ,guild1 is known as the       
,collegio del ,cambio4 ,the great hall  
inside is decorated with very good      
examples of ,perugino's brush1 and has a
 marvellous ceiling covered with        
arabesques and medallions by his pupils4
 ,carved stalls and benches of walnut   
wood with intarsia work1 and fine doors1
 complete an ensemble which is one of   
the best examples of an early           
,renaissance interior4  ,the old ,piazza
 del ,sopra ,mura1 so called because the
 buildings on one side were erected on  
the ,etruscan walls1 has been renamed   
the ,piazza ,garibaldi4 ,a statue of the
 hero may be seen in the illustration4  
,on the right of the sketch1 built on   
the walls1 is the ,palazzo del ,capitano
 del ,popolo1 at present the ,assize    
,court4 ,its ,gothic faade has a good   
porch and a ringheria1 or balcony4 ,the 
piazza is one of the best bits in this  
quaint old city1 and when filled with   
market folk haggling over bargains under

 their umbrellas is a typical ,italian  
scene in a typical ,italian setting4    
,there are not many places in ,italy    
that boast so fine a view as ,perugia   
can from the garden where once stood the
 ,baglioni's palace4 ,in winding lines  
directly beneath one a road1 buttressed 
up by great blocks of masonry1 now leads
 downhill to the station4 ,to our left  
is a mat of grey-brown roofs1 out of    
which rise hundreds of curiously shaped 
chimneys4 ,heavy stones keep some of the
 roof tiles in place4 ,a necessary      
precaution1 for1 although these are laid
 three deep1 a storm of extra violence  
is apt to whisk them away by scores4    
,glimpses of delicious walled-in gardens
 and old conventual courtyards nestling 
behind high walls break the colour of   
our brown mat with relieving patches of 
green4 ,bell towers and a spire or two  
rear themselves out of the harmoniously 
coloured network and catch the early sun
 like beacons4 ,tortuous alleys appear  
and disappear amidst this delightful    

chaos1 and little figures like ants may 
be seen labouring up the steep slopes4  
,a sudden jump in colour from brown to  
green and the eye has leapt a thousand  
feet or more to the vast and fertile    
plain beyond4 ,shadows thrown by fleecy 
clouds1 with which from our height1 we  
seem to be on a level1 chase one another
 over the emerald carpet4 ,little hills1
 covered with trees1 appear as flat as  
the plain below4 ,dark cypresses and    
pines cluster round the farms and       
homesteads that punctuate the landscape 
with white dots4 ,long thin ribbons of  
the same colour tell where the main     
roads run to ,assisi1 to ,foligno1 to   
,rome or ,orvieto4 ,as the eye travels  
on1 the emerald merges imperceptibly    
into green of a blueish tinge4 ,hills   
twenty miles away rise in a purple mass 
under the shadow of the clouds above4   
,but what a perfect canopy the sky is6  
,the sun pierces the well-ordered       
battalions that are moving across it    
from the west1 and with long1 straight  

rays strikes the windings of the river  
that runs on to the ,eternal ,city and  
flows out to sea4 ,far away1 through the
 yellow haze that throws the purple     
hills into such bold relief1 are        
shadowed forms rising tier above tier in
 the mystery of distant sunlight4 ,the  
snowy crests of ,italy's central chain  
toss themselves up to heaven1 hardly    
distinguishable from the farthest mass  
of the marching hosts of the sky4 ,yes1 
truly an unforgettable view1 and one    
which the ,baglioni of old1 from their  
castle windows1 must have drunk in with 
pride4 ,well nigh as far as their eye   
reached the country owed them           
allegiance4     ,,assisi   ,of all the  
wonderful hill towns of ,italy1 ,assisi 
can claim a kind of pre-eminence in     
saintship and monasticism4 ,the delicate
 finger of time has touched lightly and 
lovingly the little medival fortress    
which gave to the world ,s4 ,francis and
 ,s4 ,chiara4 ,one might say that every 
stone in the place is saturated with the

 memory of the former and sweetened by  
the recollection of the saintly woman   
who outlived him many years4 ,the life  
of ,s4 ,francis of ,assisi is one of the
 most enthralling tales in the history  
of the saints4 ,he1 who was the son of a
 rich cloth merchant1 and up to the age 
of twenty-four had led a gay and vicious
 life1 has left to humanity one of the  
greatest examples of charity1 humility  
and chastity that the world has ever    
seen4  ,as one approaches the quiet     
little place1 the first thing to attract
 is the great church of ,s4 ,maria degli
 ,angeli1 built over the ,porziuncula4  
,this1 a small chapel1 was presented to 
,s4 ,francis by the ,benedictines of    
,mte ,subacio1 and is the scene of the  
closing years of his life and his death4
 ,a fine altarpiece by ,andrea della    
,robbia in the north transept shows the 
saint receiving the stigmata1 or wounds 
of our ,lord's ,passion4 ,pope ,pius ,v4
 raised the cupola that is directly over
 the spot where ,s4 ,francis expired4   

,the charming little garden where the   
saint cultivated his plants and         
medicinal herbs adjoins the sacristy2   
and there still flourish in it the      
thornless roses of the legend4 ,two     
years after the death of ,s4 ,francis1  
the immense building that rises on a    
massive substructure was commenced by   
,gregory ,,ix4 ,the great convent and   
two churches1 one above the other1 that 
seem from below as solid as the rocks   
beyond1 were erected over the saint's   
grave4 ,s4 ,francis1 when dying1        
expressed a wish to be interred outside 
the city walls2 but his disciples1 so we
 are led to believe1 carried his body up
 secretly two years later1 and placed it
 in a sarcophagus1 which was found      
imbedded in the rock in the year #ahah4 
,it had lain there inviolate for six    
hundred years4  ,the lower church1 which
 one enters by a ,gothic porch1 is very 
dark4 ,this is emphasised if the sun    
happens to be very brilliant4 ,by       
degrees1 however1 the wonderful         

ultramarine used in the decoration of   
the groined roof asserts itself1 and    
what at first seemed utter blackness    
unfolds imperceptibly into an           
extraordinary scheme of colour4 ,the    
costly blue was presented by ,hecuba1   
,queen of ,cyprus1 whose tomb is in the 
church4 ,the great porphyry vase in     
which it was brought thither is there   
too4 ,chapels raised six steps above the
 floor of the nave take the place of    
aisles2 and their windows1 filled with  
stained glass1 do not help to mitigate  
the darkness4 ,the ,high ,altar stands  
at the inter-section of the nave and    
transepts4 ,immediately beneath is the  
rock containing the saint's remains4    
,the altar itself is a huge slab of     
stone brought from ,constantinople4 ,it 
rests on twenty slender columns that    
form a sort of arcade with trefoils and 
mosaic spandrils4 ,the tour compartments
 of the vault above are adorned with    
some of the finest of ,giotto's work4   
,they are known as the ,poverty series1 

and ,chastity1 ,obedience1 and ,s4      
,francis in ,glory4  ,a fine vestibule  
at the west end of the nave fronts the  
,piazza ,superiore1 and carries the     
faade of the upper church4 ,this is     
smaller than the lower church by the    
width of the side chapels1 and consists 
of a nave1 short transepts1 and apse4   
,the nave is decorated by a once noble  
series of frescoes by ,giotto of the    
life of ,s4 ,francis4 ,they are much    
damaged by injudicious restoration1 and 
comparing them with other works by the  
same master-hand1 it is open to question
 whether much of the colour from his    
brush is now on the walls4 ,above them  
is the almost ruined work of ,cimabue4  
,alas6 that such masterpieces should    
have been so neglected4  ,on the way to 
the upper town one passes through the   
old ,roman ,forum1 now the ,piazza      
,grande4 ,in the square stands the      
,palazzo del ,capitano1 to which a fine 
tower is attached4 ,further on1 as one  
climbs the ascent1 the street opens out 

into the ,piazza ,rufino1 at the end of 
which the cathedral is situated4        
,dedicated to the first bishop of       
,assisi1 who suffered martyrdom in the  
year #bhf1 the building was commenced in
 #aadj4 ,the fine faade has three       
portals1 elaborately carved in low      
relief1 and three very good round       
windows4 ,grotesque figures of birds and
 beasts are set on brackets near the    
centre window1 and occupy other places  
on the faade4 ,the interior was restored
 and altered at the end of the sixteenth
 century1 and is in no way remarkable4  
,it contains1 however1 the font in which
 ,s4 ,francis was baptized1 and two good
 statues of white marble1 one of ,s4    
,francis1 the other of ,s4 ,chiara4     
,illustration3 ,,the ,,cathedral1       
,,assisi  ,assisi is distinctly a       
sun-baked city2 and built of local      
warm-coloured stone1 it looks almost on 
fire when the rays of the setting sun   
light up its walls1 its roofs1 and its  
towers4 ,thus does the illustration     

depict the cathedral's faade and        
,romanesque campanile4 ,in the piazza   
stands1 on a pedestal1 the bronze statue
 of the saint which replaced that which 
is inside the building4 ,the street     
under the houses on the left leads to   
the ,roman theatre1 and on the right one
 proceeds to the church of ,s4 ,chiara4 
,the mummified body of ,s4 ,clare still 
rests in the crypt2 and the ,crucifix   
which spoke to ,giovanni ,bernardone in 
the church of ,s4 ,damiano is in the    
north transept4 ,to this crucifix was   
due the change which transfigured the   
life of the young man1 and gave to the  
world one of its greatest saints4       
,giovanni was nicknamed ,francesco by   
his father1 who had an extensive trade  
connection with ,france1 and a name     
given in jest has become one of the most
 remarkable in the history of the       
,church4 ,the country round ,assisi is  
full of beautiful subjects for pen and  
pencil2 and long meditative rambles are 
within reach of the poorest pedestrian4 

,the spirit of ,s4 ,francis dominates   
all4 ,it is not far to the carceri1 the 
little dug-out rock chambers that he at 
first inhabited with his few followers2 
and the gorge through which one climbs  
to reach them is that where he was one  
night attacked by robbers1 who finding  
their victim clad only in a hair shirt1 
beat him and left him for dead in a     
drift of snow4 ,the life of ,s4 ,francis
 has ever been an all absorbing one for 
the painter's art4 ,one of the favourite
 subjects connected with it is his      
marriage with the ,lady ,poverty4 ,the  
vows he took of ,poverty1 ,chastity and 
,obedience were demanded from all his   
followers4 ,his rule once established1  
his disciples were known as the ,frati  
,minori4 ,when preaching to the poor he 
often exposed to view a representation  
of the birth of ,christ which he carried
 about1 and it was over this prespio1 or
 manger1 that the first ,christmas      
carols were sung4     ,,siena   ,siena1 
the ,ghibelline1 at one time always at  

war with ,florence the ,guelph1 no      
longer disputes with her ancient rival  
the glory of being the foremost of      
,tuscan cities4 ,but1 though she no     
longer does this1 pride in her ,roman   
origin has never ceased4 ,she still     
retains the ,s4 ,p4 ,q4 ,s4 as the      
head-line of municipal notices2 and the 
she-wolf and twins are to be found      
sculptured on many a column that adorns 
some of her little courtyards as well as
 on odd corners about her walls4 ,nine  
gates1 one of which boasts a barbican1  
admit the stranger to her dark          
up-and-down-hill streets4 ,she possesses
 many fine palaces4 ,she might have     
possessed the grandest ,gothic cathedral
 in all ,italy had funds permitted its  
completion4 ,as it is1 it is one of the 
most remarkable and is adjoined by one  
of the most beautiful campanile in the  
country4 ,if the visitor braves the heat
 of ,august1 she can show him the very  
best survival of medival times in her   
celebrated ,palio1 or horse-race1 that  

takes place every year in the great     
piazza4 ,in her streets you will hear   
the purest ,italian spoken4 ,her women1 
as the month of ,may comes round1 don   
the most becoming of straw hats1 and her
 people are justly famed for their      
courtesy4 ,fortunately for some of us1  
the tourist hurries on to ,florence or  
,rome4 ,but for him who loves the repose
 and personal charm of an old-world     
city1 ,siena will always open her arms  
and gather him in an embrace that will  
hold him for ever enchanted by the      
fascination of a delightful memory4     
,almost in the centre of the city and   
occupying a space on the top of the     
highest hill1 ,siena's cathedral is     
to-day a fragment only of what its      
builders hoped to erect4 ,the west end  
of the original nave is away at the end 
of the piazza to the south of the       
present south transept4 ,the present    
nave was built as one of the transepts1 
and when its size is realised the grand 
scheme that was never completed can be  

judged4 ,the building was begun in #abbi
 and the dome over the crossing finished
 thirty years later4 ,about sixty years 
after this the scheme to construct the  
huge nave was commenced4 ,it was only   
owing to a terrible plague which carried
 off1 it is said1 eighty thousand       
people1 that this was abandoned4 ,the   
tracery of a very beautiful ,gothic     
window remains at the unfinished west   
end1 to make one marvel at the splendid 
proportions of the intended fabric4     
,illustration3 ,,the ,,cathedral1       
,,siena  ,the cathedral1 of which a fine
 view is obtained from the church of ,s4
 ,domenico on the opposite hill1 is     
approached from the ,piazza del ,duomo  
by twelve marble steps4 ,the topmost    
which forms the platform in front of the
 faade is inlaid with graffiti designs  
in black and other colours4 ,three      
crocketed gables crown ,giovanni        
,pisano's faade4 ,their surface is      
covered with modern mosaics4 ,under the 
centre gable1 surrounded by a square    

frame of ,gothic niches filled with     
half-length figures of saints1 is an    
immense round window devoid of all      
tracery1 but filled with good glass4 ,a 
flat black band of marble frames the    
niches4 ,elegant turrets with crocketed 
pinnacles surmounted by saints are on   
either side of this gable4 ,the two     
other gables are flanked by towers1 each
 with a solid turret4 ,the purest piece 
of architecture is the gallery which is 
between the centre and these two side   
gables4 ,below runs a classic frieze    
separating the upper from the lower part
 of the faade4 ,the columns and         
pilasters of the three portals are of   
white and red marble2 they are so       
heavily laden with elaborate sculpture  
of beasts1 birds1 and foliage that they 
seem to lose their raison d'tre and no  
longer support anything4 ,the capitals  
of all these are formed of elongated    
acanthus leaves1 and might be likened to
 a field of waving maize4 ,it is very   
interesting to note1 by the classic work

 which ,pisano introduced everywhere on 
the faade1 how difficult it apparently  
was for him to get away from the        
tradition of his country's classic      
architecture when designing a ,gothic   
faade4  ,the whole front is covered with
 white marble statues perched on every  
available place4 ,gargoyles1 like       
chevaux de frise1 protrude from every   
angle and corner4 ,on the brackets over 
the four main columns of the porches are
 two horses1 a winged lion1 and a lion  
regardant4 ,the whole of the front lacks
 repose1 a condition which is           
intensified by the black and white inlay
 of the flat surfaces4 ,the centre gable
 overlaps the portal beneath1 and the   
apexes of the two side gables are beyond
 the middle of the two side portals4    
,this is a good arrangement1 and assists
 the balance of the composition1 which  
is well restrained by the deep-set      
gallery and dark shade of the flanking  
towers4  ,the pointed windows of the    
south aisle and transept are canopied4  

,on top of each of the buttresses       
between them is a white marble figure4  
,the magnificent campanile rises above  
the chapel close to the south door4     
,like the rest of the cathedral it is   
banded in black and white marble4 ,the  
lowest of its seven courses is          
constructed with a solid exterior1 the  
next is pierced by an arch1 the third by
 two arches1 and so on1 increasing until
 at the top stage there are six arches4 
,four turrets with slender spires finish
 off the corners at the top1 and a good 
hexagonal spire rises from the centre4  
,the dome is supported by an open       
gallery4 ,the idea of a central tower   
never seems to have appealed to the     
,italian in his ,gothic work2 even at   
,milan the spire of the cathedral can   
hardly be said to rise from a tower4    
,the interior of the cathedral1 by      
reason of the very decided black and    
white bands of marble1 although mellowed
 with age1 is not restful to the eye4   
,the nave consists of five bays on each 

side4 ,the aisles have round arches4    
,the transepts are double and of unequal
 length4 ,all the windows are pointed   
with the exception of the two round ones
 at the east and west ends4 ,the        
clustered columns of the nave are of    
very good proportion2 above them is a   
heavy frieze4 ,between the numerous     
consoles of this is a series of terra   
cotta busts of all the ,popes4 ,executed
 at one time1 they are1 like the        
medallion portraits of the ,pontiffs in 
,s4 ,paolo fuori at ,rome1 not authentic
 likenesses4 ,what gilding there is1 is 
away up in the roof and on the bosses in
 the soffits of the arches1 but it is   
old and not really obtrusive4 ,the same 
may be said for the star-spangled blue  
vault4 ,the illustration shows the cold 
light from the north transept window    
striking ,niccol ,pisano's beautiful    
pulpit1 in contradistinction to the warm
 rays that penetrate this noble fabric  
through the clerestory windows of the   
nave4 ,arnolfo di ,cambio and ,niccol's 

son ,giovanni had a share in the        
execution of this splendid work1 which  
may be ranked next to the pulpit in the 
,baptistery at ,pisa4 ,the pavement of  
the whole cathedral is composed of      
graffiti in coloured marble pictures4   
,to preserve this unique pavement the   
authorities have wisely covered the nave
 and aisles with a wooden floor2 and    
except during the month of ,august and  
on great festivals1 when this covering  
is taken away1 the only portion in the  
lower part of the church exposed to view
 is that under the dome4 ,this is railed
 off4  ,the six niches at the top of the
 clustered columns that support the     
cupola are filled with colossal metal   
figures4 ,on bronze brackets1 fixed to  
each pier of the choir1 are             
thirteenth-century bronze figures of    
angels holding lamps4 ,one admires the  
good taste that has always left these   
bronzes ungilded4 ,the same praise may  
be accorded in the case of the grand    
bronze candlesticks on the high altar1  

and the magnificent tabernacle by       
,lorenzo di ,pietro which rests on it4  
,the only note which really jars is the 
crescent of hideous gilded cherubims    
that partially surround the east window4
 ,the choir stalls1 which were exchanged
 for those in the convent of ,mont'     
,oliveto ,maggiore1 nineteen miles out  
of ,siena1 have extremely good intarsia 
work of architectural and still-life    
panels4  ,illustration3 ,,interior ,,of 
,,siena ,,cathedral  ,in the north aisle
 is the ,piccolomini chapel1 with a very
 fine ,renaissance wall of carved       
arabesques4 ,in niches stand statuettes1
 in the execution of which ,michael     
,angelo had a hand4 ,the celebrated     
,libreria ,piccolomini adjoins this4    
,its walls are decorated with the       
frescoes of the life of ,pius ,,ii41 a  
scion of this noble ,house4 ,in the     
centre of the library stands the        
beautiful group of the ,three ,graces1 a
 ,grco-,roman work which ,raphael drew  
from and studied4  ,the baptistery1 ,s4 

,giovanni ,battista1 is below the east  
end of the cathedral on a steep         
hill-side4 ,its exceptionally good      
,gothic front by ,giacomo di ,mino was  
never completed1 and for this reason1 as
 will be seen in the illustration1 the  
roof of the cathedral has a barn-like   
termination at this end4 ,the interior  
is a sort of transverse nave with two   
piers supporting a groined and vaulted  
roof4 ,the frescoes of the apse1 though 
much faded1 still retain some of the    
rich colouring with which two ,brescian 
painters decorated them4 ,the font is a 
very beautiful example of ,giacomo della
 ,quercia's work1 and is adorned with   
six bronze gilt panels1 one of which is 
by ,donatello4 ,small figures occupy the
 corners1 and are by the same           
master-craftsman4  ,among the many great
 names on ,siena's roll of fame1 the two
 saints ,catherine and ,bernardino are  
perhaps the best known4 ,a little way   
beyond the margin of the first picture  
of this chapter1 to the left1 is the    

house where the former first saw light4 
,the last of twenty-five children born  
to ,giacomo ,beninsca and his wife1 her 
childhood was marked by an extraordinary
 ascetic devotion overwhelming all other
 feelings1 so that at the age of sixteen
 she entered the ,order of ,s4 ,dominic4
 ,the series of chapels which the ,casa 
,beninsca is now turned into will be for
 some1 from their sacred associations1  
the most interesting spots in all the   
city4 ,the house has a charming loggia  
and cortile1 but otherwise no           
architectural features worthy of note4  
,on the hill above1 and behind the spot 
from which the sketch was made1 is the  
church of ,s4 ,domenico1 in which ,s4   
,catherine worshipped2 it is a huge     
building in the style of all ,dominican 
churches1 with a great nave1 no aisles1 
a shallow choir and transepts4 ,her life
 was one replete with visions4 ,in the  
chapel at the west end ,s4 ,catherine   
took the veil4 ,little could she have   
known at the time1 that she was ordained

 some future day to be the prime factor 
in recalling ,pope ,gregory ,,xi4 from  
,avignon to ,rome4  ,s4 ,bernardino was 
the son of the ,governor of ,massa      
,maritima1 a ,sienese town not far from 
the coast opposite the ,isle of ,elba4  
,he joined the preaching ,order of ,s4  
,francis at the age of twenty-two1 and  
was one of those who always drew immense
 crowds to listen to his eloquent words4
 ,when in ,florence he made a bonfire of
 evil books and vanities1 thus          
forestalling one of ,savonarola's great 
revolutionary acts4 ,so great was his   
influence considered to be that1 while  
in ,perugia1 the great bell was always  
tolled during his occupation of the     
pulpit4 ,care of the poor was one of his
 chief aims1 and he established the     
,monte di ,piet1 for lending money on   
small pledges1 to save those in want    
from the heavy hand of the usurer4  ,of 
all the palaces in ,siena that which    
stands on the south side of the ,campo1 
the ,palazzo ,pubblico1 is the most     

famous4 ,nearly every one who reads     
these lines must be familiar1 through   
photographs or otherwise1 with the      
magnificent campanile del ,mangia--a    
title that originated with a figure1    
nicknamed the ,glutton1 that at one time
 struck the hours on its bells4 ,the    
illustration gives a view of the tower  
seen through the ,arco di ,s4 ,guiseppe4
 ,it is three hundred and thirty-four   
feet high1 and is built of brick with a 
machicolated stone cap and bell-turret  
above4 ,at its base stands the ,cappella
 della ,piazza1 a very beautiful open   
loggia1 built to commemorate the city's 
deliverance from the great plague that  
was instrumental in causing the proposed
 enlargement of the cathedral to be     
given up4 ,the ,palazzo itself consists 
of a huge central square block with     
,sienese battlements--square with       
hatched mouldings4 ,a couple of turrets 
rise in three storeys above the two side
 wings of the block4 ,the lowest storey 
of the building is of stone1 the others 

of that delightful red brick which      
charms the painter's eye1 and is        
peculiar to ,siena4 ,all the windows of 
the palace are pointed1 with a flat     
containing-member outside the three     
lights of each4 ,two good courtyards    
give entrance by stairways to the upper 
floors of the building1 which is now    
used for judicial business4 ,almost     
opposite1 across the ,campo1 is the     
,palazzo del ,governo1 formerly the     
palace of the great ,piccolomini family4
 ,it contains the treasures of ,siena1  
the state archives2 and in front of it  
stands the ,font ,gaia4  ,in the ,via   
del ,capitano1 leading into the ,piazza 
del ,duomo1 is the ,palazzo             
,squarcialupi4 ,this thirteenth-century 
building was1 in the old days1 the      
official residence of the ,judges of    
,appeal and the ,captains of ,war4 ,the 
,loggia dei ,mercanti was built in the  
fifteenth century for the use of the    
,city ,fathers who assembled here in    
their business capacity of merchants to 

judge trade disputes4 ,so widespread was
 the fame of this impartial tribunal    
that foreigners often brought their     
differences before it for adjustment4   
,the palace is now known as the ,casino 
dei ,nobili4 ,many fine residences line 
the tortuous and shady thoroughfares1   
and others form parts of the different  
squares4 ,most of them have iron rings  
and brackets let into their walls       
similar to many of the ,florentine      
palaces and those already mentioned in  
the chapter on ,bologna4  ,illustration3
 ,,the ,,arco ,,di ,s4 ,,giuseppe1      
,,siena  ,it is not1 however1 so much in
 the individual buildings that the charm
 of ,siena lies1 nor in the long line of
 painters whose works are on the walls  
of the ,spedale in the ,piazza del      
,duomo1 in the ,accademia delle ,belle  
,arti1 and elsewhere4 ,rather is it in  
the personal and intimate note of the   
beautiful old city taken as a whole4    
,for even the sojourn of a single week  
will captivate and make one feel as if  

he belonged to ,siena1 and ,siena to    
him4 ,it may be that the wheeled        
traffic1 which can follow but two or    
three distinct lines through her        
streets1 shuts off in silence large     
areas of the city1 and that the visitor 
is left more to himself and his reveries
 than is the case in most ,italian      
towns4 ,whatever it be1 it is difficult 
to define1 but the more one knows ,siena
 the more whole-heartedly does one give 
oneself up to her charm4  ,is there     
anything quite the same1 quite so       
peaceful1 and yet so full of history's  
wars1 as the view from the pleasant     
gardens of ,la ,lizza8 ,pass on to the  
walls of the ,fortessa at the end of the
 ,lists1 or old tilting-ground1 and what
 a beautiful landscape unfolds itself6  
,undulating ground1 covered with vines  
and orchards1 carries us into a middle  
distance of cypress and pine-clad hills4
 ,these stretch away into an opalescent 
haze1 out of which to the north and east
 rise the peaks of far-distant          

mountains4 ,to the west but one great   
mass soars above the sea of golden      
mist--,mte4 ,amiata1 always different   
yet always the same4 ,a solitary        
mountain1 once seen ever remembered2 a  
mountain one can love4 ,what a land of  
sunshine and pastoral beauty it is6     
,always at its best in springtime before
 the summer's sun has laid its grip on  
the red earth and scorched it sere1 and 
when the showers of ,april freshen and  
draw from the warm soil that scent of   
,mother ,earth1 which nothing man has   
ever made can equal and which no money  
can buy4  ,illustration3 ,,under ,,the  
,,walls1 ,,siena     ,,orvieto          
,orvieto1 yet another of the wonderful  
hill towns of ,italy1 is quite unlike   
any of those with which this book has   
hitherto dealt4 ,it has an absolutely   
insular position1 due to its situation  
on top of an isolated crag of dark      
volcanic rock which rises out of the    
wide valley of the river ,paglia4 ,the  
rock1 which crowns the steep slopes of a

 hill1 goes upwards a sheer precipice on
 three sides4 ,on the fourth1 the old   
road circles and winds in and out of    
olive groves and orchards1 until1 having
 climbed the ascent1 it finally enters  
the city in a bold curve close to where 
the funicular rail from the station     
terminates4 ,the principal entrance is  
the ,porta ,maggiore at the other end of
 the rock4 ,it is a gateway hewn out of 
the solid tufa and built across a very  
narrow natural gorge4 ,two other gates  
pierce the walls4 ,one1 at the east end1
 is close to the old ,fortessa--now     
converted into a charming garden4 ,like 
an old eagle that in his declining years
 cannot trust his wings for far flight1 
this grim old city1 built of black lava1
 broods over the sweep of country below4
 ,very few places in the country        
occupied so impregnable a position4  ,on
 the northern slopes of the hill there  
has been unearthed in a peasant's garden
 one of the most complete ,etruscan     
necropoli in ,italy4 ,one tomb is left  

exactly as it was found1 with the       
contents--vases1 jars1 utensils of      
bronze1 c4--in their original position4 
,illustration3 ,,la ,,porta ,,maggiore1 
,,orvieto  ,in the troublous times that 
so often overtook ,papal ,rome no fewer 
than thirty-two different ,pontiffs     
found refuge in ,orvieto from incipient 
revolutions4 ,the impregnable situation 
of the city rendered it safe and immune 
from attack4 ,pope ,clement ,,vii41 who 
fled here after the sack of ,rome by the
 ,emperor ,charles ,v41 caused the      
,pozzo di ,s4 ,patrizio to be made4     
,this extremely cleverly constructed    
well is hewn out of the solid rock for a
 depth of one hundred-and-eighty feet1  
and has a double spiral staircase       
outside the water shaft4 ,the ,papal    
,court naturally followed the ,pope1 and
 ,orvieto in the days which have gone   
must have worn a more human air than it 
does now4 ,one can understand that then 
its dark1 solemn streets resounded with 
a little gaiety1 and its palaces had a  

greater show of life than they have at  
the present time4 ,true1 the owners now 
spend most of the year in ,rome1 and    
reside in their fortress homes for the  
summer months only4 ,but even their     
advent does not1 to the stranger1 bring 
much more life into this solemn place4  
,no other word describes the palaces of 
,orvieto better than the above4 ,nearly 
every one of these fortress palaces has 
a tower of defence1 the walls of which  
are from eight to ten feet thick4 ,many 
of them are connected with one another  
by underground passages1 and none have  
any windows at all accessible from the  
outside4 ,the lower class of inhabitants
 are quiet and sad-looking4 ,they appear
 even to this day to live under some    
heavy mental weight4 ,maybe generations 
of suppression and the dominance of an  
intriguing ,court has had an influence  
that is inbred into the children born   
now4 ,then1 too1 it was so far down hill
 and up across the opposite slopes to   
the world beyond6 ,so toilsome a climb  

to return home6 ,you feel this to-day   
when you live in ,orvieto--feel that    
this silent city is an island4 ,can you 
be surprised1 when you think of these   
adverse influences1 that the poorer     
,orvietans have not quite the gay and   
friendly air of the peasantry of the    
plains8 ,but whatever the people may be1
 they live in a wonderful old city1 and 
they live under the shadow of a grand   
,gothic cathedral4  ,standing in a fine 
open piazza with the ,palazzo del ,papa 
on one side1 the ,hospital on another1  
and the ,bishop's palace on a third1    
this fine church occupies the vantage   
ground of ,orvieto4 ,in the ,vatican1   
one of ,raphael's well-known frescoes   
illustrates the miracle of ,bolsena4 ,it
 was to commemorate this that ,pope     
,urban ,,iv4 founded the cathedral4 ,the
 magnificent faade has three porches4   
,the centre one has round arches1 and   
the other two are pointed4 ,four flat   
panels are at the bases of the shafts   
that divide the faade4 ,these shafts end

 in crocketed pinnacles surrounding the 
,gothic turrets1 which soar upwards     
beyond the three gables at the top of   
the faade4 ,the gables themselves rise  
above the roofs of the nave and aisles4 
,the only fault one can find with this  
beautiful building1 and it is one common
 to most ,italian ,gothic churches1 is  
that the faade is stuck on1 and does not
 really form part of the architectural  
composition of the building4 ,a glance  
at the illustration will explain what is
 meant4  ,the four panels are justly    
placed among the masterpieces of        
,italian sculpture of the thirteenth    
century4 ,vasari attributes the designs 
to ,niccol ,pisano4 ,this may be1 but it
 is known that ,giovanni ,pisano and    
others were the artists who executed    
them4 ,the first in order begins at the 
lowest left-hand corner of the north    
panel1 and records the ,creation of the 
,world and all beasts and birds4 ,then  
follow the histories of ,adam and ,eve1 
,cain and ,abel1 ,jubal--making bells1  

and ,tubal-,cain measuring on a scroll  
with a compass4  ,illustration3 ,,the   
,,fa,,ade ,,of ,,the ,,cathedral1       
,,orvieto  ,this completes the first and
 best panel of the four4 ,each incident 
is enclosed by a very beautifully cut   
and intricate pattern of the vine4 ,the 
second panel depicts scenes from the    
,old ,testament2 the third1 the ,tree of
 ,jesse1 the ,nativity and ,life of     
,christ1 with classic foliage           
intervening4 ,the fourth is very good   
and represents the ,resurrection2 here  
figures of a very ,greek type rise from 
,greek sarcophagi4 ,saints1 ,virgins1   
and the ,saviour in ,glory surrounded by
 ,apostles also find places on this     
panel4 ,it finishes in the lowest       
right-hand corner with a most realistic 
scene in ,hell4 ,raphael1 it is said1   
came to ,orvieto to study these         
wonderful works4  ,immediately above and
 at the bases of the four shafts are the
 huge bronze symbols of the four        
,evangelists4 ,they rest on the abaci of

 the pilasters which form a sort of     
drip-course right along the faade4 ,over
 the centre porch is a bronze tent1 the 
curtains of which ,angels draw aside    
revealing the ,virgin and ,child seated4
 ,the lights1 forming the tympanums of  
the porches1 are thin sheets of         
alabaster4 ,the columns are spiral and  
twisted1 octagonal and quadrangular4    
,each is set against a different        
coloured background of black lava1 red1 
white1 or grey marble2 and each is      
covered with geometrical mosaic4 ,the   
wheel window of the faade is beautified 
with exceptionally good tracing4 ,it is 
framed by quatrefoils in panels1 with   
the head of a saint in each4 ,on two    
sides of these1 in recessed rectangular 
niches1 are statues of the ,twelve      
,apostles4  ,at the top of the frame are
 canopied niches with a row of saints4  
,the whole of this wonderful front is   
covered by modern mosaics which do not  
quite fit in with the severe lines of   
the architecture4 ,neither does the     

scheme of colour in which they are      
executed take its place with the warmth 
of the marble as well as it might4  ,the
 whole of the main building is          
constructed in bands of black lava and  
white marble4 ,semicircular chapels in  
the aisles break the monotony of the    
lower portion of the exterior2 while the
 upper is rendered less severe by the   
pointed clerestory windows1 a dripstone 
and string-course1 and a good cornice4  
,the interior is one of the best in     
,italy4 ,it was greatly improved when   
the colossal statues which stood at the 
bases of the piers were removed1 and the
 side chapels cleared of their altars   
and rather meretricious adornments4 ,the
 massive columns of the nave1 eight of  
which are round1 four clustered1 and two
 engaged1 have capitals that partake of 
a style far more classic than ,gothic4  
,above the round arches they support    
runs a triforium gallery4 ,this is open 
in the nave1 and covered at the west    
end1 where it follows the slope upwards 

of the gables of the aisles4 ,at the    
east end it is carried over the window1 
being also covered in here4 ,the windows
 of the aisles are all filled1 or partly
 filled1 with thin slabs of alabaster4  
,the effect of light produced through   
this thick but comparatively translucent
 medium is extremely mellow and         
beautiful4  ,the short transepts are    
raised three steps above the nave1 and  
the choir five4 ,a fine red marble      
balustrade separates the latter from the
 rest of the church4 ,the open stalls in
 the choir have some extremely good     
intarsia work4 ,the wooden screen that  
shuts them off from the nave is a carved
 mass of most intricate geometrical     
design4 ,under the east window is the   
bishop's throne1 backed and surrounded  
with more good intarsia1 in which saints
 and sainted bishops with their symbols 
most effectively figure4 ,the walls     
above and around are covered with       
fourteenth-century frescoes by ,pietro  
di ,puccio and ,ugolino1 both native    

artists4 ,in their present faded state  
they harmonise beautifully with their   
surroundings1 to which the colour of the
 well-worn red marble floor of the      
cathedral adds a pleasant note4  ,the   
work of ,luca ,signorelli can be better 
studied in the ,cappella della ,madonna 
di ,s4 ,brizio than anywhere else in    
,italy4 ,this chapel practically forms  
the shallow south transept4 ,in the     
magnificent frescoes which adorn its    
walls one can trace the possible        
influence of this great painter on the  
works of ,michael ,angelo4 ,two panels  
of the ceiling came from the brush of   
,fra ,angelico4 ,the north transept is  
almost entirely occupied by the         
,cappella del ,s4,s4 ,corporale4 ,the   
reliquary containing the ,corporal1 or  
linen cloth of the ,miracle of ,bolsena1
 is kept over the altar4 ,this reliquary
 is a fine piece of silver-gilt work1   
with two dozen beautiful panels of blue 
enamel4 ,it was on to this linen cloth  
that the ,blood dropped from the broken 

,host1 and convinced the officiating    
priest of the ,real ,presence4 ,pope    
,urban ,,iv4 had it brought from        
,bolsena1 and commenced to build this   
magnificent cathedral as a great shrine 
in which the sacred relic should rest   
for ever4  ,behind the cathedral1 that  
is to the east1 ,orvieto1 not many years
 ago1 was a ruined1 broken-down mass of 
insanitary buildings4 ,gardens now take 
the place of what was a plague-spot1 and
 the houses of the city as we find it   
now occupy barely one-half of the area  
contained within the walls4 ,in this    
respect modern ideas have decidedly     
improved ,orvieto4 ,what is left of the 
old streets is well looked after from   
the sanitary point of view2 and from the
 artistic1 there are not many places in 
,italy where subjects are to be found in
 such plenty4 ,the massive ,torre del   
,moro is close to the ,piazza del       
,popolo1 where stands the ruined church 
of ,s4 ,domenico4 ,this fine ,romanesque
 structure is entered by a flight of    

steps at the west end2 it is built over 
a massively constructed crypt1 now used 
as a granary4 ,the mighty arches of this
 crypt sustain part of the church1 but  
it does not extend beneath the whole of 
the fabric4 ,one of the numerous arched 
gateways which are to be found          
throughout the city intervenes between  
it and the little buttressed dwelling   
underneath the east end4 ,from this     
rises the solid campanile4 ,an arcade   
runs round the whole church4 ,this good 
feature is composed of round arches1    
containing small round-headed lights4   
,the outer member of each arch is       
finished by a broad1 flat1 square       
billet1 the inner has a cable pattern4  
,above is a dripstone and string-course4
  ,saturday sees the piazza crowded with
 country folk1 and it then presents a   
busy scene4 ,all the rest of the week it
 is silent and deserted4 ,i was there   
with my sketch-book one afternoon4 ,a   
thunderstorm was rolling about in the   
hills4 ,the air was charged with        

disturbing electricity4 ,swifts flew    
screaming round the ruined church4 ,a   
kestrel up in the battered old tower    
cried to her young4 ,the storm crept    
nearer4 ,grand cumuli clouds piled      
themselves higher and higher above the  
lightning-riven mass of rain-sodden     
blackness below4 ,a beautiful           
swallow-tail butterfly1 brilliant       
against the deep purple background1 came
 gracefully sailing across the square   
into the sunshine4 ,it hovered1 now     
here1 now there1 like a spirit from     
another world seeking rest but finding  
none4 ,little puffs of wind stirred odd 
bits of straw and paper about the       
piazza4 ,dust began to eddy round and   
round4 ,a drop of rain fell on to the   
open leaves of my sketch-book4 ,it was  
the writing on the wall2 so ,i closed   
the book and hurried home4 ,for half an 
hour the heavens emptied themselves on  
,orvieto4 ,to me a stage-play of some   
scene in her past was re-enacted in the 
sky2 the passing storm seemed so        

appropriate to the rugged old city4     
,,rome   ,with pen in hand one          
approaches the subject of the ,eternal  
,city with great diffidence4 ,the more  
one's acquaintance with her has ripened1
 the more does the attempt to write a   
chapter seem a hopeless task4 ,there are
 so many ,romes--,republican ,rome1     
,imperial ,rome1 ,rome of the ,papal    
supremacy1 ,christian ,rome1 ,pagan     
,rome2 and then ,modern ,rome1 with a   
municipality that is fast changing the  
face of everything4 ,catering for the   
tourist in these days of cheap transit  
does much to alter things4 ,in the end  
it will defeat its own object1 and      
history will be contained in libraries  
and museums only4 ,rome1 like ,london1  
is fast becoming cosmopolitan4 ,the     
percolo giallo1 or yellow peril1 as the 
motor post 'bus is facetiously called1  
rushes through streets where not so long
 ago solemn processions of the ,mother  
,church wended their way4 ,building is  
going on at present with feverish haste4

 ,the boom of #ahhj1 which ruined many  
of the wealthy families who speculated  
in it1 does not seem to have acted as a 
deterrent to others4 ,the great         
boulevard projected by the powers that  
be1 slowly grows in length4 ,despite the
 outcry against such vandalism1 an area 
that might disclose and yield up unknown
 archological treasures if properly     
excavated is being levelled in the      
sacred names of sanitation and          
opportunism6 ,the picturesque dwellings 
that lined the banks of ,rome's famous  
river have disappeared1 and the yellow  
waters of the historic ,tiber rush along
 between massive walls of stone4  ,is it
 possible amid all these rapid changes  
to realise what ,rome has been and is   
still8 ,no1 not on any of her seven     
hills1 not in her streets1 nor on her   
river embankments1 not even in her      
churches1 can this now be done4 ,no3 to 
realise the power and majesty of        
,ancient ,rome one must go out into the 
,campagna1 that desolate plain in which 

she lies4 ,there1 where the stupendous  
ruins of her great aqueducts stretch    
away in utter loneliness to the distant 
hills2 there1 where once a prosperous   
people dwelt in plenty1 and where the   
only living things likely to be seen now
 are a statuesque goatherd and his      
nibbling flock--there1 one may gather an
 idea of the might of ancient ,rome4 ,by
 ,hadrian's ,wall1 which cuts the       
,borderland of ,england1 one may do the 
same2 and there are none of her ruined  
outposts1 east or west1 where her       
majesty is not more apparent than in the
 ,eternal ,city herself4  ,illustration3
 ,,on ,,the ,,palatine1 ,,rome  ,up on  
the ,palatine1 close to the trees that  
are seen in the sketch of the ,clovis   
,victori1 the ,etruscan wall of the     
first ,rome is now in course of         
excavation4 ,up there1 too1 are the     
remains of the first wall of the ,roman 
city built by ,servius ,tullius4 ,in the
 ,via ,merulana part of a great         
earthwork with a moat outside can still 

be seen4 ,long after ,carthage had been 
practically obliterated by her rival1   
,rome had extended so far1 and attacks  
from outside became of so great a danger
 to the inhabitants1 that ,aurelian     
found it necessary to build a line of   
defence which the present walls might be
 said to occupy4 ,from that time onwards
 the city grew steadily to a            
magnificence and power which has never  
been equalled4 ,she ruled the known     
world4 ,but it was not until            
,constantine the ,great transferred     
himself and the seat of empire to       
,byzantium that the turning-point in her
 fortunes was reached4 ,well has the    
great emperor earned that proud title6  
,from ,milan he issued the decree which 
gave to the much persecuted ,christians 
equal rights with other religions2 and  
even went further1 embracing the faith  
he had befriended4  ,many churches lay  
claim to be the oldest foundation in    
,rome4 ,s4 ,pudenziana is said to be the
 church ,s4 ,paul founded in the house  

of his ,senator friend ,pudens4 ,recent 
excavations under ,s4 ,clemente have    
brought to light early-,christian       
masonry beneath the ,republican and     
,imperial remains1 over which the       
present edifice stands4 ,s4 ,prisca is  
another ancient church2 and tradition   
attributes ,s4 ,giovanni in ,laterano1  
,s4 ,pietro1 ,s4 ,paolo1 ,s4 ,lorenzo1  
,s4 ,croce in ,gerusalemene1 ,s4        
,agnese1 and ,,ss4 ,pietro e ,marcellino
 to ,constantine's era4 ,the first four 
of these1 with ,s4 ,maria ,maggiore1    
were afterwards known as the            
,patriarchal ,churches over which the   
,pope presided4 ,with ,s4 ,croce and ,s4
 ,sebastiano1 they became the seven     
churches of ,rome4 ,in them the ,pontiff
 celebrated ,high ,mass2 and they were  
the principal churches which drew       
pilgrims from throughout ,christendom4  
,in these seven the high altar presents 
its back to the congregation1 for ,his  
,holiness celebrates ,mass with his face
 to the worshippers4 ,the ,papal        

supremacy really owed its foundation to 
,gregory the ,great4 ,but it was not    
until two hundred years after his       
decease1 when on ,christmas ,day of the 
year #hjj1 ,charlemagne was crowned by  
,leo ,,iii41 that the ,holy ,roman      
,empire became an accomplished fact4    
,unfortunately for ,ancient ,rome the   
,carlovingian period was one of         
demolition and plunder4 ,christian zeal 
cared nought for the beauty of pagan    
buildings1 and many an one was pulled   
down and a church erected with the      
material4 ,it was later on however1 in  
the time of the ,renaissance1 that      
columns and marble of every sort were   
used for the adornment of the numerous  
sacred edifices which sprang up4 ,what  
was not wanted in construction was      
ground down to make lime4 ,banding iron1
 clamps1 bronzes1 and every description 
of metal that was found were thrown into
 furnaces and melted down4 ,nothing that
 could be made use of for building      
material was spared4 ,the ,church could 

never forget the persecution she had    
undergone1 nor the thousands of martyrs 
who had died for the ,faith4 ,is it a   
matter for surprise then--a surprise one
 must add mingled with great            
regret--that the glorious buildings of  
ancient ,rome have almost disappeared8  
,whichever of all ,rome's churches was  
founded first1 there is no disputing the
 fact that the huge fabric which        
occupies one side of the ,piazza di ,s4 
,pietro is the most famous ,christian   
edifice in the world4 ,bernini's best   
work1 the grand colonnades on two sides 
of the square lead up in splendid curves
 to the great faade of ,s4 ,peter's4    
,but1 so great is the size of the       
building1 so far set back the dome1 that
 it is impossible to realise the        
immensity of either from any point of   
view in the piazza4 ,the first church   
was founded in the year #ij at the place
 where so many martyrs had suffered     
death during the time of the tyrant     
,nero4 ,the ,emperor ,constantine       

commenced afterwards the erection of a  
basilica on this spot1 the faade of     
which ,raphael has handed down in his   
fresco of the ,incendio del ,borgo4     
,when ,julian della ,rovere became ,pope
 ,julius ,,ii41 he wantonly ordered the 
destruction of the church as it then    
stood4 ,this was done to make way for a 
greater with which his own name would be
 for ever connected2 and he employed    
,bramante to design the new cathedral4  
,hands once more were laid on the       
buildings of ancient ,rome and the      
construction was begun from its ruins4  
,except for some of the columns1 the    
whole of the marble work of ,s4 ,peter's
 was1 up to the commencement of last    
century1 abstracted from the same       
source4 ,bramante's designs were never  
carried out4 ,the many alterations to   
which they were subjected after his     
death led to great dissatisfaction1 and 
in the end ,michael ,angelo was         
consulted4 ,all he could do was to      
reserve as much as possible of the great

 architect's ground plan1 and this is1  
except for the lengthening of the nave  
and the addition of the faade1 as the   
great cathedral stands to-day4  ,the    
immense travertine columns of the faade 
form part of a portico which is over two
 hundred feet in length4 ,above the     
columns runs an inscription recording   
that it was put up by the ,borghese     
,pontiff1 ,paul ,v4 ,a balustrade1      
broken by pedestals1 surmounts the      
cymatium2 on the pedestals are          
extra-colossal figures of the ,saviour  
7in the centre7 and the ,twelve         
,apostles4 ,at either end are groups of 
barroque angels surrounding a circle    
over which is the ,papal ,mitre4 ,in one
 of these circles there is a timepiece4 
,the ceiling of the portico is a fine   
example of stucco work4  ,there are five
 doors which open into the building4    
,the central is of bronze and one of the
 few things spared by the destroyer     
,julius when he demolished the old      
basilica4 ,the doors next to this are   

those by which one enters the church4   
,in ,march #aiaj the old and very       
unhygienic leather flaps were removed1  
and glazed swing-doors have taken their 
place4 ,the ,porta ,santa1 or door at   
the north end of the portico1 is walled 
up4 ,it was only opened for the purpose 
of celebrating a ,jubilee1 and has been 
closed since #ahbe4  ,many and repeated 
visits are necessary to ,s4 ,peter's    
before the size of the vast interior can
 be in any way grasped4 ,it is only when
 one is accustomed to the scale of the  
little human figures walking about and  
their insignificance in proportion to   
the whole1 that the immense height of   
even the ,corinthian pilasters of the   
piers becomes apparent4 ,the roof is    
vaulted1 coffered and gilded4 ,it is    
supported by four piers on each side of 
the nave4 ,the floor is of coloured     
marble1 and has the measurements of the 
great churches of ,christendom let in   
with brass at the spot where each would 
end if measured from the east4 ,just    

inside the central bronze door is a slab
 of porphyry upon which the emperors    
were crowned4 ,at the base of each pier1
 as well as in other parts of the       
church1 the colossal statues of the     
founders of different religious ,orders 
find a place4 ,the last pier on the     
right has a bronze figure of ,s4 ,peter 
seated1 one foot of which is partially  
worn away by the lips of devotees4  ,the
 dome grows upwards from four massive   
buttresses4 ,niches above their bases   
contain figures of ,,ss4 ,longinus1     
,andrew1 ,helena1 and ,veronica1 who    
holds the napkin with the impress of the
 ,saviour's ,face4 ,under the dome is   
the ,confessio of ,s4 ,peter1 to reach  
which a double flight of steps leads    
down4 ,eighty-nine lamps for ever burn  
on the balustrade which encloses the    
well of the entrance2 and doors of      
gilded bronze shut off the niche in     
which the sarcophagus of the ,apostle   
rests4 ,soaring high up on four bronze  
columns ninety-four feet from the floor1

 the great baldacchino rises above all4 
,but so immense is the space under the  
dome that one has no idea of the height 
it attains4 ,it was designed by         
,bernini1 and is made partly of the     
bronze which covered the roof of the    
,pantheon4  ,nothing at all can be said 
in praise of ,bernini's design4 ,the    
high altar1 at which only the ,pope     
celebrates mass1 is above the ,confessio
 and directly under the cross which     
forms the apex of this somewhat         
unsightly mass of metal4 ,the interior  
decoration of the dome is not in any way
 striking4 ,above the four statues of   
the already enumerated saints are the   
loggie1 containing the sacred relics of 
the lance which pierced the crucified   
,saviour's side1 the head of ,s4        
,andrew1 a portion of the ,cross1 and   
the ,volto-,santo--the napkin or        
handkerchief of ,s4 ,veronica1 which    
wiped the ,lord's brow on the way to    
,calvary4 ,four mosaics of the          
,evangelists are beneath the frieze     

which carries the drum of the dome2 and 
a series of four each are between the   
sixteen gilded ribs of the vaulting4 ,in
 the tribune at the east end of the     
cathedral is the ancient wooden         
episcopal chair of ,s4 ,peter4  ,amongst
 other celebrated things which ,s4      
,peter's contains is the ,piet of       
,michael ,angelo in the ,capella della  
,piet4 ,the great sculptor has inscribed
 his name on the girdle of the          
,virgin--the only occasion on which he  
has done so4 ,opening out from this     
chapel is another1 in which is a column1
 said to be that against which ,christ  
leaned when preaching in the ,temple at 
,jerusalem4 ,adjacent to this is the    
tomb of the great ,countess ,matilda by 
,bernini4 ,the tombs and monuments of   
many ,popes are to be found in other    
chapels1 but none of them possess any   
real artistic merit4 ,the best is that  
of ,alessandro ,farnese1 ,pope ,paul    
,,iii4 ,it is by ,guglielmo della       
,porta1 and was one of the most         

expensive to erect4 ,in the crypt1 which
 is divided into two parts1 the ,grotte 
,vecchie1 and the ,grotto ,nuovo1 are   
the sarcophagi and fragments of         
sarcophagi of many other ,popes1 among  
them being that of ,nicholas            
,breakspeare1 the only ,englishman who  
ever attained the dignity4 ,the         
sarcophagus of ,s4 ,peter1 already      
mentioned1 is in the ,confessio1 or     
shrine of ,,ss4 ,peter and ,paul1 which 
is richly ornamented with gold and      
studded with jewels4  ,in the ,stanza   
,capitolare1 which is part of the       
sacristy1 are some remnants from the    
brush of ,giotto that at one time       
adorned the walls of the old ,confessio4
 ,the treasury contains a wonderful     
collection of jewelled crucifixes and   
candelabra4 ,among the latter is to be  
found the work of ,cellini and ,michael 
,angelo4 ,the famous sacerdotal robe    
known as the ,dalmatica di ,papa ,san   
,leone1 and said to be that used at the 
coronation of ,charlemagne1 is also kept

 here4 ,apart from its sacred interest1 
the great cathedral of ,s4 ,peter's     
cannot be said to raise any feelings    
other than wonderment at its size and   
admiration for its grand proportions4   
,the exterior is disappointing1 and many
 and many a visit must be paid to the   
interior before wonderment reaches      
admiration4 ,just as it is possible to  
gain the best impression of the power of
 ancient ,rome outside ,rome itself1 so 
does one grasp the size of the mighty   
fabric only when some miles away in the 
country beyond the walls4 ,climb the    
lower slopes of the hills near ,tivoli  
or ,frascati1 and what does one see8    
,apparently a level plain1 out of which 
rises far away a marvellous dome4 ,from 
,tivoli1 especially1 one sees nothing of
 the city on the ,seven ,hills4 ,the    
line of fir-trees beyond ,monte ,mario  
is visible1 and maybe1 the afternoon sun
 shining on the distant ,mediterranean4 
,but save for the great dome there is   
nothing to indicate to the eye that the 

,eternal ,city lies well within the     
range of vision4 ,yet in ,rome itself1  
though it is paradoxical to say so1 the 
dome of ,s4 ,peter's in no way dominates
 anything1 albeit that it rises above   
everything else4 ,the enormous monument 
in course of erection on the ,capitoline
 appears bigger4 ,each of the seven     
hills seems to be of greater altitude4  
,but the former is not so large1 and the
 latter do not reach the same height4   
,thus1 the great church holds her       
own--but1 physically as well as         
spiritually1 one must go outside ,rome  
to realise this4  ,to return to ancient 
times1 we find an absorbingly           
interesting link with pre-,christian    
days sculptured on one of the panels    
which decorate the interior of the ,arch
 of ,titus4 ,the ,via ,sacra passed     
under this arch1 which was erected to   
commemorate the taking of ,jerusalem4   
,the panel in question has figured on it
 in bas-relief a procession bearing the 
seven-branched candlestick and          

tabernacle which were spoils from the   
,jewish ,temple4 ,this is the only known
 material proof existing of the former  
object1 and may therefore be justly said
 to be of surpassing ecclesiastical     
interest4 ,through the archway one sees 
the half-ruined walls of the ,colosseum1
 the greatest amphitheatre in the world4
 ,this1 too1 is of intense religious    
interest4 ,in the arena hundreds of     
,christian martyrs were torn to pieces  
by wild beasts1 or butchered to fill the
 passing hours with amusement for the   
,roman populace4 ,pope ,benedict ,,xiv4 
consecrated the interior after erecting 
gates outside to preserve it from the   
demolition which up to his day had been 
going on for centuries4 ,small chapels  
were also formed amongst the lower      
structural arches1 and services held    
where once the walls resounded to the   
shouts of bloodthirsty spectators4      
,close by the ,colosseum is another fine
 archway1 the ,arch of ,constantine4    
,this likewise1 has an interest apart   

from its design4 ,it was put up when the
 great emperor declared himself in      
favour of the ,christian faith4 ,the    
devout may ponder over the fact that    
these two arches1 so closely connected  
with ,christianity1 are still standing1 
while nearly every other has long since 
been razed to the ground4               
,illustration3 ,,the ,,arch ,,of        
,,titus1 ,,rome  ,away to the south-east
 of these three buildings the ,mother   
,church of ,rome is situated close to   
the city walls4 ,here1 on rising ground1
 overlooking the vast ,campagna1 stands 
,s4 ,giovanni in ,laterano1 omnium urbis
 et orbis ecclesiarum mater et caput4   
,dedicated originally to ,christ the    
,saviour1 and afterwards in the sixth   
century to ,s4 ,john1 this fine basilica
 is of much greater1 archological       
interest than ,s4 ,peter's4 ,the present
 building dates from the seventeenth    
century4 ,all that remains of the once  
attached ,benedictine monastery is to be
 found in the very beautiful cloisters1 

which are a transition between          
,romanesque and ,gothic4 ,the church    
itself has a fine eastern faade--it     
orientates to the west--of five arches  
with an intervening gallery4 ,in the    
atrium is a statue of ,constantine found
 in his ,therm4 ,the interior of the    
basilica is simple1 with a very good    
opus ,alexandrinum floor4 ,the aisles   
are double1 and are separated from the  
nave by eleven bays on each side4       
,colossal statues of ,apostles and      
,prophets find places at the bases of   
the pillars4 ,the transepts and tribune 
are raised above the body of the church4
 ,in the centre1 the high altar is      
situated under an ornate ,gothic canopy4
 ,this contains a tabernacle1 erected   
partly at the expense of ,charles ,v4 of
 ,france1 to receive the busts of ,,ss4 
,peter and ,paul which were found amidst
 the ruins of the older church4 ,a few  
years ago the tribune was extended and  
beautifully inlaid with mosaic carrying 
out a design of the thirteenth century4 

,michael ,angelo is said to have        
designed the flat ceiling of the nave1  
and there is a wooden figure of ,s4     
,john by ,donatello in the sacristy4    
,in the ,piazza di ,s4 ,giovanni in     
,laterano stands a building that        
contains the ,scala ,santa1 a flight of 
steps from ,pilate's palace in          
,jerusalem1 which ,christ is said to    
have ascended4 ,they are covered with   
wood1 and may only be ascended on the   
knees4 ,light enters through barred     
windows1 and partly illumines the solemn
 gloom of this deeply interesting place4
 ,at the top of the stairs is the       
,sancta ,sanctorum1 on the architrave   
above which is engraved in ,latin3      
,there is not a place in the whole world
 more holy4 ,this was the old chapel of 
the ,popes and the only part of the     
,pontifical palace that the fire of     
#acjh did not consume4 ,the present     
,palazzo del ,laterano was built on part
 of the site of that which this fire    
destroyed4 ,the old palace was the      

residence of the ,popes from the time of
 ,constantine until their migration to  
,avignon4 ,the building that now enjoys 
the above title is a museum1 wherein are
 many fine pieces of pagan sculpture as 
well as other interesting antiquities4  
,the baptistery of the ,lateran stands  
to the west of the basilica4 ,the       
interior of this octagonal building is  
simple but not well lighted4 ,eight     
porphyry columns support an antique     
architrave2 and eight smaller columns of
 marble rise from this and support the  
dome4 ,the font is in the centre of the 
floor1 which is lower than the pavement 
near the walls4 ,it is of green basalt1 
and is supposed to be that in which the 
,anglo-,saxon king ,caedwalla was       
baptised in the year #fhi4 ,rienzi      
bathed in it the night before he        
summoned the ,pope and the ,electors of 
,germany to appear before him for       
judgment4  ,another and more magnificent
 basilica is that of ,s4 ,paolo fuori1  
which is situated two miles out of ,rome

 on the ,via ,ostia4 ,it is the grandest
 of the many basilicas ,rome possesses4 
,constantine erected a tropum1 or       
sepulchral monument over the spot where 
,lucina buried the apostle's body2 and  
in #chf the ,consul ,sallustrius by the 
,emperor's order began to build the     
church1 which was known as the ,basilica
 ,ostiensis4 ,the little town that arose
 around this sacred spot was on the     
banks of the ,tiber1 and from its       
position was subject to raids from the  
,saracens and other marauders who sailed
 up the stream4 ,john ,,viii4 in the    
ninth century enclosed the basilica and 
most of the surrounding buildings within
 a fortified wall4 ,for fifteen hundred 
years this grand church has had as      
venerated a shrine as ,s4 ,peter's4 ,the
 kings of ,england were its protectors  
until the ,reformation severed their    
connection with the ,roman creed2 and   
sovereigns from all parts of            
,christendom came here to worship4 ,on  
,july #ag1 #ahbc1 the pine roof caught  

fire and fell into the nave4 ,the heat  
from the smouldering mass was so great  
that some of the columns split and the  
whole fabric was almost entirely        
destroyed4 ,pius ,,ix4 presided at a    
great function in #ahed1 when prelates  
from all over the world assisted at the 
consecration of the restored building4  
,eighty monoliths of ,simplon granite1  
brought down ,lake ,maggiore to the     
river ,po and then by sea up the ,tiber1
 sustain the roof of the nave and       
aisles4 ,a series of ,papal portraits   
form a frieze above them4 ,magnificent  
columns of ,egyptian alabaster presented
 by ,mehemet ,ali1 ,viceroy of ,egypt1  
support the baldacchino over the high   
altar4 ,the bases of these columns are  
malachite1 and were given by the ,czar  
,nicholas of ,russia4 ,many other       
portions of this noble church were given
 by other princes4 ,the dismay and      
regret at its destruction were          
universal4 ,the body of ,s4 ,paul rests 
in the ,confessio beneath the altar4    

,the very beautiful cloisters of the old
 ,benedictine monastery1 now a barrack1 
vie with those at ,monreale in ,sicily1 
which are illustrated in another        
chapter4 ,the noble atrium at the west  
end of the basilica is almost complete1 
and when it is finished and opened out  
to the river1 ,s4 ,paolo fuori will once
 more take rank as one of the grandest  
ecclesiastical edifices in ,italy4      
,among the other basilicas of ,rome1 ,s4
 ,maria ,maggiore1 or the ,basilica     
,liberiana1 is the largest1 and commands
 a fine position on the ,esquiline4 ,s4 
,sabina on the ,aventine1 that hill     
which is still almost entirely covered  
by gardens1 is connected with the       
,dominican monastery that adjoins it4   
,the church possesses a wonderfully     
carved wooden door and an orange tree in
 its court which grew from an orange pip
 that ,s4 ,dominic planted4 ,s4 ,agnese 
fuori is close to one of the entrances  
to the numerous catacombs4 ,into this   
church every twenty-first day of        

,january two lambs are brought to be    
blessed4 ,after the ceremony is over    
they are presented to his holiness at   
the ,vatican1 and then sent to the      
convent of ,s4 ,cecilia-,trastevere4    
,here the good nuns weave their wool    
into palliums1 which are subsequently   
worn by different metropolitans of the  
church4  ,the only ,gothic church in    
,rome is that of ,s4 ,maria sopra       
,minerva4 ,it contains the tomb-slab of 
,fra ,angelico1 whose face1 rendered in 
marble1 has a very sad and rather       
austere look4 ,the interior of the      
church is marble1 and it cannot be said 
that this polished shining surface is   
desirable for the lines of a ,gothic    
building4 ,not far from ,s4 ,maria is   
the most perfect pagan edifice in all   
,rome--the ,pantheon4 ,here again we    
have a heathen fabric that afterwards   
became a ,christian church4 ,boniface   
,,iv4 consecrated the temple1 that      
,marcus ,agrippa had built more than six
 hundred years previously1 to ,s4 ,maria

 ad ,martyres4 ,sixteen huge columns of 
oriental granite form the portico1 and  
the ancient bronze doors still remain4  
,the interior is a magnificent rotunda  
lighted by a circular aperture in the   
centre of the coffered dome4 ,against   
the walls1 in recesses1 rest the        
sarcophagi of ,raphael and other        
painters4 ,here too1 sleeping his last  
long sleep1 lies ,king ,victor ,emmanuel
 ,,ii41 to whom all ,italians owe so    
much4  ,illustration3 ,s4,s4 ,,trinit   
,,de' ,,monti1 ,,rome  ,the church best 
known to foreigners is undoubtedly that 
which figures in the illustration1 ,s4  
,trinit de' ,monti4 ,there is nothing   
about the church itself to call for     
comment2 but its fine position1 above   
the beautifully arranged steps1 in the  
middle of what may be called the foreign
 quarter1 makes it worthy of note4      
,close by is the ,villa ,medici1 the    
,french ,academy of ,rome4 ,at the base 
of the steps is the flower market4      
,until recently ,italians had a great   

objection to cut flowers in their       
rooms--they were supposed to be         
unhealthy4 ,through foreign influence   
this is slowly giving way1 and the      
market is as much patronised by the     
,romans as by the residents of other    
nationalities4 ,not many years ago the  
foot of these steps used to be thronged 
every morning by artists' models1 who1  
in the picturesque garb of their native 
districts1 sat here waiting for a day's 
hire4 ,the few who still do this have   
moved off to the steps of the ,greek    
church in the ,via del ,babuino1 and the
 flavour of the ,campagna and the       
mountains they gave to the ,piazza di   
,spagna is now a thing of the past4     
,everything changes1 everything passes  
away4 ,the gaily coloured costumes of   
the ciociare1 the peasants from the     
districts between ,rome and             
,naples--so-called from the cioce or    
sandal they wear--is now never seen4    
,the exaggerated dress of the flower    
sellers1 who pester the foreigner to buy

 little faded nosegays1 is simply worn  
for the purpose of extracting soldi and 
as a subterfuge for begging4 ,away up in
 the mountains beyond ,tivoli are two   
villages1 ,saracenesco and ,articoli4   
,though they are adjacent the dialect of
 the inhabitants is different4 ,there is
 a deadly feud between them4 ,they both 
provide the artist in ,rome with models4
 ,those who come from the last named    
pose for the figure1 but those from     
,sarecenesco will only sit draped4 ,they
 still provide the wet-nurses for ,roman
 babies2 for the physique of these      
,sabine villagers is very fine1 as fine 
perhaps as in the days when the ,sabine 
women were carried off by ,roman youths4
  ,beyond the ,villa ,medici lie the    
beautiful gardens of the ,pincio4 ,from 
the terrace at the end1 on the brow of  
the hill1 one gets the famous view of   
,rome4 ,the shady walks and well-kept   
drives of these noted gardens1 and those
 of the adjoining ,villa ,borghese1 are 
the favourite rendezvous in the evening 

for ,roman society4 ,we must leave this 
beautiful pleasaunce and dive down into 
the labyrinth of streets below4 ,nothing
 probably strikes one so much on a first
 visit to the ,eternal ,city as the     
number of fountains and obelisks that   
are to be found in whichever direction a
 morning's walk takes one4 ,rome is the 
best supplied of any capital in the     
world with water1 and though she has not
 the thirteen thousand odd fountains    
recorded by ,cardinal ,mai in the year  
#aedj1 those that remain still flow     
unceasingly4 ,the ,aqua ,virgo brought  
into ,rome by ,agrippa to supply his    
therm at the back of the ,pantheon      
rushes a never-failing supply into the  
huge ,fontana di ,trevi4 ,one may       
sometimes see a ,roman of the poorer    
class drinking furtively from the basin 
into which the water runs1 drinking     
because he is leaving his native city   
and wishes to assure a safe return4 ,the
 ,fontana del ,tritone is formed by     
dolphins1 whose tails meet to support   

the coat-of-arms of the ,barberini--the 
fine ,palazzo ,barberini is close       
by--and is surmounted by a ,triton      
holding a conch shell to his mouth4 ,in 
quite another district1 down by the     
river hidden away amidst the narrow     
streets of the ,ghetto1 is the little   
,piazza ,tartaruga4 ,in the middle of   
this charming little square stands the  
,fontana delle ,tartaruga4 ,the design  
of this beautiful ,fountain of the      
,tortoises has been attributed to       
,raphael4 ,it is certainly worthy of his
 great name4 ,the bronze figures of the 
four youths supporting the basin of the 
fountain are exceptionally good4 ,with  
one hand each grasps the tail of a      
dolphin1 the other is raised above their
 heads to assist the struggles of the   
little bronze tortoises that are        
endeavouring to crawl over the slippery 
wet lip of the bowl4 ,the ,fontana ,la  
,barcassia1 in the ,piazza di ,spagna1 a
 corner of which is seen in the sketch  
of ,s4 ,trinit de' ,monti1 is no doubt  

better known than the last named1 but   
there is no public fountain in ,rome    
that approaches in any way the artistic 
merit of ,the ,tortoises4  ,it is but a 
step from this to the gloomy looking    
,palazzo ,cenci1 which recalls the      
tragedy of ,beatrice of that name4      
,another pace further on and we find    
ourselves in a recently cleared space   
with the new ,jewish ,synagogue standing
 close to the river ,embankment4 ,here  
was situated the old ,ghetto of ,rome1 a
 quarter which is being fast demolished4
 ,one certainly cannot regret the       
disappearance of some of the abominable 
slums that not so long ago stood where  
the housebreaker's pick and shovel have 
been at work4 ,it was but a few yards   
from the synagogue that the sketch of   
the ,isle of ,s4 ,bartholomew and the   
old ,roman ,pons ,fabricius was made4   
,s4 ,bartolommeo is the only island on  
the ,tiber in its course through ,rome2 
and the picturesque buildings of the old
 monastery are the only buildings left1 

which the yellow river washes1 of all   
those that less than thirty years ago   
lined its banks4 ,there is a different  
air about the ,trastevere district      
across the water4 ,it is another city   
altogether than the one left behind on  
the other bank4 ,the foreigner is not so
 much in evidence1 we are once again in 
,italy4 ,mount the steep ascent of the  
,janiculum1 and from the wide space in  
front of the colossal equestrian statue 
of ,garibaldi you will get a grand view 
of ,rome1 with the ,campagna and ,alban 
mountains beyond4 ,from the top of the  
hill1 as one turns northwards1 we seem  
on a level with ,s4 ,peter's great dome4
 ,one is puzzled once again1 when       
remembering how it really towers above  
all1 to find that it is not of much     
significance in the view4 ,nothing of   
course is seen of the ,vatican1 which is
 situated on the other side of ,s4      
,peter's4 ,in the illustration of the   
,cathedral1 however1 there is just      
visible the corner which adjoins it4    

,illustration3 ,,the ,,isle ,,of ,s4    
,,bartolomeo1 ,,rome  ,the ,vatican is  
the largest ,palace in the world and    
contains the vastest and most           
heterogeneous collection of all4 ,it is 
quite impossible to enumerate a tenth of
 the treasures hidden behind its        
ochre-coloured walls4 ,neither can one  
enter here into any description of the  
,sistine chapel with ,michael ,angelo's 
masterpiece1 or ,raphael's magnificent  
frescoes in the ,stanze and ,loggie4 ,we
 must pass over the famous picture      
gallery and the antiquities in the      
,museo ,pio-,clementino and the ,museo  
,chiaramonti1 simply remarking that the 
,vatican ,museums hold the finest       
collections in the world4 ,there is one 
antique in the square outside which     
deserves a passing notice1 and that is  
the great monolith of granite standing  
in the centre of the ,piazza di ,s4     
,pietro4 ,if ,rome is a city of         
fountains1 it is also a city of         
obelisks4 ,this enormous block of stone 

was brought by ,caligula from           
,heliopolis and placed in the circus of 
,nero1 which occupied so much of the    
ground on which the great basilica was  
afterwards erected4 ,eight hundred men1 
besides many horses and over forty      
cranes1 were requisitioned to elevate it
 in its present position4 ,turning away 
from the ,vatican and diving into the   
squalid quarters of the ,borgo1 one     
comes on to the covered passage which   
,john ,,xxiii4 commenced to build in    
order to afford a safe mode of retreat  
from the palace to the ,castle of ,s4   
,angelo4 ,the fortress of ,s4 ,angelo   
was erected by the ,emperor ,hadrian as 
his family tomb2 and1 as such1 its      
exterior was perhaps decorated with     
statues4 ,the ,emperor died in his villa
 at ,bai on the ,bay of ,naples1 but his
 body was brought here1 to be joined1 as
 time went on1 by the mortal remains of 
,marcus ,aurelius1 ,caracalla1 and      
others4  ,the history of the castle is  
the history of ,rome in the ,middle     

,ages4 ,it has many times withstood a   
siege1 and among other vicissitudes fell
 before the prowess of ,totila and his  
,goths4 ,the sarcophagus of its founder 
was used as the tomb for ,innocent      
,,ii41 and its inverted lid now forms   
the font in the baptistery of ,s4       
,peter's4 ,the streets in the           
neighbourhood of the castle have        
undergone an absolute change4 ,wide     
thoroughfares and huge blocks of flats  
cover the ground that a few years ago   
was a huge slum4 ,the new ,courts of    
,justice face the river1 and the        
embankment in front is now a fine       
boulevard4 ,we cross the water once     
more1 by the ,ponte ,margherita1 the    
bridge which is highest up the ,tiber1  
and find ourselves in that fine square  
the ,piazza del ,popolo4 ,above the     
beautiful terraces that form the        
precipitous slope of the ,pincio1 the   
trees that adorn the gardens stand out  
against the blue of the sky4 ,at the    
foot of the terraces is the church of   

,s4 ,maria del ,popolo1 erected on the  
site of the ,domitii tombs1 the         
ghost-haunted burial place of the cruel 
,nero4 ,adjoining the church is a grand 
gateway1 the ,porta del ,popolo4 ,under 
its arches on the straight road that    
runs north1 the ,via ,flaminia1 marched 
out of ,rome all those legions that went
 forth to conquer and to extend the     
bounds of an ,empire that has seen no   
rival4     ,,naples   ,the old ,greek   
colony of ,parthenope was founded by    
settlers from ,cum1 and when the        
islanders of ,pithecus 7,ischia7 built  
their adjoining town of ,neapolis1 it   
became known as ,palopolis4 ,its port   
was where the harbour of ,s4 ,lucia     
existed up to twenty years ago4         
,neapolis occupied that part of the     
present ,naples which lies to the east  
of this4 ,about #djj ,b4,c4 the         
,republic1 formed by these two then     
united towns1 allied itself with ,rome2 
and during the height of the ,empire's  
power1 her rulers1 statesmen1 and poets 

built themselves residences on the      
shores of the beautiful bay4 ,augustus  
did much for ,neapolis1 and ,tiberius   
sought refuge in that entrancing island1
 ,capri1 where to this day his infamies 
are a byword4 ,claudius1 ,nero1 ,titus1 
and ,hadrian1 whose palace can be seen  
under the waters of the blue            
,mediterranean near ,pozzuoli1 have all 
left traces of some sort or other in and
 about ,naples4 ,lombards and ,normans1 
,swabians and ,spaniards were each in   
turn drawn hither1 allured by the beauty
 of the situation4 ,colossal figures in 
marble of the most famous rulers of     
,naples occupy niches on the faade of   
the ,royal ,palace1 and here ,roger the 
,norman1 ,frederick ,,ii41 the ,swabian1
 who founded the university1 ,charles of
 ,anjou1 ,alfonso of ,arragon1 ,charles 
,,iii41 ,joachim ,murat1 and ,victor    
,emmanuel ,,ii4 gaze stonily from their 
retreats at the noisy tram and rushing  
motor-car4  ,the ,spanish ,bourbons were
 the last to rule in ,naples before     

,italy was united towards the close of  
the last century4 ,they did much to     
improve the city but nothing to help its
 people4 ,twenty years ago there were   
still left members of the aristocracy   
who every year journeyed to ,paris to   
pay their court to ,francis ,,ii41 the  
last of that race of kings whose reign  
had ended at the disastrous battle of   
,gaeta4  ,naples1 like ,rome1 changes   
every year4 ,modern improvements bring  
sanitation1 but do away with all that is
 picturesque4 ,all over the world hotels
 are becoming a great factor in the life
 of the folk who have spare cash1 and   
,naples1 with her splendid water supply 
and unrivalled position1 is not behind  
in her eagerness to catch the           
foreigner's gold4 ,tourists by the      
thousand reach her by sea1 and the      
enterprising agents who arrange the     
itinerary pop them into cabs1 drive them
 through the streets1 and deposit them  
at the far-famed ,museum1 where they are
 hustled from one gallery to another by 

the anything but intelligent guide4     
,however1 the ,museum alone is worth a  
visit to ,naples4 ,the ashes from ,mte  
,somma which smothered ,pompeii1        
preserved for subsequent ages objects in
 bronze1 in earthenware1 and in glass1  
which lie in their cases--an open book  
of the domestic life of the ,roman for  
every one to read4 ,the great ,farnese  
,hercules1 brought by ,caracalla from   
,athens to adorn his baths in ,rome1 is 
in one of the lower galleries4 ,it is   
without exception the finest            
illustration of mighty strength in      
repose that exists4 ,in the days when   
,glycon the ,athenian evolved and       
produced this masterpiece1 art was of   
more account in the lives of the people 
than it is now1 and so much was his     
,hercules appreciated and admired that  
it was impressed on the money of ,athens
 and the coins of ,caracalla4 ,among the
 many small statuettes that the         
excavator's shovel has been the means of
 bringing to light is a very beautiful  

little winged figure of ,victory4       
,nothing can exceed the grace of the    
composition and the floating-in-air     
quality this small treasure possesses4  
,one of the best specimens of ,greek    
bronze work is the so-called ,narcissus4
 ,a row of bronze statues from the      
theatre at ,pompeii place vividly before
 one the actors of the ,greek stage1    
just as the armour and magnificent      
helmets of the gladiators bring the     
arena and its gory triumphs in front of 
one's eyes4  ,but1 like the tourist1 we 
must hurry on to the cathedral4 ,the    
faade1 approached by steps from the     
narrow street1 is not in any way        
noticeable4 ,the interior retains some  
of the original ,gothic1 but1 owing to  
earthquakes1 has been altered and       
restored1 and now presents itself as a  
great incongruity to the eye4 ,the      
illustration will make this apparent4   
,gothic arches form the bays of the     
nave4 ,the aisles are also ,gothic1 and 
so is the arch over the tribune at the  

east end4 ,corinthian shafts and dark   
marble pilasters run up the square piers
 of the nave4 ,at the base of the       
shafts1 under classic canopies1 are the 
busts of numerous archbishops1 and      
between the piers are the confessionals4
 ,these latter give a rich note of      
brown1 which1 with the gilded candelabra
 on either side of the busts1 finds an  
echo in the heavy and richly coloured   
ceiling4 ,the vista of the north aisle  
is the best architectural feature in the
 building4 ,the south aisle is marred by
 the obtruding classic columns of its   
side chapels4 ,at the high altar1 which 
the illustration shows1 the blood of ,s4
 ,januarius liquefies every year on the 
anniversary of the saint's martyrdom in 
,september4 ,the whole cathedral is then
 crowded1 and the intense fervour and   
excitement of the immense congregation  
when the blood1 in a phial held aloft by
 the officiating priest1 begins to      
liquefy1 is a sight that once seen can  
never be forgotten4  ,illustration3     

,,interior ,,of ,,the ,,cathedral1      
,,naples  ,immediately under the high   
altar in the crypt is the ,confessio of 
,s4 ,gennario4 ,its marble roof is      
supported by ten ,ionic columns4 ,the   
richly sculptured decoration of the     
chapel is very fine4 ,the figure of     
,cardinal ,caraffa1 who built it1 kneels
 beside the altar under which repose the
 saint's remains4 ,one other thing of   
architectural note is the ,archbishop's 
throne in the nave4 ,this good specimen 
of ,gothic work is upheld by most       
elaborately sculptured pillars1 and     
arches with extremely beautiful tracery4
  ,the most interesting part of ,naples 
lies round the cathedral4 ,narrow       
streets1 darkened by the clothes that   
hang from balcony and pole1 form a maze 
which it is easy to wander into1 but    
very difficult to escape from4 ,some of 
the finest of the old palaces stand in  
these dirty thoroughfares4 ,one may pass
 them a dozen times and still be quite  
unaware of their existence4 ,the moving 

crowd that throngs these narrow streets 
does not show any particular regard for 
the sightseer1 and the careless ,jehu   
who drives whither he will is absolutely
 unmindful of the pedestrian4 ,so if you
 would explore old ,naples you must look
 after yourself1 and--as a caution      
too--look after your pockets4 ,it is    
unwise to display a watch chain1 or to  
carry anything that may be easily       
snatched from the hand4 ,remember you   
are in the midst of expert thieves and  
among the most heterogeneous race on the
 face of the globe1 a race without the  
slightest idea of morals of any sort    
whatever4 ,in the tortuous ,via ,s4     
,biagio stands a thirteenth-century     
palace built by one of the ,caraffa     
family1 and since known as the ,palazzo 
,santangelo4 ,some of the best objects  
in the ,museum first found a home in    
this fine old house4 ,pope1 ,paul ,,iv4 
and the great ,neapolitan cardinal1     
,caraffa1 were born in the ,palazzo     
,caraffa in the same street4 ,the       

central post-office is now housed in the
 ,palazzo ,gravina1 built in the        
fifteenth century by one of the ,orsini2
 and the great dwelling of the          
,monticelli is one of the best specimens
 of the domestic architecture of the    
same century4  ,not far from the        
post-office is the church of ,s4        
,chiara4 ,despite the hideous scheme of 
decoration which has transformed an     
otherwise fine concert hall--for ,s4    
,chiara is more like one than a         
church--into a curiosity of bad taste1  
there is a great deal of interest within
 the fabric4 ,founded at the            
commencement of the fourteenth century  
by ,robert the ,wise1 the church        
contains his monument and also others of
 the royal house of ,anjou4 ,the        
frescoes with which ,giotto adorned the 
walls have long ago disappeared1 and if 
it were not for the royal tombs ,s4     
,chiara would not be worth a visit4     
,behind the high altar1 at the back of  
which stairs lead up to a platform      

enabling one to examine it1 is the      
magnificent tomb of ,king ,robert4 ,the 
royal sarcophagus rests on ,gothic      
pillars and is adorned by sculptures of 
the king and his children4 ,his         
recumbent figure lies extended in the   
garb of a ,franciscan1 which ,order he  
entered a few days before his death4    
,above this1 under a canopy1 is his     
figure seated on a throne and clad in   
royal robes4 ,the beautiful ,gothic     
canopy is supported by slender clustered
 columns1 with five rows of saints in   
niches carried up to the base of the    
crocketed pinnacles that surround the   
canopy4 ,robert's son ,charles1 ,duke of
 ,calabria1 and ,mary of ,valois1 his   
second wife1 lie in sarcophagi that are 
upheld by figures of angels4 ,these two 
splendid tombs are to the south of the  
great king's4 ,to the north are those of
 ,mary1 ,empress of ,constantinople1 and
 of her third husband1 ,philip of       
,taranto4 ,two of her children1 ,agnese 
and ,clementia1 lie also near by2 the   

former1 who was married twice1 espoused 
firstly one of the ,scaligeri1 or della 
,scala1 of ,verona4 ,to the right of the
 high altar is a chapel adorned with    
fleur-de-lys1 the burial place of the   
royal house of ,bourbon4 ,this little   
chapel and the tombs in it lose greatly 
in historical sentiment by their hideous
 and garish surroundings4  ,s4 ,domenico
 ,maggiore1 the curious exterior of     
which is illustrated1 was originally a  
noble ,gothic edifice4 ,the restorer1   
unfortunately1 has altered and added to 
this1 and although the interior plan is 
much the same as when first erected1 the
 terrible colours with which it is      
covered detract in no small measure from
 its very fine proportions4 ,the sketch 
shows the exterior of the five-sided    
apse4 ,the dull yellow tufa with which  
it is faced and the embattled cornice   
and buttresses give it a decidedly      
eastern appearance4 ,s4 ,domenico may be
 entered by the door just visible on the
 left1 to reach which one toils up a    

long flight of moss-grown steps4 ,push  
aside the heavy leather flap1 and the   
noisy little piazza1 with all ,naples   
beyond1 are immediately things of the   
remote past4 ,you are in a beautiful    
little twelfth-century chapel4 ,its     
walls are lined with most interesting   
tomb slabs4 ,note the short figures on  
each4 ,the ,neapolitan is very low of   
stature1 and these short figures1       
although the tombs are of the twelfth   
and two succeeding centuries1 point to  
the surmise that the men of the south   
were never tall4 ,from this chapel one  
enters the great church at the south    
transept4 ,immediately on our left is   
the sacristy4 ,here in the gallery which
 occupies one wall are forty-five burial
 chests1 among which ten hold the       
remains of ten princes and princesses of
 the royal line of ,aragon4 ,those which
 have been identified are ,ferdinand ,i4
 and ,,ii41 one of the ,dukes of        
,montalto and his ,duchess1 and         
,cardinal ,louis d',aragona4 ,another   

contains the husband of the celebrated  
,vittoria ,colonna1 the ,marquis of     
,pescara who defeated ,francis ,i4 at   
,pavia4 ,there is something of interest 
to be found in every chapel in the      
church4 ,in one of them is the crucifix 
which conversed with ,s4 ,thomas        
,aquinas while he was composing his     
,summa ,theologi4 ,the saint's cell may 
still be seen1 and also the room in     
which he gave his addresses when        
lecturer in the university that was     
within the walls of the adjoining       
monastery4 ,the high altar1 raised well 
above the steps of the choir1 is one of 
the most remarkable specimens of        
,florentine inlay in the country4 ,it   
has the curious adjuncts of a recessed  
seat on either side1 and two very fine  
marble candelabra4  ,illustration3 ,s4  
,,domenico ,,maggiore1 ,,naples  ,these 
are but three of the three hundred      
churches ,naples possesses4 ,climb the  
hill of the ,mte ,calvari crowned by the
 ,castel ,sant' ,elmo and look out from 

the ,belvedere in the suppressed        
,carthusian monastery of ,s4 ,martino4  
,try to count the towers1 domes1 and    
spires standing out from the carpet of  
roofs below4 ,you will be fatigued      
before you have reached the second      
hundred4 ,perhaps the magnificent       
prospect over the blue bay1 with ,isola 
da ,capri and the ,punta ,campanella in 
the distance1 the ,sorrentine peninsula 
and the wonderful shape of ,vesuvius on 
the left1 will distract your arithmetic4
 ,at any rate the counting of the       
churches is not worth the trouble when  
such a glorious view lies before one4   
,beyond the garden--the old monastic    
garden1 how the monks must have revelled
 in it6--and beyond the roofs below1 the
 ,castel dell' ,ovo juts out into the   
bay4 ,to the left of it1 shipping of all
 nationalities rides the water along the
 quays near the ,arsenal and royal      
palace4 ,the funnels of huge liners     
stand up amidst a forest of masts beyond
 the ,immacolatella in a fine sweep to  

the ,rione ,margherita di ,savoia4      
,coasting boats with sails like         
butterflies skim the water4 ,down in the
 harbour all is animation2 but so far   
are we above it that not a sound breaks 
through the distant hum to enable us to 
distinguish any one particular note4    
,the cloisters of ,s4 ,martino are very 
beautiful4 ,sixteen white marble ,doric 
columns form the arcade on each of the  
four sides4 ,the cells of the departed  
monks are shut now and the holes through
 which their food was passed1 bricked   
up4 ,the walls are white2 the classic   
well-head in the centre of the garden is
 white and so are its steps4 ,the little
 burial ground in one corner of the     
court has a white marble balustrade on  
which are very realistic white marble   
skulls4 ,everything gleams white in this
 quiet court1 and the deep blue of the  
southern sky intensifies it all4 ,for a 
painter it is a rare study1 but perhaps 
not so fine an one as ,i once saw years 
ago4 ,it was in ,january1 snow had      

fallen for two or three days--even      
,capri was covered--when with a friend  
,i walked up to the ,carthusian         
monastery of ,camaldoli4 ,we reached it 
just as the fall which had been going on
 all day ceased4 ,a thick white carpet  
of fresh untrodden snow lay round us4   
,the white monastery walls looked dull4 
,we rang at the gate1 a white garbed    
monk opened it4 ,we were in a white     
courtyard surrounded by white walls1 and
 a line of white monks moved slowly     
towards the chapel4 ,everything was     
white4 ,but what a subtlety in the      
distinction of the colour6 ,only the sky
 was grey1 and that such a beautiful    
pearly tone4 ,i question if pigment even
 in a master's hand could have          
faithfully reproduced the scene4        
,naples was very different in those     
days4 ,s4 ,lucia existed then4 ,now the 
old harbour is filled up and modern     
hotels stand where frail wooden piers   
ran out into the water4 ,from these     
spider-like structures oysters hung down

 in baskets fructifying in the outlet of
 the main sewer6 ,s4 ,lucia was         
surpassingly picturesque and gay with   
the life of the lowest class1           
but--surpassingly odoriferous4 ,stalls  
lined the pavements4 ,fish of all sorts1
 cooling drinks1 lemons1 oranges1 every 
description of fruit1 were displayed in 
the shade of multi-coloured awnings4    
,lazzaroni lay stretched all day long on
 the sea wall1 or slept on the foot-ways
 propped against the houses4 ,domestic  
toilettes performed out of doors in the 
street never excited remark4 ,and the   
houses themselves1 what a blaze of      
shifting colour when the wind stirred   
the sheets and clothing hung out to dry 
from a hundred balconies6 ,all is       
changed4 ,the sewage is carried out to  
sea right away at ,cum4 ,there are no   
more oysters at ,s4 ,lucia2 there is no 
longer a ,s4 ,lucia1 but with its       
disappearance ,naples has lost its most 
unique attraction4  ,away at the end of 
the ,chiaia1 past the celebrated ,marine

 ,aquarium1 the hill of ,posillipo rises
 above the little fishing harbour of    
,mergellina4 ,a tram will carry you     
swiftly round the corner and along an   
uphill road from which you will obtain  
many delightful views4 ,there is nothing
 on the ,riviera to equal the position  
of some of the fine villas which line   
this road4 ,beautiful grounds run down  
to the sea4 ,exotic plants grow and     
flourish1 sheltered from the bitter     
tramontana wind4 ,great pine trees rise 
solemnly above the tops of their ,bay1  
such as is illustrated1 lead one up the 
steep slopes4 ,wherever one wanders1 it 
is always the blue sea that is below1   
and always the wonderful outline of the 
peninsula across the ,bay in the        
distance or the graceful curves on the  
flanks of ,mount ,vesuvius1 or1 most    
beautiful of all1 the lovely outline of 
the enchanting ,isola da ,capri4        
,illustration3 ,,the ,,bay ,,of ,,naples
 ,,from ,,posillipo     ,,salerno   ,in 
the ,middle ,ages the subject of this   

chapter was famous throughout           
,christendom for its school of medicine4
 ,s4 ,thomas ,aquinas tells us that in  
the medical world ,salerno ranked where 
,bologna did in law and ,paris in       
science4 ,had its fame on this account  
not been so great1 ,robert1 the son of  
,william the ,conqueror1 would not have 
delayed his homeward journey1 and       
stopped there to consult its medical men
 for a wound he had received in the     
,holy ,land4 ,in consequence of his     
absence from ,england1 ,henry stepped on
 to the throne which had meanwhile      
become vacant by the death of ,rufus1   
and the rightful heir never reigned4    
,salerno was in many other ways         
connected with the powerful race of     
,northmen4 ,robert ,guiscard received   
his mortal wound before the walls of the
 city as his troops swept over the      
ramparts at the first assault after an  
eight months' siege4 ,roger the ,norman 
was here declared king of ,naples and   
,sicily at a meeting of the barons in   

#aacj1 and for many years ,salerno was  
the seat of the ,norman government in   
,south ,italy4 ,like many another city  
which has in the past enjoyed a famous  
reputation and been of great importance1
 there is now practically nothing left  
to tell of its great days4 ,on a crag at
 the end of the old city walls1 some    
nine hundred feet above the sea1 the    
ruins of the ,northmen's stronghold1 in 
the attack on which ,robert ,guiscard   
was wounded1 still remain1 buffeted by  
the storms that rush up the mountain    
slopes4 ,the harbour which ,manfred     
commenced to build1 and which in old    
days held the ,norman fleet1 lies below 
the ,marina1 but it silted up many years
 ago1 and is now almost useless for     
trade4 ,the great days of ,salerno have 
gone1 just as the great days of her     
famous neighbour1 ,amalfi4 ,the         
exigencies of modern trade routes and   
the facilities of the railway have      
robbed her of all the power and glory   
she once possessed4  ,there is1 however1

 something left to remind one of her    
past wealth and power4 ,closely hemmed  
in by its surroundings1 the cathedral is
 not by any means easy to find4         
,tortuous uphill streets lead to the    
piazza1 where1 on a steep incline1 a    
fine double flight of steps with a      
marble balustrade give on to the        
spacious cloistered court or atrium     
beyond which it stands4 ,robert         
,guiscard dedicated his cathedral to ,s4
 ,matteo1 and1 so that it should be     
worthy of the great race of de          
,hauteville1 plundered the old ,greek   
city of ,pstum for the building of it4  
,nearly every one of the pillars of     
these cloisters came from there4 ,most  
of them are so massive that the capitals
 of native workmanship1 probably hewn   
while the plundering was going on1 are  
too small4 ,the arches above are        
stilted2 they support a gallery whereon 
a row of statues of different           
archbishops appear in a now much        
delapidated condition4 ,the same state  

of partial ruin greets the eye as one   
looks around4 ,fourteen ancient         
sarcophagi1 nearly all of them ,greek1  
stand in the cloisters of the court4    
,they were used by the ,normans for     
,christian burial1 but1 alas6 are       
mutilated and chipped at the corners1   
and their fine bas-reliefs1 one of a    
hunting scene1 another with centaurs and
 nymphs on the panels1 are almost       
completely ruined by the ill-treatment  
they have received4 ,in the centre of   
the court is a fountain4 ,water still   
splashes in its ,greek basin1 but decay 
and neglect have robbed this otherwise  
beautiful atrium of most of its charm4  
,the cathedral adjoins the courtyard4   
,the bronze doors of the central porch  
were at one time inlaid with silver4    
,the precious metal has disappeared1 but
 small figures of the ,apostles and     
,christian symbols bear evidence that   
when these doors came fresh from        
,constantinople in the eleventh century 
they were of very fine craftsmanship4   

,the interior of the great church is    
whitewashed4 ,the floor slopes up       
towards the east end1 and is a good     
example of a well arranged marble       
pattern4 ,the most interesting things1  
if we except the tombs that are in the  
building1 are the two ambones1 or       
pulpits4 ,that which appears in the     
illustration is a wonderful example of  
the work of ,john of ,procida4 ,the     
other1 as well as the archbishop's      
throne1 is by the same great designer4  
,all three are masterpieces of the      
,grco-,byzantine style of inlaid tesser4
 ,in the illustration will be seen a    
fine ,paschal candelabrum1 with most    
intricate inlay1 as fine in its way as  
that described in the next chapter4     
,these pulpits are approached by steps  
from inside the choir4 ,one is supported
 by four columns of rare porphyry and   
the other by twelve of granite from     
,pstum4 ,age has toned the white marble 
panels to a light grey1 which gives a   
wonderfully fine note to the white of   

the cathedral walls as one looks up the 
nave from the west end4 ,the choir is   
encircled with a most beautiful inlaid  
marble screen1 in decoration similar to 
the two pulpits4 ,the floor is a grand  
example of opus ,alexandrinum inlay1 and
 is as good in this respect as the best 
in ,italy4  ,illustration3 ,a ,,pulpit  
,,in ,,the ,,cathedral1 ,,salerno       
,under the high altar1 in the crypt1 is 
a monument to ,s4 ,matthew1 with a      
seated bronze figure of the saint4      
,below this1 in a casket1 repose the    
remains of the ,evangelist1 which were  
brought here in the year #icj4 ,the     
crypt itself is not interesting4 ,to    
find what is1 we must return to the     
church above1 where some of the tombs   
are well worthy of study4 ,pope ,gregory
 ,,vii41 ,hildebrand1 who died in       
,salerno1 lies in a sarcophagus in one  
of the side chapels4 ,the remains of    
,margaret of ,anjou1 mother of ,king    
,ladislaus1 rest under the canopy of a  
fine tomb1 on which in relief the queen 

is depicted surrounded by her children  
and her maids of honour4 ,angels form   
the support to the canopy1 which is     
decorated with gold fleur-de-lys on a   
blue ground4 ,archbishop ,caraffa's     
remains are in a fine ,greek sarcophagus
 with ,medusa heads at its corners4 ,on 
another is a fine bas-relief of the     
,triumph of ,bacchus1 and many more1    
like those in the cloisters1 have been  
transferred from ,pagan use to          
,christian4 ,the chapel in which is     
,hildebrand's tomb belongs to the family
 of ,john of ,precida1 who decorated it 
himself4  ,in the sacristy is a very    
interesting ,palla of ivory1 the thirty 
panels of which represent scenes in the 
,old and ,new ,testaments4 ,this        
eleventh-century work is one of the few 
things which can with truth be said to  
be in excellent preservation4 ,the      
cathedral1 like its surroundings1 is    
sadly in need of repair4 ,its fine      
campanile is buttressed up1 or would    
long ago have toppled into the street   

below4 ,the two lowest storeys of this  
grand tower are the original ,norman    
work of ,roger's day4 ,at their angles  
are marble and granite columns1 no doubt
 from ,pstum4 ,the two upper storeys are
 not like the lower1 built of stone1 but
 have been constructed in a very        
beautifully coloured brick4 ,they are   
pierced by ,norman arches1 above which  
is the belfry surmounted by a dome4     
,were it not for the few things we have 
noted1 ,salerno would not be worth a    
visit4 ,but if only to see the          
magnificent pulpits and stand silently  
in the crypt by the remains of the      
,evangelist1 the tourist in his hurry   
should never omit to spend at least a   
few hours in this once famous city4     
,,palermo   ,phoenicians1               
,carthaginians1 ,greeks and ,romans1    
,goths1 ,byzantines1 ,normans and       
,spaniards1 have all ruled in ,sicily2  
and those whose curiosity takes them to 
the museum of ,palermo may there see    
many antiquities of great interest in   

the history of each period4 ,the man who
 observes may also see much in her      
streets4 ,there are distinct quarters in
 ,palermo where the different races and 
their descendants have kept themselves  
to themselves from time immemorial4 ,it 
takes no special knowledge of racial    
physiognomy to single out among other   
types the ,berber or the ,greek1 as one 
saunters along watching the             
ever-changing crowd in the lively       
thoroughfares4 ,the ,norman occupation  
is recalled in the vivid decoration of  
the panels of the peasants' carts4 ,on  
them one sees the gallant ,norman       
slaying the truculent ,infidel--slaying 
them by dozens6 ,quite archaic is the   
execution of these panels--the handiwork
 of a long line of painters1 whose      
progenitors hundreds of years ago were  
painting the same scenes on the vehicles
 of their day4 ,the colours are crude4  
,every inch of the car is painted4 ,the 
spokes of the wheels are notched and    
carved4 ,the body of the cart is firmly 

fixed1 high above the axle bar1 by      
well-arranged ironwork of floral design4
 ,there are no other carts in existence 
like them2 and when the feathered plume 
of ultramarine and red which always     
adorns the donkey's headgear1 and the   
tinselled harness worked with gold and  
silver thread1 are new1 not many        
chariots or state coaches make a braver 
show4  ,palermo is divided into four    
quarters by the two streets that1       
running east and west1 north and south1 
bisect one another at the circular space
 in the centre of the city called the   
,quattro ,canti--the ,four ,corners4    
,standing in this busy spot and looking 
downhill northwards1 the deep blue of   
the ,mediterranean bounds the horizon4  
,south the view is partially stopped by 
the great city gateway1 the arch of the 
,porta ,nuova which crosses the street  
by the ,royal ,palace nearly a mile     
away4 ,east and west1 high over the     
heads of the crowd and the congested    
traffic1 grand mountains rise up with a 

puff of white cloud above their summits4
 ,in whichever direction one gazes the  
vista ends1 far beyond the lines of tall
 houses1 with the blue sea or the blue  
sky4  ,illustration3 ,,the ,,cathedral4 
,,palermo  ,if one walks towards the    
,royal ,palace up the hill1 one passes  
through the fine ,piazza del ,duomo4 ,it
 is a large square enclosed on three    
sides by a marble balustrade1 on which  
stand1 at intervals1 colossal statues of
 bishops and saints4 ,on the fourth side
 is the great cathedral4 ,this fine     
specimen of pointed ,sicilian work is   
dedicated to ,s4 ,maria ,assunta1 and   
was commenced in the twelfth century    
when ,gualterio ,offamilio1 ,walter of  
the ,mill1 was the ,english archbishop  
of ,palermo4 ,the curious architectural 
style of the building is due to the fact
 that it was designed by a ,norman and  
carried out by ,moorish workmen4 ,the   
,moor found it impossible to leave out  
his native arcades and his battlements2 
and the diaper pattern on the west faade

 recalls in design the decoration of the
 east4 ,the ,saracenic capitals of the  
beautifully carved pillars of the three 
doors of this faade are exceptionally   
good4 ,norman zig-zag moulding          
embellishes the arches above4 ,niches   
filled with saints add to the harmonious
 incongruity so subtly arranged by      
infidel workmen4 ,a noble tower at each 
corner rises in eight tiers1 the three  
topmost being open4 ,throughout these   
towers small arches are supported by    
little marble columns with their corners
 rounded off in a bold way by ringed    
pillars4 ,they terminate in little      
turrets and pinnacles1 which have flames
 at their bases4 ,to break all the flat 
surfaces of these1 the ,eastern mind was
 constrained to put some sort of        
decoration1 thus carrying off the       
appearance of great weightiness2 and so1
 square1 billet1 lozenge1 and nail-head 
patterns have been most admirably       
introduced4 ,the lower portion of the   
great tower across the street and       

opposite the faade1 and which forms part
 of the archbishop's palace1 is         
,saracenic1 and was erected before the  
,northman's advent in ,sicily4 ,the     
upper stages are the belfry4 ,despite   
the spires which all these towers       
possess1 there is something decidedly   
more ,eastern than ,northern in their   
appearance4 ,the arches that cross the  
street--so bold a feature in the        
sketch--were put up in the twelfth      
century to sustain the palace and       
cathedral whenever earthquake shocks    
occurred4  ,the cathedral is entered by 
the south porch4 ,this is flanked by    
twelfth-century towers1 on the top of   
which are ugly white marble figures1    
executed at a bad period4 ,three stilted
 arches of ,moorish design with cable   
mouldings1 the central arch larger than 
the other two1 support a rather low     
gable4 ,the face of this gable is       
covered with a good scheme of           
decoration4 ,the cornice is deeply cut  
with animals and foliage1 a porcupine   

and a hare being among the former4 ,four
 grotesque ,norman waterspouts break the
 string course between the cornice and a
 beautiful flat arcade under the arches1
 on which are half-length figures of    
saints and bishops4 ,the wall beneath   
this and above the three arches of the  
porch was evidently at one time covered 
with ,arab designs in black and red4    
,four grey marble pillars with their    
eastern capitals support the arches2    
they came from the mosque which stood on
 the spot where the cathedral was       
erected4 ,the portal of the door itself 
is a real masterpiece of intricate      
,moorish carving4 ,here pomegranates and
 palm leaves occupy a prominent place4  
,in the eighteenth century many         
alterations occurred1 and this grand    
and1 from an architectural point of     
view1 deeply interesting church1 was    
disfigured to a large extent4 ,the porch
 has suffered almost as much as the     
interior of the building4 ,but one      
tablet worth recording still exists in  

the former3      ,,prim 4 ,,sedes 4     
,,corona 4 ,,regis 4 ,,et 4 ,,regni 4   
,,caput  ,thus runs the proud title of  
the city in the days when the kings of  
,sicily were crowned in ,palermo's      
cathedral4 ,a row of white marble       
figures stands on the exterior of the   
side chapels of the aisles4 ,they are   
bad4 ,little domes with glazed tiles    
also remind one of a later period4      
,these1 with the big central dome over  
the crossing1 were the work of ,fuga1 a 
,neapolitan architect4 ,in the          
alterations he carried out1 the         
battlements and the corbel tables under 
them were spared4 ,the latter are a very
 curious study in the physiognomy of the
 different races known to the ,normans  
when the cathedral was built4 ,executed 
by ,arab workmen1 whose faith forbade   
them to portray the handiwork of ,allah1
 their accuracy is not unimpeachable4   
,the east end is partly covered with    
flat arcading1 most elaborately carved  
with ,arabic design1 and partly with a  

black and red pattern of the same       
character4 ,the apse is not pierced by  
any lights4  ,the white-washed classic  
interior is a great disappointment after
 the rich brown and yellow stone of the 
exterior4 ,but if1 architecturally1 it  
fails to interest1 historically it is   
concerned with the most brilliant and   
prosperous period the city enjoyed4     
,turning to the left on entering the    
cathedral by the south porch are the two
 chapels wherein stand in solemn        
grandeur the mighty sarcophagi of the   
,norman and ,swabian kings4 ,the remains
 of ,roger1 the first ,norman ruler of  
,sicily1 rest in a porphyry sarcophagus 
supported by marble feet composed of    
four crouching ,saracens4 ,the fine     
canopy above is incrusted with mosaic4  
,its pillars are gilded and inlaid4 ,the
 next tomb is that of ,constantia1 who  
was the last of the royal line of       
,normans4 ,she was the wife of the      
,emperor ,henry ,,vi41 and mother of    
,frederick ,,ii4 ,by the side of this is

 the sarcophagus of ,henry ,,vi4 ,very  
elaborately adorned is that which       
contains the remains of ,frederick      
,,ii41 and the body of ,peter ,,ii4 of  
,aragon4 ,the lid of this is carved with
 medallions of ,christ1 and the ,virgin 
and child4 ,all that is left of         
,constance1 wife of ,frederick ,,ii41 is
 in a ,roman sarcophagus which is       
recessed in a wall of the chapel4 ,it is
 beautifully decorated with a hunting   
scene in bas-relief4 ,standing against  
another wall is a medival tomb1 with a  
cowled figure between two shields1 on   
which are displayed the eagles of       
,aragon4 ,it holds the ashes of         
,william1 ,duke of ,athens1 who was a   
son of ,frederick of ,aragon4 ,all these
 tombs are not only full of archological
 interest in themselves1 but when one   
reviews the origin and history of the   
,norman occupation of the island1 the   
chapel in which they rest becomes one of
 the most historically absorbing spots  
in the world4  ,the ,saracens were in   

possession of ,sicily when ,roger1 the  
youngest of the twelve sons of ,tancred 
de ,hauteville1 came over from ,apulia1 
where his brothers1 by force of arms1   
had established themselves as reigning  
,counts4 ,roger found all the           
civilisation1 culture1 and well-ordered 
bureaucracy of the ,moor firmly         
established4 ,and with this he was too  
wise to interfere4 ,changing nothing of 
the mode of life of those he conquered1 
but simply adding to it the strength of 
arm and vitality of a northern race1 he 
became--and those who followed him      
were--by far the richest and most       
magnificent sovereigns of their time in 
all ,europe4  ,the crypt is             
architecturally the most interesting    
part of the interior of the cathedral4  
,it contains the tombs of twenty-four of
 ,palermo's archbishops1 including that 
of ,walter of the ,mill4 ,among the     
treasures in the sacristy is the cap of 
,constance of ,aragon1 which was found  
in her tomb1 when1 by order of          

,ferdinand ,i41 the royal sarcophagi    
were opened4 ,on one of the rough gems  
with which the cap is studded1 is       
written in ,arabic1 ,in ,christ1 ,god1  
,i put my hope4 ,here1 again1 is        
evidence that the ,moor and ,christian  
lived amicably side by side4 ,theodoric 
in ,ravenna1 and the ,norman in         
,palermo1 brought peace to the land they
 conquered2 and the greatest prosperity 
that both cities enjoyed was a          
consequence of their wisdom1 and of     
their religious tolerance4  ,in the fine
 open square which one reaches at the   
end of the seemingly interminable       
,corso1 a ,roman house and other very   
interesting remains are now being       
unearthed4 ,the ,royal ,palace occupies 
one side of the piazza1 and1 being the  
highest part of the city1 is on the site
 of the old ,roman palace4 ,there is a  
magnificent view from the observatory   
situated on the roof of the building4   
,it is1 however1 with the beautiful     
chapel built by ,roger ,,ii4 in the     

early part of the twelfth century that  
we are concerned4 ,the ,cappella        
,palatina is a perfect gem1 and no one  
who has once visited it in the morning  
can ever forget the marvellous effect of
 dim light passing through its narrow   
windows1 and illuminating its wonderful 
marble and mosaic walls4 ,three of the  
bays of the nave are formed by columns  
of ,egyptian granite which alternate    
with three of fluted ,greek marble4 ,the
 composite capitals of the arches are   
,byzantine and ,corinthian4 ,these      
arches are stilted and covered in an    
extremely rich manner with gorgeous     
mosaic1 and their soffits inlaid with   
tesser arranged in ,moorish designs4    
,the walls of the aisles are lined with 
the richest marble slabs1 beneath which 
a beautiful dado of inlaid ,eastern     
pattern runs round the chapel4 ,the     
wooden roof of the nave is honeycombed1 
and like that of the ,alhambra at       
,granada is arranged with splendidly    
coloured and gilded pendentives4 ,cufic 

inscriptions find a place amongst these 
hanging clusters4 ,the ceilings of the  
aisles are coffered and sustain heavy   
gold bosses1 which enrich the gorgeous  
effect of their strong colour4  ,the    
choir is raised five steps above the    
nave1 from which it is shut off by a    
very beautiful marble screen4 ,the      
stalls are carved perpendicular work4   
,the fine wooden lectern of very late   
,gothic design has well-carved angels   
kneeling on the four supporting legs4   
,above these angels four kings stand    
around the centre column4 ,on the       
book-rest repose the old black-letter   
parchment psalters4 ,at the top of all1 
the ,virgin and ,child finish off this  
exceedingly well-designed and executed  
reading-desk4 ,beyond the choir the apse
 rises four steps4 ,the risers of these 
steps and those of the choir are most   
beautifully inlaid4 ,the colossal mosaic
 figure in the semi-dome of the apse is 
the only mosaic of a late date2 and1    
aiming at the qualities of a painting1  

like those on the exterior of ,s4       
,mark's and the cathedral at ,orvieto1  
somewhat mars the uniformity and        
simplicity of the tesser decoration of  
the chapel4 ,the floor of the building  
is entirely opus ,alexandrinum4 ,at the 
west end1 a raised dais for the         
exclusive use of royalty is railed off1 
and a portrait of the reigning sovereign
 let into the marble panels of the wall4
 ,by the pulpit stands a ,byzantine     
candelabrum4 ,four lions rending their  
prey are at its base4 ,other animals and
 birds and figures of men1 all fighting 
one another1 encircle1 in orderly       
confusion1 the beautiful inlaid central 
column4 ,above them is a figure of the  
,almighty1 serenely quiescent4          
,children1 symbolical of innocence and  
freedom from sin1 are carved round the  
bowl into which is stuck the huge       
,easter candle4 ,it is very difficult to
 describe the effect of sudden calm that
 steals over one when1 entering this    
dark church1 with the glare of the sun  

and the noise of the streets outside1   
one is conscious of a very restful      
gloom1 full of the richest colour1 and a
 silence soothing to the senses4 ,one   
somehow feels the gorgeousness of the   
east combined with the solemnity of a   
well-planned sacred interior1 and this  
despite the sudden transition from light
 to darkness4 ,there is no other        
building of like dimensions which grips 
one as does the wonderful ,cappella     
,palatina of ,palermo4  ,la ,martorana1 
away down in the city1 may have been as 
beautiful1 but unfortunately in the year
 #aeij the nuns of the attached convent 
ordered most of the precious mosaics to 
be stripped from the walls1 and a       
hideous choir added when these were     
demolished4 ,some few are left on the   
roof to tell us what a glorious thing   
this finely proportioned chapel must    
have been before religious zeal got the 
better of artistic taste4 ,the central  
apse was likewise taken down a hundred  
years later1 and with it more priceless 

mosaic destroyed4 ,the inlaid marble on 
the walls was done away with in the     
eighteenth century4 ,if anything better 
could have been found to take the place 
of the grand mosaics that covered the   
interior there might have been an excuse
 for these acts of vandalism but when   
one sees the hideous stucco and wretched
 mural paintings of bad design and      
colour1 that have no religious fervour  
or tendency and nothing whatever to     
recommend them in any way1 one stands   
aghast at the ignorance and stupidity   
which in the name of religious          
expediency destroyed such priceless     
treasures4 ,among the little that       
remains are two curious mosaics wherein 
,king ,roger is crowned by ,christ1 and 
the ,high ,admiral1 who founded the     
church1 is dedicating it to the ,virgin4
 ,the king is wearing the dalmatic4     
,this he received1 together with the    
mitre1 from the ,pope1 who found it more
 diplomatic to confer ecclesiastical    
office upon the ,norman king than to    

oppose him in useless wars4  ,a little  
to the south of the ,royal ,palace1 and 
almost abutting on the old walls of the 
city1 is ,s4 ,giovanni degli ,eremiti4  
,the beautiful cloistered garden1 which 
is adjacent1 forms an illustration to   
this chapter4 ,the little church is a   
very early specimen of ,norman work on  
the plan of the letter ,t with three    
apses4 ,on its south side is a tiny     
mosque1 incorporated with the building  
and utilised in the old days as a       
chapel4 ,the monastery1 which existed   
here in the time of ,gregory the ,great1
 had fallen into disuse when the        
,normans came to ,sicily1 and ,king     
,roger restored the old buildings4 ,the 
interior now is absolutely bare and the 
windows unglazed4 ,the ,moorish domes   
give the little church a very eastern   
appearance1 to which the flat members of
 the rustic stones of the cloister      
arches in no small measure add4 ,it is a
 peaceful spot where exotic plants      
flourish luxuriantly1 and vie with all  

sorts of flowers in wanton growth4      
,illustration3 ,,the ,,cloisters ,,of   
,s4 ,,giovanni ,,degli ,,eremiti1       
,,palermo  ,the traveller who has been  
in ,spain will find in the old quarter  
of ,palermo many palaces that will      
remind him of ,seville1 ,salamanca1 and 
other places in the ,iberian peninsula4 
,the tawny colour of the ,south         
predominates here1 and the two or three 
courtyards possessed by many of these   
palaces will add to his reminiscences4  
,this is not so strange as it may seem  
when one considers that from the year   
#abhb1 when ,pedro of ,aragon was       
crowned king1 to #agac1 when ,victor    
,amadeus1 ,duke of ,savoy1 ascended the 
throne1 ,sicily was under the rule of   
the ,spaniard4 ,the great square block  
of yellow stone in the ,piazza ,marina1 
the ,palazzo ,chiaramonte1 served as the
 palace of the ,spanish ,viceroys and   
headquarters of the ,inquisition4 ,now  
known as the ,palazzo de' ,tribunali1 it
 is used as the law courts4 ,the        

ante-chamber of the court room has a    
magnificent wooden ceiling4 ,hunting    
about in the narrow streets in this     
quarter one chances on many a piece of  
architecture and decorative sculpture in
 the grandiose style of the great days  
of ,spain4 ,one or two good fountains   
and fine portals add much to the        
historical charm of a part of the city  
which is now occupied by humble folk4   
,the church of ,s4 ,agostino1 difficult 
to find in the slums1 has a remarkable  
faade with a beautiful wheel window4    
,delicate white marble pillars radiate  
from the ,paschal ,lamb1 which is the   
hub of the wheel1 and three rows of tiny
 but beautifully-carved arches interlace
 and form the tracery of the window4    
,the chevroned arches of the portal are 
decorated with acanthus leaves and      
arabesques4 ,the capitals of the        
supporting columns are pomegranates1 and
 a flat canopy with dripstone of        
acanthus leaves1 beneath which are      
almost obliterated frescoes1 completes  

one of the most fascinating relics of   
bygone days to be found anywhere in     
,palermo4 ,it is in the old quarters1   
too1 that the life of the cittadini is  
seen in its most picturesque garb4      
,fruit shops1 full of golden oranges and
 pale lemons1 prickly pears and great   
citrons1 make gay patches of colour in  
the street vista4 ,glazed tiles1        
earthenware1 and vividly coloured cotton
 goods displayed outside the shop fronts
 or hanging from the walls add to the   
variety of the scene4 ,cookshops1 with  
pizzi and scaglozzi1 and olive oil in   
the frying pan1 excite the olfactory    
nerves in a pleasanter degree than those
 in which a particularly                
strong-flavoured cheese finds ready     
purchasers4 ,excellent wine may be drunk
 at a very small cost at the drinking   
bars1 where a jet of clear water is for 
ever playing over the marble slabs of   
the cistern-like counter4 ,fowls scurry 
about in the midst of the throng1 and   
hungry dogs scent a meal in the refuse  

heaps of the gutters4 ,all is animation1
 and all has a touch of the ,south that 
is something more than ,italian4 ,it is 
almost worth while going to ,palermo in 
order to perambulate her fascinating    
streets and observe the ever-changing   
crowd that peoples them4  ,illustration3
 ,,mte4 ,,pelligrino1 ,,palermo  ,it is 
certainly worth the voyage to enter the 
harbour when the sun is well up and from
 the ship's deck watch the splendid     
panorama unfold itself as the vessel    
glides into port4 ,at the foot of ,mte  
,pelligrino1 and where the famous valley
 of the ,conca d',oro1 or ,golden       
,shell1 touches the blue waters of the  
,mediterranean1 lies ,palermo4 ,beyond1 
with an inclination upwards to the lower
 slopes of ,mte ,cuccio in the distance1
 stretches the triangular shaped valley1
 ,mte ,cuccio forming the apex of the   
triangle4 ,mountains hem the landscape  
in on two sides4 ,the whole of the      
country between them and the sea is one 
vast grove of orange and lemon trees4   

,on the edge of the receding wall of    
mountains to the right of the valley in 
the middle distance1 a stately building 
stands above the brow of a steep hill4  
,round it cluster roofs and walls in    
irregular lines4 ,this is ,monreale4 ,to
 ,monreale we go to study the mosaics4  
,for though its cathedral boasts of     
grand twelfth-century bronze doors1 and 
a very fine portico1 the magnificent    
mosaics that cover the walls of the     
interior are its pride and glory4  ,the 
decoration of this fine basilica may be 
described as a coherent mass of superb  
mosaics and well selected slabs of grey 
and white marble inlaid with panels of  
,moorish design4 ,here more than in any 
other church in the world has           
architecture been subordinated to a     
scheme of gorgeously coloured           
decoration4 ,its ,mosaics are ,greek in 
style1 with ,greek inscriptions4        
,moorish designs and arabesques also    
rival in colour the extraordinarily     
intricate gold pattern which sets off   

the beauty of the marble walls4 ,on the 
semi-dome of the central apse is a very 
impressive colossal half-length mosaic  
of the ,saviour holding an open book4   
,below1 are figures of the archangels1  
,gabriel and ,michael1 and the twelve   
apostles4 ,the vault of the south apse  
contains a gigantic figure of ,s4       
,peter1 and in the corresponding one in 
the north apse1 one of ,s4 ,paul4 ,these
 two figures are robed in white1 and    
light up the dark recesses of the       
deep-toned gold background of the apses 
in a remarkable manner4 ,in the choir   
there is a mosaic over the royal throne 
very similar to that in ,la ,martorana1 
wherein ,king ,roger is being crowned4  
,in this case ,christ places the crown  
on the head of ,william the ,good4 ,over
 the ,archbishop's throne ,william is   
represented offering the church to the  
,virgin4 ,sicily was never a fief of the
 ,popes1 and these two mosaics no doubt 
express the idea that the sovereigns    
derived their authority from ,god alone4

  ,round the whole of the nave two sets 
or series of mosaics are arranged which1
 beginning at the ,flood1 illustrate    
different episodes in biblical history4 
,forty-two scenes are depicted in the   
nave and ten in each aisle which deal   
with our ,lord's life as well as themes 
from the ,old ,testament4 ,at the west  
end is a mosaic of ,s4 ,castrense1      
,monreale's tutelar saint1 casting out a
 devil1 and also walking on the sea4    
,comparing these wonderful decorations  
with those at ,ravenna and in ,s4       
,mark's1 one may at first be more       
impressed with the apparent magnificence
 of the scheme which we find here4 ,the 
cathedral is larger than any of         
,ravenna's churches1 and has this       
advantage over ,s4 ,mark's1 that one is 
better able here to grasp at once the   
whole idea of the colour scheme4 ,in ,s4
 ,mark's one sits and quietly discovers 
things at leisure4 ,at ,monreale one    
enters and is immediately overpowered by
 the magnificence of the dull gold      

tesser and the gorgeous arrangement of  
the sequence of figures which1 like a   
flash1 strike one at first sight4       
,ravenna can show us better schemes of  
colour1 subtler and more refined4       
,ravenna gives us earlier work1 and work
 more nave1 and is for this reason more 
attractive and interesting4 ,but it must
 be admitted that in no other building  
of the kind is one impelled to stop     
suddenly and catch one's breath1 as when
 first entering ,monreale's great       
basilica4  ,eight bays divide the nave  
from the aisles4 ,their stilted arches  
are supported by granite monoliths4 ,the
 capitals of these are pure ,corinthian1
 and ,corinthian with cornucopi volutes 
and medallion heads4 ,above the abacus  
of each capital is the simple ,norman   
bowl capital inlaid with rich mosaic4   
,it is from these that the glorious     
colour-scheme springs--above and around1
 the eye finds nothing but mosaic4 ,the 
lower portion of the walls of the aisles
 is composed of marble slabs separated  

from one another by inlay of ,moorish   
design4 ,in the north chancel aisle are 
the tombs of ,roger1 ,duke of ,apulia1  
and ,henry1 ,prince of ,capua1 two sons 
of ,william the ,bad4 ,in the south     
chancel aisle are the tombs of ,william 
the ,good and ,william ,,ii4 ,just as   
,palermo's cathedral is a fit           
resting-place for the remains of some of
 the ,norman kings1 so is this grand    
fabric for the bodies of those of the   
same royal line who here repose in      
peace4  ,illustration3 ,,the            
,,cloisters1 ,,monreale  ,adjoining the 
cathedral1 on the south side1 is all    
that is left of the original            
,benedictine monastery4 ,the celebrated 
cloisters1 of which we speak1 are more  
,arab than ,norman1 and more infidel    
than ,christian in their architecture4  
,the two flat members of the ,moorish   
arches are decorated with black tufa    
lozenges and spearheads4 ,the coupled   
columns are nowhere approached in beauty
 and delicacy1 save in ,s4 ,paolo fuori 

at ,rome4 ,arabesques cover some of     
them2 all were at one time richly inlaid
 with mosaic4 ,some are chevroned1      
others of lozenge pattern1 or billeted1 
or twisted and spiral4 ,their capitals  
are one and all of extreme interest4    
,one shows on its carved surface ,norman
 knights in chain mail engaged in combat
 with ,saracens2 another1 ,roman        
gladiators slaying ,christian victims4  
,birds1 beasts1 and subjects from the   
,old ,testament1 intricate foliage and  
vines add to a variety which is not to  
be found anywhere else in the cloistered
 courts of ,italy4 ,the illustration    
gives a corner of this beautiful spot   
where a fountain splashes and plays1    
adding to the delights of a well-kept   
garden and the sweet scent of flowers4  
,,index   ,ahrler1 ,heinrich1 #i        
,alberti1 ,leo ,battista1 #ic1 #aie     
,alexander ,,ii1 #agj  ,alexander       
,,iii41 #fg  ,alfred the ,great1 #ba    
,amalfi1 #bhj  ,ambrose1 ,s41 #ac       
,angelico1 ,fra1 #aig1 #bcf1 #bee       

,angelo1 ,michael1 #acf1 #ahh1 #aia-c1  
#bbc1 #bcf1 #bdd1 #bdg-h1 #beb          
,antelami1 ,benedetto1 #ada  ,antenor1  
#di  ,anthony1 ,s41 #di  ,ariosto1 #aja 
,arnulphus1 #ae  ,assisi1 ,church of ,s4
 ,maria1 #baa-ac2   cathedral1 #bad2    
general description1 #bad-ae  ,attila1  
#g  ,augustine1 ,s41 #ah-ai  ,augustus1 
#ajg   ,baldus1 #eg  ,bank of ,genoa1   
#adh-i  ,barbarossa1 ,frederick1 #fg    
,bastianino1 #ajc  ,bellagio1 #b        
,bellini1 #be  ,benedict ,,xi41 #bje    
,benedict ,,xiv41 #bej  ,benenato1 #afd 
,bergamo1 cathedral1 #bd-bf2   other    
buildings1 #bc-bd1 #bg  ,bernardino1    
,s41 #bjb1 #bjd1 #bbd  ,bernardone1     
,giovanni1 #bae  ,bernini1 #bdc1 #bdf-g 
,bisone1 ,bono da1 #aci  ,boethius1 #ba 
,bologna1 ,giovanni da1 #abf  ,bologna1 
history1 #abc-e2   cathedral1 #acj-a2   
other buildings1 #abe-i1 #aca-f2        
university1 #acc  ,bonannus1 #afj1 #afd 
,bonaventure1 ,nicholas1 #aj  ,borromeo1
 ,s4 ,charles1 #aj-ab  ,borsi1 ,pier1   
#aha  ,bouillon1 ,godfrey de1 #ade      

,bramante1 #d1 #i1 #ag1 #abf1 #bdd      
,breakspeare1 ,nicholas1 #bdh  ,brescia1
 ,roman remains1 #bi-cj2   la ,rotunda1 
#cj-ca2   ,duomo ,nuovo1 #ca-cb2   other
 buildings1 #cb-cc  ,browning1 ,robert1 
#ha  ,brunelleschi1 #ahf1 #aid1 #aif    
,bruni1 ,leonardo1 #aic  ,burlammachi1  
,francesco1 #afi  ,busketus1 #aei       
,byron1 #aji1 #aff   ,cadenabbia1 #b    
,caedwalla1 #bec  ,csar1 ,julius1 #ia1  
#agj  ,caligula1 #bfa  ,calvin1 #aja    
,camaldoli1 #bge  ,cambio1 ,arnolfo di1 
#ahc1 #ahg1 #ahi1 #aid1 #bbb  ,capri1   
#bfe1 #bgg  ,carabelli1 #i  ,caretti1   
,ilaria1 #agc  ,carracci1 #acj-a        
,carrara family1 #ea  ,catherine1 ,s41  
#bbd  ,cellini1 ,benvenuto1 #ahd1 #bdh  
,ceolfrid1 #aib  ,charlemagne1 #ci1     
#aae1 #bdb  ,charles ,v41 #acj1 #bcj    
,chiusi1 #bjb  ,cimabue1 #aif1 #bac     
,clement ,,vii41 #bcj  ,colleoni1 #bf   
,columbus1 #aej  ,como1 history1 #a-b2  
cathedral1 #b-d2   town hall1 #d-e2     
industries1 #e  ,constantine the ,great1
 #bda1 #bdc1 #bej1 #bec  ,correggio1    

#acg1 #aci1 #adj1 #adb   ,dante1 #cg1   
#di1 #aji1 #ahj1 #ahe1 #aic             
,diotisalvi1 #afb1 #afe  ,dominic1 ,s41 
#acd-e  ,donatello1 #eb1 #ee1 #eh1 #gg1 
#aff1 #aha1 #ahe1 #aid1 #bbc1 #beb      
,donizetti1 #bg  ,doria1 ,filippo1 #aed 
,ducci1 ,agostino1 #bjc  ,duccio da     
,siena1 #aif   ,embrianco1 ,guglielmo1  
#ade1 #aea  ,enzio1 #abd1 #abg1 #ace    
,este family1 #ii-aja   ,fabris1 ,emilie
 di1 #ahg  ,fanti1 ,general1 #bjj       
,farnese family1 #ach  ,felsina1 #abe   
,ferrara1 history1 #ii-ajj2   cathedral1
 #aja-d  ,florence1 general description1
 #agi-hb2   ,palazzo ,vecchio1 #ahb-d2  
,campanile1 #ahf-g2   cathedral1 #ahg-i2
   ,baptistery1 #ahi-ij2   other        
buildings1 #ahd-ahf1 #aij-h  ,fiesole1  
,mino da1 #bjf  ,foix1 ,gaston de1 #ajh 
,francis of ,assisi1 ,s41 #baa-b1 #bae-f
  ,francis ,,ii41 ,king of ,naples1 #bff
  ,frederick ,,ii41 ,emperor1 #eg       
,frediano1 ,s41 #agj1 #agd  ,fuga1 #bhi 
,gaddi1 ,agnolo1 #aid  ,gaddi1 ,taddeo1 
#ahf  ,galileo1 #eg1 #afd  ,gambara1    

#adj  ,garibaldi1 #aef1 #bjg  ,genoa1   
history1 #ade2   general description1   
#adf-h2   cathedral1 #aea-d2   churches1
 #aed-f2   palaces1 #adh-ea2   rivalry  
with ,pisa1 #aff  ,ghiberti1 #ahi       
,giaconda1 ,fra1 #cf  ,giotto1 #di1 #eb1
 #eh1 #ahf1 #aid1 #aih1 #bac1 #bdh      
,giovanni1 ,fra1 #eh  ,giudetto1 #aga1  
#agf  ,giugni1 #age  ,glycon1 #bfg      
,gozzoli1 #afe  ,grail1 ,holy1 #ade     
,gregory the ,great1 #bhc  ,guiscard1   
,robert1 #bgi-hj   ,hadrian1 #bfb       
,hauteville1 ,roger de1 #bia  ,hecuba1  
,queen of ,cyprus1 #bab   ,januarius1   
,s41 #bfh-i  ,julius ,,ii41 #bdd-e      
,julius ,,iii41 #bja   ,ketterick1      
,john1 #aid   ,lanfranc1 #ba  ,leo      
,,xiii41 #bje  ,leopardi1 ,alessandro1  
#gg  ,lombardi1 ,martino1 #gg           
,lombards1 #abf1 #abi1 #acf  ,lucca1    
history1 #afi-gj2   cathedral1 #agj-c2  
other buildings1 #agc-h  ,luini1        
,bernardino1 #d  ,lurago1 ,rocco1 #aej  
,malatesta family1 #ic-ih  ,matthew1    
,s41 #bhb  ,mazzuola1 #adj  ,medici     

family1 #ab1 #ahc1 #aij-c1 #aig-h       
,mehemet ,ali1 #bed  ,michelozzo1 #ahc  
,milan1 history1 #g1 #ae2   cathedral1  
#h-ab2   ,church of ,s4 ,ambrose1 #ab-ae
  ,mino1 ,giacomo di1 #bbc              
,misericordia1 ,compagnia della1 #aha-b 
,monreale1 #bii-cjc  ,montaldo1         
,leonardo1 #aee  ,morone1 ,andrea1 #ea  
,myrra1 #aed   ,naples1 history1 #bfe-f2
   museum1 #bfg2   cathedral1 #bfh-bfi2 
other buildings1 #bgj-e2   general      
description1 #bge-g  ,nero1 #bfc        
,nesso1 #a  ,nicodemus1 #agc            
,offamilio1 ,gualterio1 #bhg  ,orsini1  
,niccolo1 #ge  ,orvieto1 general        
description1 #bbi-ca1 #bcf-h2           
cathedral1 #bca-f   ,pacifico1 ,beato1  
#gi  ,padua1 history1 #di2   cathedral1 
#ej2   university1 #eg2   other         
buildings1 #ej-ei  ,palermo1 general    
description1 #bhe-h1 #bii2   cathedral1 
#bhh-bib2   ,cappella ,palatina1        
#bib-bie2   other buildings1 #bie-cjc   
,palladio1 #cc1 #hb  ,parma1 history1   
#ach2   cathedral1 #ach-ada2            

,baptistery1 #ada-b  ,parmesan cheese1  
#bb  ,paul ,,iii41 #bjj  ,pavia1        
history1 #ag2   cathedral1 #ag-ai2      
other buildings1 #bj-ba  ,pellegrini1   
#aj1 #aa  ,pepo1 #acc  ,perugia1 general
 description1 #aii1 #bjh-i2   cathedral1
 #bjj-c2   churches1 #bjc-f2   other    
buildings1 #bjf-h  ,perugino1 #bjf-g    
,petrarch1 #ej  ,piacenza1 ,bartolino   
da1 #adb  ,piacenza1 ,giovanni da1 #adc 
,pietro1 ,lorenzo di1 #bbb  ,pisa1      
general description1 #aeg2   cathedral1 
#aeh-fb2   ,baptistery1 #afb-d2   other 
buildings1 #afd-g  ,pisano1 ,andrea1    
#ahi  ,pisano1 ,giovanni1 #bje1 #bai-bj1
 #bbb1 #bcb  ,pisano1 ,niccolo1 #ec1    
#ace-f2   #afc1 #afe-f1 #agg1 #aii1     
#bba-b1 #bcb  ,piscopia1 ,elena1 #eg    
,pius ,,iv41 #aa  ,polo1 ,marco1 #adf   
,porta1 ,guglielmo della1 #bdh          
,procida1 ,john of1 #bhb  ,puccio1      
,pietro di1 #bce   ,quercia1 ,jacopo    
della1 #abi  ,quercia1 ,giacomo della1  
#bbc   ,raphael1 #bca1 #bef  ,ravenna1  
history1 #ajg-h2   mosaics1 #aji-ac1    

#aae-g2   cathedral1 #aac-e2   other    
buildings1 #aah-ba  ,reggio1 ,niccolo   
da1 #adb  ,reni1 ,guido1 #ace           
,ricchini1 #ab  ,riccio1 ,andrea1 #ee   
,rienzi1 #bec  ,rimini1 history1 #ia-c2 
cathedral1 #ic-h  ,robbia1 ,della1 #agd1
 #ahf1 #ahh1 #aig  ,rocci1 ,cristoforo1 
#ag  ,rodario1 #b-c  ,romana1 ,ezzelino 
da1 #ada  ,romano1 ,giulio1 #i  ,rome1  
general description1 #bci-da2   ,s4     
,peter's1 #bdc-i2   ,colosseum1 #bej2   
,s4 ,john ,lateran1 #bea-c2   other     
buildings1 #bda-c1 #bec-fc  ,rossi1     
,alessandro1 #da  ,rusca1 #i   ,salerno1
 history1 #bgi-hj2   cathedral1 #bhj-d  
,san ,marino1 #ih  ,sanmicheli1 #cf1    
#dj1 #de1 #ee  ,sansovino1 #cc1 #ed1 #fb
  ,savonarola1 #ahb1 #ahd1 #aig         
,scaligeri1 #cg-i  ,siena1 general      
description1 #bag1 #bbg-h2   cathedral1 
#bah-bc2   other buildings1 #bbc-g      
,signorelli1 ,luca1 #bce-f  ,spazi1 #b  
,talenti1 ,francesco1 #ahf  ,tasso1     
#aja1 #ade  ,terribilia1 #abf           
,theodoric1 #ajh1 #abj  ,thomas         

,aquinas1 ,s41 #bgc1 #bgi  ,tiberius1   
#agi1 #bfe  ,titian1 #ff  ,tivoli1 #bdi 
,torcello1 #hf-ij  ,tours1 #ad  ,trent1 
,council of1 #aa  ,tribolo1 #abh-i      
,ugolino1 #bce   ,varenna1 #b  ,vasari1 
#aff1 #ahh1 #aic  ,venice1 ,s4 ,mark's1 
#fb-gc2   ,church of ,,ss4 ,giovanni and
 ,paolo1 #gc-g2   of the ,frari1 #gg-i2 
,doge's palace1 #hb-e2   other          
buildings1 #fa-b1 #gi-hb1 #he-f         
,verona1 history1 #ce-g2   cathedral1   
#ci-da2   other buildings1 #cf-ch1 #da-g
  ,verrochio1 ,andrea1 #gg1 #ahd        
,vinci1 ,l4 da1 #i1 #gg  ,visconti1     
,gian ,galeazzo1 #i1 #ag   ,wolvinius1  
#ac   ,zeno1 ,s41 #dc  ,zenobius1 ,st41 
#ahh  ,zuccaro1 #ahh   ,,printed ,,by   
,,ballantyne  ,,company ,,ltd           
,,tavistock ,,street ,,covent ,,garden  
,,london