,transcriber's ,note3 ,italics are enclosed in underscores4 ,additional notes will be found near the end of this ebook4 ,,fountains ,,of ,,papal ,,rome ,,fountains ,,of ,,papal ,,rome ,,by ,,mrs4 ,,charles ,,mac ,,veagh ,,illustrations ,,drawn ,,and ,,engraved ,,on ,,wood ,,by ,,rudolph ,,ruzicka ,,new ,,york ,,charles ,,scribner',s ,,sons #aiae ,,copyright1 #aiae1 ,,by ,,charles ,,scribner',s ,,sons ,published ,october1 #aiae ,illustration ,,to ,,the ,,memory ,,of ,a ,,father ,,and ,,daughter ,,contents ,,st4 ,,peter',s #a ,,scossa ,,cavalli #ai ,,piazza ,,pia #cc ,,campidoglio #da ,,farnese #fa ,,villa ,,giulia #ha ,,colonna #aje ,,quattro ,,fontane #aag ,,tartarughe #acc ,,fontana ,,del ,,mos #adc ,,the ,,lateran #aec ,,trinit ,,de' ,,monti #afg ,,villa ,,borghese1 ,,now ,,villa ,,umberto ,,primo #agi ,,la ,,barcaccia #aie ,,triton #bje ,,navona #bac ,,trevi #bbg ,,piazza ,,del ,,popolo #bci ,,pincian #beg ,,fontana ,,paola #bfg ,,monte ,,cavallo #bhe ,,appendix #cjc ,,chronological ,,index ,,of ,,aqueducts ,,mentioned1 ,,ancient ,,and ,,modern #cjg ,,chronological ,,index ,,of ,,popes ,,mentioned #cjh ,,alphabetical ,,index ,,of ,,architects1 ,,sculptors1 ,,painters1 ,,and ,,engravers ,,mentioned #caj ,,list ,,of ,,full-,,page ,,illustrations ,view of ,fountains and ,obelisk of ,st4 ,peter's from beneath ,bernini's ,colonnade #i ,upper ,basin of the ,fountain in the ,piazza ,scossa ,cavalli #be ,view of the ,piazza del ,campidoglio from the ,left ,side of the ,cordonata #dg ,one of the ,fountains in the ,piazza ,farnese #ga ,fountain of the ,virgins #ia ,fountain of the ,tartarughe #acg ,the ,fountain of the ,sea-,horses #ahc ,the ,fountain of the ,amorini #aia ,the ,fountain of the ,triton #bji ,the ,fountain of the ,four ,rivers #bag ,figure of 8,neptune0 in the ,fountain of ,trevi #bcc ,piazza del ,popolo from the ,west #bdg ,mostra of the 8,fontanone0 #bgi ,the ,fountain of ,monte ,cavallo #bia ,,errata ,page #agj1 line #ah1 for ,london read ,westminster4 ,page #bba1 line #be1 for ,leo ,x read ,innocent ,x4 ,page #bcb1 line #bb1 for ,tre-vii read ,trevie4 ,illustration ,,introduction ,rome has been called the most religious city in the world because of the number of her churches4 ,with equal propriety1 and perhaps with greater justice1 she might be called the cleanest city in the world because of the number of her fountains4 ,pagan emperors and ,christian popes alike have found both profit and pleasure in adding another fountain or in making or repairing one more aqueduct to give a still greater supply of water to the ,roman populace4 ,no other people1 with the possible exception of the ,spanish ,moors1 have so appreciated the value and the beauty of abundant water4 ,there are few squares1 even in the ,rome of to-day1 where1 at least in the silence of the night1 the sound of splashing water may not be heard4 ,the tiny fountain1 often fern-fringed1 with its ceaseless1 slender stream of water1 is the one priceless possession in hundreds of old courtyards1 where it fills a damp and lonely silence with charm1 or redeems by its indestructible quality of beauty the meanness of the squalid life about it4 ,it is impossible to think of ,rome without her fountains4 ,yet1 after a few weeks1 the eye is hardly aware of their presence4 ,it is as if by their very beauty and omnipresence they had acquired the divine attributes of sunlight2 and it requires the silence1 as with the sunlight it requires the cloud1 to rouse our consciousness to their existence4 ,they take their place among the elemental causes of happiness1 since the pain we feel at their loss is the only adequate measure of the pleasure they give us4 ,it is difficult for the man of to-day to picture to himself the abundance and splendor of the fountains in imperial ,rome4 ,some idea of their character may be obtained from the description gathered from various sources of ,nero's fountain on the ,clian4 ,the mingled waters of the ,claudian and the ,anio ,novus aqueducts were brought thither over the ,neronian arches4 ,a wall fifty feet in height1 faced with rare marbles and decorated by hemicycles and statues1 formed the background of the first cascade4 ,at the foot of this wall a huge basin received the stream1 which then fell into another basin ten feet below the first1 and thence flowed into the great artificial lake1 described by ,suetonius as like unto a sea1 which filled all that space now occupied by the ,coliseum4 ,of great magnificence also was the fountain of ,severus ,alexander on the ,esquiline which served to introduce the ,acqua ,alexandrina1 the eleventh and last water-supply of imperial ,rome4 ,a coin of the period gives a representation of this fountain1 and in it can be traced a certain resemblance to the ,fontana ,paola which stands at the present day on the ,janiculum1 and which in its size and quantity of water reproduces faintly the fountains of the past4 ,that fine phrase1 8la nostalgie de la civilisation10 nowhere finds a more perfect illustration than in the attitude of the ,western world toward ,rome4 ,some homing instinct of the human heart has for centuries carried thither men of every nation and of every sort of belief or unbelief2 and the conviction that it will bring them thither in the future as in the past is implied in that other name by which we know her4 ,she is the ,eternal ,city4 ,every one can feel but no one can explain the charm which she has over the spirits of men4 ,here the psychic forces of the world's great past are stored in imperishable memories4 ,here each individual finds spiritual influences which seem to have been waiting through the ages for his own peculiar appropriation4 ,king ,theodoric1 in the sixth century1 spoke not only for himself but for all succeeding generations of ,northmen when he said that ,rome was indifferent to none because foreign to none4 ,it seems as if the feeling for ,rome were an instinct congenital with our appetites and our passions4 ,it requires no justification and it admits of no substitute4 ,it is dateless and universal4 ,the ,gothic king of the past finds a spiritual brother in the schoolboy of to-day who caught his mother's arm on the ,terrace at ,frascati to say1 with an uncontrollable tremor in his voice3 8,see there2 that little spot over there6 ,that is ,rome1 and she was once the whole world60 ,king and schoolboy might have met familiarly in some sunny portico of the classic city4 ,both were members of the great freemasonry of the lovers of ,rome1 which stretches its network far and wide over our civilization4 ,in this company there are not a few who find themselves in ,rome1 yet not able to see ,rome--to see it1 that is1 as the historians1 artists1 archologists1 and their own minds call upon them to see it4 ,their right to tread the ,roman streets depends upon their obedience to some law compelling an existence lived entirely in the open air and in the broad sunshine4 ,to such the gates of ,paradise seem closed4 ,to be forbidden the galleries and churches and catacombs and the hidden recesses of the old ruins appears an intolerable fate4 ,yet even to these1 who have made the great acceptance and are living upon the half-loaf of life--even to these1 ,rome is kind4 ,little by little1 in easy periods1 they can get back into the days of the ,renaissance1 of the ,counter-,reformation1 of the ,napoleonic ,era1 and of the great ,risorgimento4 ,this can be done under the conditions of open air and sunshine2 for it is in such surroundings that we find the fountains1 and the fountains of ,rome are in themselves title-pages to ,roman history4 ,,st4 ,,peter',s ,illustration ,,st4 ,,peter',s 8,fountains are among the most successful monuments of the late ,renaissance10 and those which stand on either side of the great ,square of ,st4 ,peter's show that ,symonds's statement should be enlarged so as to include the century which followed that period4 ,mr4 ,john ,evelyn1 the accomplished ,english traveller of the seventeenth century1 saw the fountain of ,paul ,v soon after its completion and describes it in his diary as the 8goodliest ,i ever saw04 ,since his day the twin fountains both of ,trafalgar ,square and of the ,place de la ,concorde have been erected1 but ,evelyn could still give the superlative praise to the great ,roman model4 ,although the two fountains in the ,square of ,st4 ,peter's are exactly alike they are not of precisely the same date4 ,the conception of the design belongs to ,carlo ,maderno1 who executed the fountain on the right of the approach to the basilica for ,pope ,paul ,v 7,borghese1 #afje-afba71 while the fountain to the left was copied from this for ,pope ,clement ,x 7,altieri1 #afgj-afgf71 some sixty years later4 ,clement's courtiers had observed that whenever ,his ,holiness walked in the direction of ,paul ,v's great fountain his eyes continually turned toward it4 ,at length ,clement ordered his architect1 ,carlo ,fontana1 nephew of ,carlo ,maderno1 to make an exact copy of ,maderno's work and to erect it on the south side of the obelisk4 ,the double fountain not only enhances the magnificence of the entire scene1 but so changes it by introducing the additional element of balance that ,clement ,x's order for the second fountain was in reality an order for a new composition4 ,the coat of arms cut upon the octagonal support of the upper basins and half hidden and obliterated by the falling water is1 on the right-hand fountain1 that of the ,borghese family 7the crowned eagle above the dragon72 and on the left-hand fountain1 that of the ,altieri family1 an inverted pyramid of six stars4 ,the latter fountain looks as if it were the older1 for1 as it is situated in the southeast corner of the wide piazza1 it is exposed to the full sweep of the ,tramontana1 or north wind1 which has fretted and worn in no small degree the surface of the travertine4 ,it may have been the more sheltered position of the northeast corner which determined the location of ,paul ,v's fountain1 the earlier of the two4 ,in the spring the ,altieri fountain is the more beautiful because at that time that portion of the ,colonnade which forms its background reveals vistas of foliage1 while the moss web woven about the crown of the shaft is of a more brilliant green and the lower basin is full of the same aquatic growth swaying with the motion of the water4 ,the ,acqua ,paola1 which feeds these fountains1 comes1 in the last instance1 from the summit of the ,janiculum1 and therefore their central jets are flung upward to a height of sixty-four feet1 far above the balustrade crowning ,bernini's lofty colonnades1 which form the background of the piazza4 ,this height exceeds by from twenty-four to thirty-four feet the height of the ,english and ,french fountains2 and whereas in the fountains of ,london and ,paris the supply and force of the water varies with the season of the year and the time of day 7the ,trafalgar ,square fountains in summer play thirteen hours out of the twenty-four and in winter only seven71 the abundance and power of the water in these great ,roman fountains is unfailing and unchanging4 ,at midnight1 at high noon1 in summer1 in winter1 they are always flowing1 and the splash and wash of the water makes them akin to the cascades of ,nature4 ,this perpetual flow has been a characteristic of the ,roman fountains since the days of the ,emperors4 ,frontinus1 writing in the reign of ,trajan1 says that all the great fountains were constructed with two receiving-tanks1 each from a separate aqueduct1 so that no accident or emergency should diminish or stop the supply of water4 ,the later popes were also careful to preserve this uninterrupted flow1 and since the close of the ,cinque ,cento their fountains have played unceasingly4 ,the lowest basins of both fountains 7twenty-six feet in diameter7 are of travertine with a rim of ,carrara marble4 ,the middle basins 7fifteen feet in diameter7 are of granite4 ,that in the right-hand fountain is of red ,oriental granite1 and that in the left-hand fountain of gray granite4 ,the inverted basins at the summit1 on which the water falls1 are of travertine1 as are also the massive shafts1 which1 however1 ,maderno adorned with a slight moulding of ,carrara marble just above the water-line in the lowest basins4 ,the entire structures have been so transformed in color by three hundred years' deposit of the ,acqua ,paola that they have the appearance of bronze4 ,the water in each fountain rises in a crowded mass of separate jets from the summit of the central and single shaft1 and falls at first on an inverted basin covered by deep carving1 the richness of which gains in beauty from the green web woven about its curves and angles by the fall of the water4 ,this upper carving seems to be a part of the fantastic action of the wind-tossed spray4 ,the lower basins which receive the water are severely plain1 the design following ,nature's scheme of development1 from a fretted and turbulent source to the broad surfaces of the full stream4 ,but the architectural values of these fountains are incalculably affected by the wonderful play of the water4 ,it leaps upward as if to meet the sun2 it falls back in tumult and foam2 it drenches all about with its far-flung spray and wasteful overflow4 ,it is the very triumph of vitality and joy4 ,the fountains of ,st4 ,peter's might be said to bear toward the vast piazza of which they are a part the same relation as that of the eye to the human countenance3 without them the noble spaces would seem cold and inanimate4 ,this gleaming1 tossing water endlessly at play with the wind and the sun1 instinct with a power and a beauty not of man's making--this it is which gives to the world-famous scene the touch of life4 ,pope ,paul ,v has not only the honor of having erected the first of these two modern fountains1 but he has also that of having himself discovered the original manuscript of a poem in which mention is made of the first fountain connected with the ,church of ,st4 ,peter4 ,this poem dates from the fourth century and was written by ,pope ,damasus 7#cff-chd74 ,this pontiff was1 like the ,emperor ,hadrian1 a ,spaniard2 and1 like ,hadrian1 he was not only a ruler of men1 but gifted with many and varied talents4 ,he was an archologist1 a civil engineer1 theologian1 and poet4 ,he presided over that ,ecumenical ,council by which the second great heresy threatening the church was condemned1 as the first had been at the ,council of ,nica4 ,st4 ,jerome1 after years of friendship1 became secretary to the then care-worn and ailing pontiff1 among whose many labors had been the restoration of the ,catacomb of ,st4 ,calixtus1 and other tombs of the early ,christians and martyrs1 some of which he marked with metrical inscriptions of his own composition4 ,it must have been while engaged upon this pious work of reconstruction in the ,vatican ,hill that he came upon those springs that1 for lack of a proper channel1 had damaged the tombs upon the hillside and were threatening to undermine his great basilica 7the first ,church of ,st4 ,peter7 within less than fifty years of its erection by ,constantine4 ,he drained the ground in the vicinity1 building a small aqueduct1 8neatly in the old ,roman style of masonry10 to lead these unshepherded waters to definite localities where they could be a benefit and not a danger to their surroundings4 ,the water thus collected is called the ,acqua ,damasiana1 and to this day the private apartments of the ,pope are supplied from this source4 ,the feeding springs of this water are located at ,sant' ,antonio1 to the west of the church1 and the aqueduct of ,pope ,damasus lies at a depth of ninety-eight feet4 ,pope ,damasus himself describes this in the poem which was discovered in #afjg1 more than twelve hundred years later1 by ,pope ,paul ,v4 ,pope ,damasus says3 8,the ,hill0 7,vatican ,hill7 8was abundant in springs1 and the water found its way to the very graves of the saints4 ,pope ,damasus determined to check the evil4 ,he caused a large portion of the ,vatican ,hill to be cut away1 and by excavating channels and boring cuniculi he drained the springs so as to make the basilica dry and also to provide it with a steady fountain of excellent water40 ,of this steady fountain there is no description1 and therefore the fountain of ,pope ,symmachus 7#dih-ead7 becomes the first fountain recorded in the history of ,st4 ,peter's4 ,illustration3 ,view of fountains and obelisk of ,st4 ,peter's from beneath ,bernini's ,colonnade4 ,pope ,symmachus was a ,corsican4 ,he evidently had a passion for building every kind of structure connected with water as a cleanser and as a beautifier of man's civic life4 ,his fountain1 built at a time when civilization and art in ,rome were at a low ebb1 was a quaint and exquisite structure1 composed of a square tabernacle supported by eight columns of red porphyry with a dome of gilt bronze4 ,peacocks1 dolphins1 and flowers1 also of gilt bronze1 were placed on the four architraves1 from which jets of water flowed into the basin below4 ,the border of the basin was made of ancient marble bas-reliefs1 representing panoplies1 griffins1 and other graceful devices4 ,on the top of the structure were semicircular bronze ornaments worked 8 jour10 that is1 in open relief1 without background1 and crowned by the monogram of ,christ4 ,in the centre of the tabernacle and under the dome stood a bronze pine-cone4 ,this fountain stood1 not in the ,piazza of ,st4 ,peter's1 but in the atrium1 or the square portico1 which stood in front and on the right hand of the old basilica4 ,the history of the construction and destruction of this beautiful fountain of the dark ages is an excellent example of the artistic and architectural methods of those times4 ,arts and crafts had already sunk to so low a depth that there were no longer any men in ,rome capable of casting or carving statues like those of former days1 and marble had ceased to be imported into the city4 ,consequently all monuments or other artistic structures were made up of figures in marble or bronze1 panels1 columns1 friezes1 and similar decorations1 stolen from the productions of the great days of the ,empire4 ,the ,arch of ,constantine1 erected in #cae1 is composed to such an extent of columns and sculpture from a ,triumphal ,arch of ,trajan that it was surnamed 8sop's ,crow02 and the ,column of ,phocas 7#fjh71 the last triumphal monument to be erected in imperial ,rome1 consists of a shaft and capital surmounted by a bronze figure1 all taken from earlier as well as different structures4 ,pope ,symmachus was only following the established methods when1 to ornament his porphyry columns 7themselves probably part of some classic temple71 he took four of the golden peacocks which had been originally cast for a decoration to the railing of the walk surrounding the ,tomb of ,hadrian1 and1 furthermore1 placed as the centrepiece a great pine-cone taken from the ,baths of ,agrippa4 ,these pine-cones were a customary feature of the classic fountain1 as the scales of the cone present natural and graceful outlets for the falling water4 ,symmachus's fountain was one of the beauties of ,rome in the days when the great ,gothic ,king ,theodoric ruled and loved the city4 ,three hundred years later it captivated the fancy of ,charlemagne1 crowned ,emperor in ,st4 ,peter's on ,christmas ,day1 #hjj2 and the fountain afterward erected before his great cathedral at ,aix is ornamented with a huge pine-cone like the one which he and his ,franks had seen in the exquisite fountain of ,st4 ,peter's4 ,three other fountains were placed before the church as the years went by4 ,they are described by ,pope ,celestinus ,,ii 7#aadc-aadd71 while he was ,canon of ,st4 ,peter's1 and are set down in his 8,ordo ,romanus10 or ,itinerary1 or ,guide4 ,they were situated1 not in the atrium1 where stood the fountain of ,symmachus1 but below1 in that small square or cortile at the foot of the steps of ,st4 ,peter's4 ,one fountain was of porphyry and two of white marble4 ,they would seem to have disappeared quite early4 ,the fountain of ,symmachus was described in #aaij by ,censius ,camerarius1 afterward ,pope ,honorius ,,iii1 and it stood through more than eleven centuries of the confused and turbulent history of the city4 ,it survived the siege and capture of ,rome by ,vitiges in #ecg4 ,it came unscathed through the sack of the city by the ,saracens in #hhf1 and that of the ,normans in #ajhd2 and stranger still1 it was not wrecked by the terrible ,lanzknechts of the ,constable de ,bourbon in #aebg4 ,only when the ages of violence and pillage were passed1 did this historic fountain of the early church succumb to a fate similar to that of the ,pagan monuments1 out of which it had itself been formed4 ,when in #afjg the work on the new ,church of ,st4 ,peter1 which was begun in #aejf at the rear of the old sanctuary and brought forward through the century1 had reached the atrium1 this 8gem of the art of the dark ages0 was deliberately demolished by ,pope ,paul ,v1 who melted the gilded bronze to make the figure of the ,virgin now surmounting the ,column of ,santa ,maria ,maggiore4 ,perhaps the metal thus obtained was more than he needed2 possibly some artistic or antiquarian compunction visited the pontiff--for two of the peacocks and the great bronze cone were spared4 ,they found their way to the ,vatican ,gardens1 and now they stand in the ,giardino della ,pigna waiting for the next turn of ,fortune's wheel4 ,yet another fountain was once associated with the basilica of ,st4 ,peter4 ,it was erected in the old square while the fountain of ,symmachus still stood in the atrium to the right of the main entrance to the church4 ,about the year #adib1 ,innocent ,,viii 7,giovanni ,battista ,cibo7 gathered the waters from springs on the ,vatican ,hill and from the practically ruined ,aqueduct of ,trajan into this fountain1 which was finished by his successor1 ,alexander ,,vi 7,borgia74 ,the design was greatly admired in its day4 ,it consisted of golden bulls1 from whose mouths the water fell into a granite basin1 and the bull was the emblem of the ,borgia family4 ,during the crowded years of the famous ,cinque ,cento1 or until the pontificate of ,gregory ,,xiii1 this fountain of ,innocent ,,viii1 and the old fountain of ,trevi 7restored by ,sixtus ,,iv7 supplied ,rome with what the present day would call its pure drinking water4 ,they contained the only water brought into the city from distant springs1 for medival ,rome had lost all but two of her great aqueducts1 and these were constantly falling into disuse2 and all the pontiffs1 painters1 poets1 and architects1 as well as the populace of that dramatic period drank the doubtful water of wells and of the ,tiber4 ,this fountain of ,innocent ,,viii was destroyed when the modern ,piazza of ,st4 ,peter's replaced the very much smaller one of earlier days4 ,probably the golden bulls were melted down into other shapes1 and the great red granite basin was used by ,carlo ,maderno for the upper basin of the magnificent new fountain which he designed and executed at that period for ,paul ,v1 and which is the northern one of the two fountains of the present day in the ,piazza of ,st4 ,peter's4 ,standing between the fountains of ,st4 ,peter's is an obelisk1 the surpassing interest of whose history adds not a little to the importance of the fountains themselves1 and indeed of the entire square4 ,it is1 according to ,lanciani1 undoubtedly the obelisk at the foot of which ,st4 ,peter was crucified4 ,formerly the place of his martyrdom was located on the ,janiculum ,hill1 on the spot where ,san ,pietro in ,montorio was built by ,ferdinand of ,aragon and ,isabella of ,castile to commemorate the event4 ,lately this location of the site of ,st4 ,peter's crucifixion has been discredited1 but it is easy to see how that mistake occurred4 ,caligula had brought the obelisk from ,heliopolis some time during the four short years of his reign and placed it in the circus he began to build in those gardens of his mother1 the noble ,agrippina the elder1 which lay along the northern side of the plain between the ,janiculum and ,mons ,vaticanus4 ,there it stood on the centre of the spina1 the long1 straight line stretching down the middle of the arena from the two opposite goals at either end4 ,caligula was assassinated before he could finish the circus and it was completed some thirteen years later by ,nero1 under whom it became the scene of those atrocities against the ,christians which have rendered his reign infamous4 ,st4 ,peter was crucified one year before the death of ,nero4 ,his cross was raised on the spina of the circus at an exact distance between the two goals--metas--built at either end of the amphitheatre1 and therefore1 at the foot of the obelisk which stood on that spot4 ,christian tradition handed down the description of the place 8between the two goals0 7inter duas metas74 ,now meta was a name afterward given to tombs of pyramidal shape1 two of which existed in medival ,rome--one1 that of ,caius ,cestius1 still standing next to the present ,protestant ,cemetery1 and the other in the ,borgo ,vecchio1 destroyed later by ,alexander ,,vi4 ,a straight line drawn from one of these tombs to the other has its centre in a point on the ,janiculum1 and therefore this spot was thought to be the exact location of ,st4 ,peter's martyrdom4 ,even to-day visitors to the exquisite ,tempietto of ,bramante1 erected in the cloister of the ,church of ,san ,pietro in ,montorio1 are shown below its pavement the very stone in which the cross of ,st4 ,peter was fixed4 ,the legend of this location for the crucifixion of ,st4 ,peter grew up during the ,middle ,ages1 a period in which all knowledge of the authentic site was entirely lost4 ,modern archology has recently succeeded in locating this position and its topography can now be easily understood4 ,when the ,emperor ,constantine1 after his conversion to ,christianity1 determined to build a basilica in honor of ,st4 ,peter1 he planned to erect the edifice so that its centre should rise directly over the tomb of ,st4 ,peter1 who1 according to historical documents1 was buried not far from the scene of his martyrdom4 ,to do this1 he found himself obliged to build so near the ,circus of ,caligula and ,nero that the southern wall of his edifice corresponded exactly to the northern wall of the ,circus4 ,he therefore used this wall of the ,circus as the southern foundation wall of his church4 ,this naturally brought the southern side of the old ,st4 ,peter's within a very short distance of the spina of the ,circus1 on which stood the obelisk1 with a chapel before it called the ,chapel of the ,crucifixion4 ,the ,chapel disappeared seven or eight centuries ago1 but not before its true significance had been quite forgotten1 and men supposed the name to refer not to the crucifixion of ,st4 ,peter but to the ,crucifixion of ,our ,lord4 ,an old engraving by ,bonanni1 antedating the reign of ,sixtus ,v1 shows the old ,church of ,st4 ,peter on its southern side1 with the obelisk1 still tipped by its ,pagan ball1 standing in close proximity4 ,when the plan for the new ,church of ,st4 ,peter was accepted it was seen that the southern side of the great edifice would extend so far beyond the limits of the original church that it must entirely cover the spot on which the obelisk was standing2 and as the connection of the obelisk with the martyrdom of ,st4 ,peter had long since been forgotten1 ,pope ,sixtus ,v conceived the idea of moving the obelisk to a more conspicuous and important position4 ,thus it came about that the obelisk now forms the central feature in the piazza before the ,cathedral of ,christendom2 while the place of ,st4 ,peter's crucifixion1 that site of transcendent interest to all ,christians1 remains unidentified1 buried beneath the masses of masonry composing the ,baptistery on the southern side of the vast structure which bears ,st4 ,peter's name4 ,,scossa ,,cavalli ,illustration ,,scossa ,,cavalli ,this work of ,carlo ,maderno belongs to that group of fountains which owe their origin to the introduction into ,rome of the ,acqua ,paola4 ,the lower basin stands about three feet above the level of the pavement4 ,it is oblong in shape1 the oval broken at both ends by graceful variations in the curve4 ,the secondary basin is much smaller1 round and quite shallow4 ,from its centre rises a richly carved cup much resembling a ,corinthian capital1 this cup being the apex of the central shaft1 upon which rests the second basin1 and the main stream of water spouts upward from its leaflike convolutions4 ,the proportions of the fountain are excellent4 ,it is neither too low nor too high1 and the lower basin is large enough to catch and retain the water which pours over the rim of the upper basin1 so that it does not wash over as does the water in ,maderno's much more magnificent fountain in the ,square of ,st4 ,peter's4 ,the central shaft of the ,scossa ,cavalli fountain has a ,doric massiveness which gives a background of strength to the whole design and makes all the more delicate the play of the four slender jets of water1 about five feet in height1 which1 rising at equal intervals from the lower basin1 form an arch around the upper basin into whose shallow water they fling their spray4 ,the crowned eagle and griffin of the ,borghese are still to be discerned on the half-obliterated carving of the central shaft4 ,the kind of travertine out of which this fountain is made is so susceptible to erosion1 and has become so blackened by the deposit of the water1 that the whole structure appears far older than it is4 ,in reality it has stood here little more than three hundred years1 as the ,acqua ,paola was not brought to ,rome until the time of ,pope ,paul ,v4 ,this splendor-loving pontiff determined1 on his accession in #afje1 to emulate and1 if possible1 surpass ,pope ,sixtus ,v1 whose brilliant pontificate antedated his own by less than a score of years4 ,sixtus ,v had built the first great aqueduct of modern ,rome4 ,paul ,v determined to build the second4 ,sixtus ,v had christened after himself the water which he had brought to ,rome1 and ,paul ,v gave his name to the stream which1 partly by using the all but ruined ,aqueduct of ,trajan1 he had brought from ,bracciano and its hills4 ,domenico ,fontana had built for ,sixtus ,v1 as the chief outlet for the ,acqua ,felice1 the fine ,fountain of the ,moses on the ,viminal ,hill4 ,giovanni ,fontana1 brother of ,domenico1 should design for the ,acqua ,paola on the opposite slope of the ,janiculum a yet more glorious fountain which should dispense five times the amount of water given out by the fountain of ,sixtus ,v4 ,all this was done1 and from the heights of the ,janiculum the great stream descended in various channels1 and was widely spread over the ,trastevere or that portion of the city lying on the western side of the ,tiber4 ,one channel found another fine outlet in the fountain which ,carlo ,maderno1 nephew of ,fontana1 also built for ,paul ,v on the northern side of the ,square of ,st4 ,peter's4 ,from thence the water was conducted down the ,via ,alessandrina 7now the ,borgo ,nuovo7 to this small piazza of the ,scossa ,cavalli where ,maderno constructed for it this second and very properly less splendid fountain4 ,thus it will be seen that the water as well as the architectural part of this fountain belongs to the beginning of the seventeenth century2 but the interest attaching to the buildings surrounding the square in which it stands dates back farther than that1 dates back in fact to the crowded days of the ,high ,renaissance1 when this prosaic little piazza was a centre of ardent and vivid life4 ,the long1 plain1 yet dignified building to the south1 now called the ,ora ,penitenzieri1 was built by ,cardinal ,domenico della ,rovere1 who was one of the nephews of ,pope ,sixtus ,,iv and brother to ,pope ,julius ,,ii1 the friend and patron of ,michelangelo4 ,to the west1 and on the corner made by the square and the street of the ,borgo ,nuovo1 stands the house built by ,bramante1 and purchased by ,raphael4 ,the atelier of the 8divine painter0 is the corner room on the second floor4 ,against the wall behind those gloomy windows stood his last picture1 8,the ,transfiguration10 unfinished2 and on a bed placed at the foot of that picture1 ,raphael died4 ,another death agony is connected with the history of the square1 for in the gardens behind the palace to the north1 now called ,palazzo ,giraud-,torlonia1 was held that fatal supper where the ,borgias1 father and son1 fell victims to the poison which they had prepared for the cardinal who was their host and the owner of the palace4 ,even the legends of classic ,rome seem somewhat colorless compared with the memories which haunt this dull little square4 ,nothing could be more prosaic than its present-day appearance4 ,it is truly 8empty1 swept1 and garnished10 but the devils which have gone out of it have seldom had their equal2 its memories belong to a more splendid and to a more shameful past than is the heritage of any other city of our modern world4 ,in #adib1 when ,columbus had discovered the ,western ,hemisphere and ,copernicus was revolutionizing the medival view of the universe1 ,rome was still emerging from the shadow under which she had lain while the popes resided at ,avignon4 ,in #adga ,sixtus ,,iv began to restore and embellish the city1 and with him the ,holy ,see entered upon that long period of secularization which reached its acme of infamy1 of magnificence1 and of territorial possessions in the respective pontificates of the ,borgia1 ,medici1 and ,barberini popes4 ,each of these pontiffs left his mark on some particular quarter of the city2 and although in the years following the times of ,alexander ,,vi efforts were made to obliterate the memory of the ,borgias1 the ,borgo ,nuovo remains forever bound up with their history4 ,illustration3 ,upper basin of the fountain in the ,piazza ,scossa ,cavalli4 ,throughout the ,middle ,ages the only thoroughfare from the ,bridge of ,st4 ,angelo to the ,square of ,st4 ,peter's was the ,borgo ,vecchio4 ,it was a narrow and tortuous street and quite inadequate to the traffic and processions and pilgrimages which continually passed between its rows of crowded old houses4 ,alexander ,,vi formed the new ,borgo by cutting a street through the orchards1 gardens1 and slums of this quarter1 and by granting special privileges to the property owners who1 within a specified time would build on it houses not less than forty feet high4 ,the ,pope was greatly interested in his new street and christened it for himself1 the ,via ,alessandrina4 ,he was fortunate in having in ,rome at that time ,bramante of ,urbino1 who was just launched on that career of popular favor which was only to be surpassed in length of days or in exaggerated estimation by the career of ,bernini a century later4 ,a sure way to please the ,pope was to employ some great architect and to erect a noble house upon the new thoroughfare4 ,raphael1 who was amusing himself with architecture1 is said to have worked with ,bramante in the construction of the palace afterward owned by him1 next door to the palace owned by the ,queen of ,cyprus1,a and the great room on the piano nobile1 the beautiful wooden ceiling of which had been designed by ,bramante1 was a stately studio4 ,the room is now divided into two apartments2 but it is easy in imagination to sweep away the modern alterations and to see this most beautiful1 gracious1 and best-loved of all ,italian artists at work here among his pupils1 or receiving with an exquisite sweetness and modesty the greatest princes of the ,church and ,state4 ,rome was at this period the finest marble quarry in the world4 ,it was still a century before the time of ,sixtus ,v and ,domenico ,fontana2 the ,farnese had not yet built their great palace from the spoils of the ,baths of ,caracalla and other noble ruins2 the last sack of ,rome was still thirty years in the future2 and very little building of any importance had been carried on through the long period of the popes' absence in ,avignon4 ,bramante found the richest marbles ready to his hand1 and he built the faade of the ,palazzo ,giraud-,torlonia out of materials taken from the ,basilica ,giulia and the ,temple of ,janus4 ,however1 already in ,sixtus ,,iv's time the rage had begun for the destruction of old monuments1 and in order to build the ,via ,alessandrina1 the ,pope had demolished a ,pagan tomb which had once been a landmark in the ,borgo4 ,during the ,middle ,ages it was called the ,tomb of ,romulus1 and ,raphael has painted it in his 8,vision of ,constantine40 ,it was of pyramidal form1 like the tomb called the ,pyramid of ,cestius1 which is still standing near the ,protestant ,cemetery on the road to ,st4 ,paul's ,beyond the ,walls4 ,doubtless1 its massive blocks went into the construction of the new palaces surrounding the little square1 which now took the place of the old tomb as the central point in that quarter of the city4 ,in this square the two chief palaces are connected with two of the greatest of the ,pope's cardinals1 each of whom had found it to his advantage to hold a post in foreign lands4 ,the fiery and forceful ,giulio della ,rovere1 who gave his name to the palace built by his brother ,domenico and now known as the ,penitenzieri1 had been the chief rival of ,rodrigo ,borgia in the papal election of #adib1 and1 thereafter1 the open enemy of ,alexander ,,vi4 ,it is possible he might never have become that ,pope's successor had he not put himself under the protection of ,charles ,,viii of ,france4 ,on the other hand1 ,cardinal ,adriano ,corneto1 who built the palace now the ,giraud-,torlonia1 stood high in the ,pope's good graces4 ,alexander made him collector of the papal revenues in ,england1 where he was already known as the papal peacemaker between ,henry ,,vii and the ill-starred ,james ,,iv of ,scotland4 ,there he made a valuable friend in no less a personage than ,king ,henry ,,vii himself4 ,the ,tudor ,king was not lavish of his money1 but1 for some reason1 he gave large sums to ,cardinal ,corneto as a personal gift4 ,england proved a safe and agreeable asylum for the accomplished cardinal1 and when he was finally recalled he must have returned to ,rome with some misgivings4 ,he found the ,curia1 as well as the city1 living under that spell of terror which the ,borgias1 father and son1 had woven about them4 ,strange stories1 horrible suspicions1 and mysterious crimes were the order of the day2 and the cardinal1 returning from his bishopric of ,bath and ,wells and the frankness and simplicity of the ,english court1 must have found the change little to his liking4 ,very probably it was to secure the ,pope's friendship that he engaged the services of ,bramante and began to build a magnificent palace on the ,pope's new thoroughfare4 ,but while ,alexander ,,vi loved splendor1 he also coveted money4 ,the new palace was slow in building1 and before it was completed1 the ,pope could see that all the gold which the cardinal had collected in ,england had not gone into the papal coffers4 ,in short1 he comprehended the fact that his ,cardinal ,adriano ,corneto was a very rich man2 and in the summer of #aejc he sent him a message that ,his ,holiness and the ,duke of ,valentino 7,cesare ,borgia7 would honor him by taking supper with him on the night of ,august #ab4 ,it is easy to understand the consternation with which the message was received1 the look of frozen horror on the cardinal's face as he already saw himself dying in sudden convulsions or fading slowly away with a fatal and mysterious malady4 ,no time was to be lost1 and a large share of the cardinal's ,english gold bought over the ,pope's majordomo to his side4 ,possibly some of the deadly work had already begun before the bargain was struck4 ,possibly the majordomo thought it best to appear to have obeyed the ,pope's orders1 even at the risk of a little torture to the cardinal1 for although ,cardinal ,corneto survived that fatal supper1 it was said that the skin fell from him in strips4 ,the ,pope died within ten days1 the monstrous appearance of the corpse terrifying all who beheld it4 ,only ,cesare ,borgia's almost superhuman vitality saved him from a like fate4 ,years after1 when he had been shut out forever from ,rome1 ,cesare told his friend and admirer ,machiavelli that the results of this supper in the gardens of the cardinal's palace had frustrated all his plans4 ,cesare had fully determined that his father's successor should not humiliate and despoil him as his father had despoiled and humiliated the nephews of his predecessor1 ,pope ,sixtus ,,iv4 ,he had made every arrangement to make himself master of ,rome as soon as his father should die4 ,he had1 so he told the author of 8,il ,principe10 foreseen and provided for every possible difficulty4 ,the one thing he had not been able to foresee was that he himself should be too ill to leave his bed4 ,the ,borgias passed away from ,rome4 ,cardinal della ,rovere was made ,pope1 and men set about to obliterate all memories of that brood whose crimes had made ,rome a stench in the nostrils of ,christendom4 ,gradually1 but effectively1 the work was accomplished4 ,alexander ,,vi's tomb was built without any monument4 ,the ,fountain of the ,gilded ,bulls1 the emblem of the ,borgias1 which stood before ,st4 ,peter's was destroyed4 ,the ,borgia apartments in the ,vatican were walled up1 and remained so for centuries4 ,the nude figure of the beautiful ,giulia ,farnese on the tomb of her brother ,pope ,paul ,,iii in ,st4 ,peter's was covered with painted metal draperies4 ,even the ,via ,alessandrina became the ,borgo ,nuovo4 ,cardinal ,adriano ,corneto lived through the pontificate of ,pope ,julius ,,ii and into that of ,pope ,leo ,x2 but the fame of his riches did at last work his undoing4 ,leo ,x1 who needed money as much as ,alexander ,,vi1 insisted that the cardinal was privy to a conspiracy against his life4 ,corneto was deprived of his cardinalate1 even degraded from the priesthood1 and was obliged to make his escape from ,rome4 ,he died in obscurity1 leaving his beautiful palace1 still unfinished1 to his benefactor ,king ,henry ,,vii1 who made it the residence of the ,english ambassador4 ,a century later1 when ,maderno built the fountain of the ,scossa ,cavalli for ,pope ,paul ,v1 ,cardinal ,corneto's palace had again passed into the hands of the ,romans1 where it has remained4 ,the ,reformation had swept over ,england1 and there was no longer an ,english ambassador to the ,papal ,see4 ,,piazza ,,pia ,illustration ,,piazza ,,pia ,no one can walk the ,roman streets without perceiving1 and almost at once1 that here time is of no importance4 ,it is1 in fact1 an absolutely negligible quantity4 ,buildings and monuments dating from widely diverse periods stand side by side1 and it is in no wise incongruous from the ,roman standpoint to find at the head of the ,borgo 7the ancient ,leonine city7 one of the very latest fountains of papal ,rome4 ,it is a charming little creation1 quite consciously harking back to the great days of the papacy and rebuking by its sober1 yet imaginative sculpture those geometrical designs or extravagant ebullitions of fancy--the fountains of the present rgime4 ,it stands in the ,piazza ,pia1 against that narrow faade which blunts the point of the long angle or wedge-shaped block of buildings lying between the ,borgo ,vecchio and the ,borgo ,nuovo4 ,its ,fontanesque mostra is composed of two beautiful white ,carrara columns with ,corinthian capitals supporting a pediment and entablature on which is an inscription to the effect that the fountain was erected by ,pius ,,ix in the sixteenth year of his pontificate1 which would make it the year #ahfb4 ,the sculptural part of the fountain bears a certain resemblance to the work of ,luigi ,amici and ,bitta ,zappal1 the artists who not many years later executed the modern figures in the side fountains of the ,piazza ,navona4 ,the ,piazza ,pia fountain might also be ascribed to ,tenerani1 a distinguished sculptor of ,pius ,,ix's pontificate1 who1 in his devotion to the ,pope1 did not disdain to design some of the triumphal devices with which ,rome welcomed back ,pio ,nono after ,gaeta4 ,but ,tenerani's bust is among the 8,silent ,company of the ,pincio10 and if the little fountain were indeed his work1 the fact would be known4 ,as it is1 the sculptor's name seems1 for the present1 at least1 to have been forgotten in the confusion attendant upon the transformation of papal into ,italian ,rome4 ,the fountain originally held ,paola water1 and the charming little vase and dolphins composed of white ,carrara have become through the deposits of this water so black that the beauty of the fountain is distinctly marred4 ,this fountain takes the place of an earlier one executed by ,carlo ,maderno and called the ,mask of the ,borgo4 ,the design was a large mask from which water flowed into a pilgrim shell over which perched the ,borghese eagle1 while two lions' heads on either side spouted additional streams4 ,as this first fountain was in travertine it had in all probability succumbed to the disastrous effects of the ,paola water1 which seems to disintegrate as well as to discolor some varieties of that stone4 ,there is in the ,piazza ,mastai another fountain erected by ,pius ,,ix4 ,and he also instituted several washing troughs in the ,trastevere among the poor1 for whom he had always a sincere and profound sympathy4 ,those who would render justice to this last 8,papa ,re0 should drive up the magnificent approach to the ,quirinal ,palace4 ,this modern driveway and masonry were erected1 as can be seen from the tablet on the sustaining wall of the terrace1 for ,pius ,,ix by his great architect and engineer ,virginio ,vespignani4 ,they give the finishing touch of magnificence to the ,piazza of the ,quirinal1 originally laid out on its present grade and in its fine proportions by ,domenico ,fontana for ,sixtus ,v 7some two hundred and eighty years earlier74 ,this approach to the ,quirinal and the great buttress walls of the ,coliseum might easily be enough to prove ,pius ,,ix's care for the city2 but1 as with those of his predecessors who had the welfare of their people most at heart1 his chief claim upon the memory of the ,romans lies in the interest which he took in the city's water supply4 ,pius ,,ix gave his permission to an ,english company to introduce into ,rome the rediscovered springs of the ,marcian water4 ,these springs had been first brought to ,rome by the ,marcian aqueduct in the years #add-adj ,b4 ,c4 ,this aqueduct was the first of the true high-level aqueducts1 and covered its path of fifty-eight miles on great arches which brought it to ,rome at the ,porta ,maggiore one hundred and ninety-five feet above sea-level4 ,the two aqueducts which antedated it--the ,appian and the ,anio ,vetus--ran most of the distance underground1 the ,anio ,vetus appearing above ground for only eleven hundred feet1 while the ,appian 7the first of all the ,roman aqueducts7 was carried overground on low arches for three hundred feet1 and actually entered the city fifty feet below the surface of the earth4 ,the springs of the ,marcia are now called the ,second and ,third ,serena and are situated in the ,valley of the ,anio above ,tivoli1 on the north side of the stream1 near ,agosta4 ,the original ,marcian aqueduct had been destroyed by ,fontana when he was collecting material to build the ,acquedotto ,felice4 ,a portion1 however1 of the ancient masonry remains1 and although to-day the ,marcian water comes to ,rome chiefly through modern iron pipes1 some parts of its passage lead through the old stone channels4 ,the water now enters ,rome through the ,porta ,pia at an altitude of two hundred feet2 thus it ranks next to the ,paola1 which is two hundred and three feet above the sea-level4 ,the ,marcia ranks next to the ,virgo in abundance1 and at present supplies most of the dwelling houses in ,rome4 ,its history is embodied in its full name1 ,acqua ,marcia ,pia4 ,pius ,,ix made his last public appearance as sovereign pontiff when this water was introduced into ,rome4 ,this occurred on ,september #ah1 #ahgj1 just two days before the famous 8,venti ,settembre10 when the ,italian troops entered ,rome through a breach in the ,porta ,pia4 ,the fountain which was destined to be the last fountain of papal ,rome stood in the ,piazza delle ,terme1--not where the present one stands1 but off to one side1 for the city was still papal ,rome and the great ,villa ,negroni 7formerly ,montalto7 of ,pope ,sixtus ,v then covered the site now occupied by the present railway station4 ,within the gardens of that villa many of the original ,acqua ,felice fountains were still flowing1 and one latter-day inhabitant of the villa tells how1 as a child1 she often looked down at night from her nursery windows upon an old fountain about which stood a circle of little ,campagna foxes drinking from its cypress-guarded waters4 ,the ,pope drove to the inauguration of his ,marcia ,pia amid a vast concourse of people who strewed flowers and shouted3 8,king1 ,king60 ,there were1 however1 few distinguished people at the ceremony4 ,he drank a cup of the water1 praised its purity and freshness and thanked the magistrates for giving it his name4 ,it was the last public act of his sovereign pontificate1 and derives both significance and dignity from that long list of popes who1 since the time of ,hadrian ,i had constituted themselves guardians and builders of ,roman aqueducts4 ,the fountain which ,pius ,,ix thus inaugurated has been swept away to make room for the present bronze affair4 ,but the ,acqua ,marcia ,pia now flows in the ,pope's pretty fountain of ,piazza ,pia1 so that here in the ,borgo1 the ancient 8,porch of ,st4 ,peter's10 we find the last water and1 with the exception of the fountain in the ,piazza ,mastai1 the last fountain1 of papal ,rome4 ,,campidoglio ,illustration ,,campidoglio ,the three fountains of the ,campidoglio have one fundamental characteristic in common--that of being a part of ,rome from a period of great antiquity4 ,like those families who 8were there when the ,conqueror came10 the sculptures which adorn these fountains have been in ,rome since ,christian ,rome began4 ,all the statues have occupied their present positions a comparatively short time1 and have passed through many vicissitudes before reaching the places they now hold4 ,in fact1 each fountain of the ,campidoglio is a fountain with a past4 ,the sculptural part of each is a survival of some artistic design or idea antedating to a remote period the time of its conversion into the fountain of to-day4 ,the general view of the ,campidoglio comprises the stairway called 8,la ,cordonata10 the piazza at its summit crowned by the ,palace of the ,senators1 with the ,museum of the ,capitol to the left and the ,palace of the ,conservatori on the right2 and it is so impressive in its architectural majesty that the fountain which is a part of it all keeps its true place in the great composition1 and is recognized only as a note in the general harmony of proportion1 design1 and decoration4 ,this is1 of course1 as it should be--as ,michelangelo meant it to be when1 some three hundred and seventy-five years ago1 the vision of the ,campidoglio as it now stands unfolded itself in his brain4 ,not that every detail of the magnificent reality is as he planned it4 ,the fatality which followed him1 spoiling or changing nearly all his great designs1 has been at work here2 and it is the fountain which has suffered4 ,this fountain1 which is a part of the approach to the ,senate ,house1 was to have as its central statue a figure of ,jove4 ,vasari1 who is quite carried away with ,master ,michelangelo's beautiful design1 describes the fountain as if it were already done1--,jove in the centre and the two river-gods on either side4 ,but ,michelangelo and the enthusiastic ,vasari had been dead for years when ,sixtus ,v brought the ,acqua ,felice to the ,campidoglio and finally erected the fountain4 ,he placed in the noble niche where a colossal and majestic ,jupiter should have stood1 the antique statue of a ,minerva done over to represent ,rome4 ,the white marble head and arms of this statue are modern restorations1 but the porphyry torso was found at ,cori1 and its air of undeniable antiquity is all that saves this curiously inadequate figure from utter insignificance4 ,it is too small for the niche it occupies1 and is so out of proportion to its surroundings and on so different a plane of artistic treatment that it would quite spoil any creation less triumphantly dominant than is this whole staircase and faade4 ,the two river-gods which also adorn this fountain are very old4 ,together with ,marforio1 now to be found in the ,museum of the ,capitol1 they have the distinction of never having been buried since the downfall of ,rome4 ,once they stood before 8that most magnificent of all ,roman temples0--,aurelian's ,temple of the ,sun4 ,later they belonged to the ,medival ,museum of ,statues1 a collection kept in or near the old papal palace of the ,lateran1 where they had been called ,bacchus and ,saturn4 ,the ,nile1 who should have been unmistakable because of his emblem of the ,sphinx1 has now his proper designation2 but the other statue has a curious history4 ,it was originally the ,river ,tigris1 a river familiar to the ,romans since the wars with ,mithradates4 ,when1 under ,paul ,,iii1 ,michelangelo placed these statues in their present position1 some influential person suggested that the ,tigris1 no longer of any interest to the ,romans1 should be changed into the ,tiber4 ,the emblem of the ,tigris--a tiger--was then altered to represent the ,roman ,wolf1 and the ,twins were added4 ,pirro ,ligorio tells the story1 and goes on to say that the fingers of one of the ,twins were originally a part of the ,tiger's fur4 ,the erection of the bronze equestrian statue of ,marcus ,aurelius in the centre of the piazza was the first step in the design of the ,campidoglio of to-day1 for ,michelangelo's admiration of the statue had been shared by ,paul ,,iii1 and the ,pope brought it hither in #aech when the embellishment of ,rome1 originally begun in honor of the visit in #aecd of ,charles ,v1 had become with both ,pope and citizens a great and permanent interest4 ,this statue also had been a part of that ,medival ,museum in the ,lateran which was probably one of the places to visit when ,charlemagne came to ,rome to be crowned in old ,st4 ,peter's on ,christmas ,day1 #hjj4 ,the faade of the ,senate ,house1 which forms the background to the piazza and its statues1 is built in great part of travertine1 so the structural part of the fountain is of the same material4 ,this consists of a huge niche1 sixteen and a half feet in height1 sunk into the foundation of the terrace before the main entrance to the ,senate ,house4 ,on either side of the niche is a pair of ,doric pilasters1 which support the floor of the terrace and its beautiful balustrade4 ,a great stairway1 down which the balustrade continues1 connects this entrance of the ,senate ,house with the piazza below2 and the foundation of these steps1 forming triangular wings to the niche1 serves as a background to the river-gods4 ,these figures lie one on either side of the semicircular basins containing the water4 ,the simplicity of the design partakes of the inevitable4 ,considering it from any point of view1 it is not only impossible to think of anything better1 it is impossible to think of anything else4 ,if it is not the work of ,michelangelo1 there must have been two ,michelangelos in #aech6 ,illustration3 ,view of the ,piazza del ,campidoglio from the left side of the ,cordonata4 ,in ,piranesi's engraving of the ,campidoglio a fine balustrade like the one on the stairway surrounds the fountain4 ,it follows the contour of the lower basin and stands at some three or four feet distant from it4 ,this balustrade1 which has disappeared1 enhanced distinctly the beauty of the fountain1 bringing it more into harmony with the entire composition4 ,the river-god is one of the earliest sculptural personifications of natural phenomena4 ,in these days comparatively little heed is paid to the smaller water-ways1 so the modern spirit fails to see the significance of these conventionalized figures4 ,to the ancients1 however1 the statues personified that physical object upon which all civilized life depended--a great stream of unfailing water4 ,the rivers of ,greece were small1 while the ,roman ,empire contained some of the largest in the world2 but the ideas they represented were the same4 ,the river1 small or great1 made the city4 ,the river gave food and drink to the inhabitants1 connected them with the outside world1 brought trade1 turned the mills1 defended the city from invasion1 carried away pestilence1 cleansed1 purified1 and supported all the works of men2 and therefore ,father ,tiber and his brothers were to be worshipped and to be honored1 and statues were to be set up to them in public places1 so that men should remember what they owed to their river4 ,the river is always personified as a benign and majestic figure in the full strength of mature manhood1 with long and abundant hair and beard4 ,the lower limbs are draped1 so that the mystery of partial concealment hangs about him4 ,on one arm he bears a horn of plenty2 while with the other he reclines upon some support1 which is usually the characteristic emblem of the particular stream which he represents4 ,power1 abundance1 and calm strength are the qualities of a great river2 and these qualities the ancients most adequately expressed in their own peculiar medium1 which was sculpture4 ,men of to-day put their ideas into music1 or more explicitly into prose or verse1 and there are still those who appreciate the significance of the river4 ,washington ,irving's epithet of the 8lordly ,hudson0 proves the hold that great river had over his perception and imagination2 and not any statue of a river-god can give the conception of a river which is to be found in ,arnold's 8,sohrab and ,rustum03 8,but the majestic river floated on1 ,out of the mist and hum of that low land1 ,into the frosty starlight1 and there moved1 ,rejoicing1 through the hush'd ,chorasmian waste1 ,under the solitary moon2--he flow'd ,right for the polar star1 past ,orgunj1 ,brimming1 and bright1 and large2 then sands begin ,to hem his watery march1 and dam his streams1 ,and split his currents2 that for many a league ,the shorn and parcell'd ,oxus strains along ,through beds of sand and matted rushy isles-- ,oxus1 forgetting the bright speed he had ,in his high mountain-cradle in ,pamere1 ,a foil'd circuitous wanderer--till at last ,the long'd-for dash of waves is heard1 and wide ,his luminous home of waters opens1 bright ,and tranquil1 from whose floor the new-bathed stars ,emerge1 and shine upon the ,aral ,sea40 ,illustration ,,marforio ,the nearest approach which the ,romans have left us to such grandeur as this is to be found in their statue called ,marforio4 ,the north wing of the ,campidoglio group is known as the ,museum of the ,capitol1 and it is in the entrance court of this edifice that ,marforio is now to be seen4 ,if this most majestic of all river-gods ever represented any particular river1 the name of that river was forgotten centuries ago4 ,his title of ,marforio was given him long since1 because he once poured the water into a fountain which stood in a small square to the left of the ,senate ,house1 where ,augustus had erected the ,martis ,forum4 ,there he seems to have remained throughout the darkest days of ,rome's decadence1 surviving every vicissitude1 and always respected by the half-barbarous ,romans of that time4 ,gregory ,,xiii 7,boncompagni1 #aegb-aehe7 is responsible for removing ,marforio from this classic position and for separating him at that time from the huge granite basin into which flowed the water from the urn on which he is leaning4 ,thenceforth the basin has a history of its own1 while ,marforio's odyssey 7he wandered for some time after leaving his old home7 finally brought him to the ,campidoglio4 ,sixtus ,v then placed him on the left side of the piazza1 facing the south wing4 ,this south wing1 known as the ,palazzo dei ,conservatori1 was the first of the present group of buildings to be erected1 ,tommaso de' ,cavalieri--a ,roman gentleman and one of ,michelangelo's few intimates--having had charge of its construction in ,michelangelo's lifetime4 ,the north wing1 or the ,museum of the ,capitol1 was not done until the architect ,rainaldi erected it for ,innocent ,x 7,pamphili71 twelve pontificates after the reign of ,paul ,,iii4 ,during a period of one hundred and sixty years ,marforio remained where ,sixtus had placed him1 and then ,clement ,,xii 7,corsini7 installed him in the court of the ,capitoline ,museum1 and again he was given a fountain to feed and protect4 ,marforio's career after he had been parted from his basin was a curious one4 ,bored1 perhaps1 by the lonely magnificence of his new surroundings1 he fell into evil ways4 ,he became the partner of ,pasquino6 ,pasquino1 the mutilated torso from an old ,greek group of statuary1 stands at the farthest corner of the ,braschi ,palace 7now the ,ministero dell' ,interno74 ,he had first been set up there in the reign of ,alexander ,,vi2 and from that time he had become the medium for the popular and anonymous criticisms of the government4 ,his name of ,pasquino was taken from a witty tailor or barber who lived near the ,palazzo ,orsini and whose sallies against those in authority greatly delighted the ,roman people4 ,it became the custom to affix anonymous couplets or epigrams to the old torso1 which thus obtained the name of ,pasquino1 and the epigrams came to be known as pasquinades2 and from the days of the ,borgias to the time of ,napoleon1 and even later1 most of the current witticisms or scathing reflections upon public events or notable personages were ascribed to ,pasquino4 ,when ,marforio took up his abode in the ,piazza of the ,campidoglio1 he became to the ,romans the partner of ,pasquino4 ,according to a modern authority1 ,marforio never originated the sally4 ,his function was to put the question which elicited the witty retort1 or to reply in kind to ,pasquino's interrogatories4 ,with ,marforio's incarceration in the court of the ,museum the long dialogue came to an end2 and a century later the passing of papal ,rome brought ,pasquino's career to its final close4 ,modern freedom of the press leaves no place for ,pasquino2 and it may be said of him that1 ,marforio being gone1 8444 of sheer regret ,he died soon after40 ,this is not strictly true1 for1 although the statues themselves no longer have a part in the game1 it still goes on4 ,one of the most popular of the ,roman newspapers still publishes questions and repartee by ,marforio and ,pasquino4 ,it is only necessary to study for a short time the various river-gods in ,rome1 such as those of the ,tiber and the ,nile1 here at the ,capitol1 or ,fontana's statue in the ,quattro ,fontane1 or the modern work in the western fountain of the ,piazza del ,popolo1 and then to return to ,marforio1 to appreciate the immense artistic superiority of the latter4 ,marforio is truly a river-god1 a personification of all or any of the earth's rivers4 ,the ancient and forgotten sculptor has given to the ponderous stone a fluid quality which is really wonderful4 ,to make the hair and beard merge into the god's breast and shoulders would have been simple both in conception and execution1 but only a genius could have secured to the massive and supine figure that appearance of being outstretched in powerful yet melting length along the surface of things4 ,artists of the ,renaissance from ,rome and from beyond the ,alps always speak of the gran simulacro a giacere1 an expression difficult to anglicize1 but which is an attempt to describe this singular quality of a static position instinct with continuous and onward flowing movement4 ,finally1 the god's face is full of genuine power and benignity and is the adequate consummation of the sculptor's ideal4 ,it is no wonder that ,marforio has become a type4 ,vasari1 for instance1 speaks of young ,baccio ,bandinelli making 8a ,marforio0 out of snow1 as not long before the youthful ,michelangelo had made a faun from the same perishable material4 ,for a thousand years--and we do not know for how much longer--,marforio has been a part of the city's life4 ,he has survived the ,norman pillage in #ajhd1 as well as the great sack of ,rome in #aebg4 ,as a kindly god1 dispensing water to rich and poor1 he has had his part in all the triumphs and disasters1 and has shared the ups and downs of life not only with the city but with her children4 ,roman and barbarian1 patrician and plebeian1 slave and citizen1 ,pagan and ,christian--all have drunk from his fountain4 ,what has he not seen1 and not heard6 ,it was an unerring instinct for the fitness of things which made him ,pasquino's gossip1 and his present honorable but unnatural seclusion from the city's busy streets and squares is commonly attributed not to ,pope ,clement ,,xii's lack of imagination but1 on the contrary1 to his recognition of ,marforio's malicious influence over the popular mind4 ,a tablet has been set up in the house which is built over the site where history finds him1 ,number #di1 ,via ,marforio4 ,in short1 ,marforio belongs to that curious class of inanimate things which have developed a personality2 injury to him would arouse fierce popular resentment2 and were he to be destroyed1 the ,romans would feel that they had lost not a work of art but a personal friend4 ,,the ,,lion ,the third fountain in the trio of the ,campidoglio is to be found in the upper garden of the ,palazzo dei ,conservatori--the building to the right hand in the ascent of the ,cordonata4 ,it can hardly be called a fountain1 since it is merely a large basin of water surrounding some rockwork on which stands an old bit of sculpture of a character manifestly inappropriate to the sentiment of a fountain4 ,it represents a lion tearing out the vitals of a horse which it has sprung upon and borne to the ground4 ,this much-restored fragment is of real importance from an artistic standpoint1 while as a ,roman antiquity it has extraordinary interest4 ,the marble bears distinct traces of having been subjected to the action of water1 and1 as a matter of fact1 it was found more than a thousand years ago in the bed of the ,river ,almo4 ,nothing is known of its history previous to that discovery4 ,illustration ,the ,almo is a little brook in the ,campagna not far from ,rome1 rising in the hills between the ,via ,appia and ,via ,latina and emptying into the ,tiber4 ,its modern name is ,acquataccio4 ,the ,almo was connected with the ancient worship of the goddess ,cybele1 whose sacred image was ceremonially washed in it each year on the #bgth of ,march by the priests4 ,this religious ceremony1 doubtless1 preserved the channel of the stream so that it would have been quite possible to hide successfully a great piece of statuary in its depths or in some reedy pool along its banks4 ,river-beds were not uncommon hiding-places for treasures during the ,dark ,ages which followed the breaking-up of the ,roman ,empire1 and it is quite possible that this group may have been so hidden by its owner whose great villa1 situated near the stream1 was threatened with pillage or destruction by some barbarian incursion4 ,the high value evidently placed upon it by its original possessor was also given to it by its discoverers4 ,it belonged to that remote museum of antiquities kept in or near the ,lateran ,palace during the ,middle ,ages and dating back at least to the days when ,charlemagne first visited ,rome1 in #gha1 bringing with him his little son ,pepin1 aged four1 to be anointed ,king of ,italy by ,pope ,hadrian ,i4 ,this museum contained also the equestrian statue of ,marcus ,aurelius1 now standing in the centre of the piazza of the ,campidoglio1 together with the two river-gods1 placed later on by ,michelangelo where they now lie--one on either side of the central fountain of the ,campidoglio2 and other marbles and bronzes of great value4 ,most of these art treasures were removed from the ,lateran to the ,capitol when ,pope ,sixtus ,,iv 7,riario1 #adga-adhd7 founded the ,capitoline ,museum2 but long before that time the ,lion1 as it was always called 7the original portion of the horse being merely the body71 had been taken from its academic seclusion and set in the midst of things4 ,during three centuries of the turbulent life of medival ,rome1 it stood to the left hand and at the foot of the long flight of steps which1 previous to ,michelangelo's time1 led up from the ,piazza of the ,ara ,cli to the ,capitol4 ,all about it was held the public market2 the city officials1 found guilty of misdemeanors1 were made to do penance sitting astride the ,lion's back with their hands tied behind them and their faces smeared with honey--the ,roman version of the pillory6 ,the ferocity of the ,lion was thought to typify the punishment of crime1 and the public executions were held before this old fragment4 ,here1 on ,august #ca1 #aced1 the famous soldier of fortune1 ,fra ,monreale1 was beheaded by order of ,cola di ,rienzi4 ,on ,october #h of the same year1 ,rienzi himself was caught as he was escaping in disguise from the burning palace of the ,capitol1 and here he stood1 during the last hour of his life1 leaning against the ,lion1 turning his head this way and that in vain quest of succor1 while the mob which was so soon to tear him to pieces held back in a strange awe1 and a silence reigned over everything6 ,that was the greatest of all the tragedies--though there were so many of them--connected with the ,lion4 ,the old bit of sculpture continued to hold its sinister place in ,roman life1 until the pontificate of ,paul ,,iii 7,farnese1 #aecd-aedi74 ,at that time ,master ,michelangelo 7to use ,vasari's phraseology71 working for the ,pope1 remodelled the ,capitol and decorated it with many old statues4 ,the group of the horse and lion was then completely1 though poorly1 restored1 and placed in the court of the ,palazzo dei ,conservatori--this being the first of the three buildings of the ,capitol to be built after ,michelangelo's designs4 ,at the same time the place for the public executions was transferred from the piazza of the ,ara ,cli to the ,piazza di ,ponte ,sant' ,angelo4 ,the ,lion was placed in its present position in #aijc1 and ,rome of the twentieth century is responsible for the extraordinary taste which converted into a fountain this old fragment1 highly interesting as an antiquity but repulsive in itself1 and associated chiefly with the bloodiest and least attractive pages in ,roman annals4 ,it is impossible to leave the ,campidoglio without a heightened appreciation of the might of the constructive imagination4 ,only that faculty1 developed to its highest power as in ,michelangelo1 could have produced this magnificent harmony out of the incongruous mass of classic and medival survivals with which he had to deal4 ,,farnese ,illustration ,,farnese 8,at the entrance to this palace stand two rare and vast fountains made of granite stone and brought from the ,baths of ,titus40 ,thus wrote ,john ,evelyn in ,november1 #afdd4 ,the description holds to this day1 although the modern sight-seer will substitute ,caracalla for ,titus4 ,the fountains were erected by the ,farnese family to add the final touch of distinction to their new palace4 ,they owe their unique combination of original classic features and seventeenth-century taste to the genius and opportunities of ,paul ,,iii and his grandson1 ,cardinal ,alessandro ,farnese ,,ii1 and to a still later descendant ,cardinal ,odoardo ,farnese4 ,the ,pope and the earlier cardinal1 men of wide culture and enormous wealth1 were the first to excavate and exploit the ,baths of ,caracalla4 ,the treasures they there found might well have been the loot of some fabulous city1 and yet the pearls and gold and rubies brought some twenty years later by ,francis ,drake to his royal mistress were of small significance compared to the works of art found in those great baths--baths which had been the most sumptuous pleasure-house of imperial ,rome4 ,it is the glory of ,italy that she knew this at the time4 ,her great churchmen reverently exhumed those masterpieces of ,greek and ,roman art and made of them the ,farnese ,collection--according to a well-known authority the rarest collection ever got together by private individuals1 and forming to-day the chief interest in the ,museum at ,naples4 ,when the ,pope1 ,paul ,,iii 7,farnese71 began the erection of the great new palace which was to bear his name and fitly domicile the princely family he was founding1 he1 and his descendants after him1 used for its decoration the rare marbles and minor artistic trophies from the baths4 ,no doubt1 it seemed to them a happy inspiration to turn these gigantic granite tubs into a pair of fountains2 for these notable fountains are1 in the last analysis1 simply huge bathtubs1 rendered imposing by their size1 and magnificent by the material out of which they are made4 ,they are seventeen feet long and about three feet deep1 and are absolutely devoid of decoration except for the lion's head carved in relief1 low down in the middle of each side--and this is merely an ornamental outlet for the water1 quite as necessary to the original purpose for which these tubs were made as are the handles carved high up on either side under the curved rim1 simulating metal rings through which the bronze staves had been inserted whenever it was found necessary to move the tubs4 ,carlo and ,girolamo ,rainaldi1 who1 in #afab1 adapted for ,cardinal ,odoardo ,farnese this furniture of the past to seventeenth-century decorative purposes1 could think of no more original design than that of the well-known ,italian fountain of their own day4 ,they placed each of the tubs in a large1 elegantly curved basin similar to those in the ,piazza ,navona standing some two feet above the pavement4 ,in the middle of each tub they erected a sumptuous ,italian vase1 its large1 swelling stem1 richly carved1 upholding an elaborate shallow bowl1 oblong in shape1 out of which rises as the fountain's final consummation a highly conventional fleur-de-lis1 the emblem of the ,farnese family4 ,this is overwrought with fine stone traceries1 and sends upward from its centre convolution a single slender stream of water4 ,additional jets1 of no artistic value1 rise one on either side in each of the lower basins4 ,this modern work is all in travertine4 ,the combination of the severely classic lines of the baths with the ,gothic carving and medival emblem of the fleur-de-lis is not good4 ,it is disastrous to the design as a composition and makes these fountains archological curiosities rather than artistic creations4 ,still1 the ,farnese fountains impose by their qualities of size and strength1 and once seen can never be forgotten4 ,the pleasure derived from the sight of a pair of fountains is not merely double the pleasure that is felt at the sight of one4 ,the two objects1 though exactly similar1 create by their mutual relation an entirely new set of sthetic emotions4 ,the feeling for balance and composition is aroused1 and this particular pleasure is produced in no small degree by these two fountains4 ,twin fountains are an unusual feature4 ,there are few of them in the world2 and in ,rome1 whose fountains are perhaps still unnumbered1 there are but five--the fountains of ,st4 ,peter's1 the side fountains of the ,piazza del ,popolo1 the two end fountains of the ,piazza ,navona1 ,vansantio's fountains in the ,villa ,borghese1 and these of the ,piazza ,farnese4 ,mr4 ,john ,evelyn also describes in his journal the custom of his day for the ,roman gentry to take their airing in the ,piazza ,farnese1 driving or walking before the palace and about the fountains1 whose water gave to all the architectural magnificence that touch of freshness and charm essential to the ,roman idea of a pleasure-ground4 ,that ,evelyn was taken to the ,farnese ,palace the very first day of his sojourn in ,rome is significant4 ,the ,roman of #afdd evidently considered this palace and its precincts to be ,rome's chief attraction2 and this proves that in spite of the efforts of ,paul ,v 7,borghese71 who had died some twenty years previously 7#afba71 and of ,urban ,,viii 7,barberini71 then just passing away1 the ,farnese pontiff1 ,paul ,,iii1 dead for a century past1 had succeeded in giving and preserving to his family an importance and magnificence hardly to be emulated and impossible to surpass4 ,the bronze and marble tomb of ,paul ,,iii is in ,st4 ,peter's1 to the left of the tribune4 ,it contains the dust of as worldly a person1 to quote ,ranke1 as ever ,pope had been4 ,yet if his actions cannot be said to 8smell sweet and blossom in the dust10 his memory survives in the annals of ,rome1 fragrant with the love and pride of his people4 ,he was an old1 old man when he died in #aedi4 ,he had been fifteen years ,pope and forty years a cardinal4 ,the date of his birth carries the mind back to the years before ,columbus4 ,his education1 conducted by ,pomponeus ,ltus1 had begun in the full tide of the ,high ,renaissance4 ,in his early twenties he became a member of the household of ,lorenzo the ,magnificent1 at whose table and in whose gardens he had met the most brilliant men of his time and had heard talk that embraced all that was then known or surmised of art and learning4 ,for ,constantinople had fallen to the ,turk only a generation before that time1 and what had survived of ,greek culture1 fleeing across the seas to ,italy1 had found its chief shelter and patronage in the household of the great ,medici4 ,while in ,florence1 young ,farnese must have heard ,savonarola preach2 but no trace of the great ,dominican's influence is to be found throughout his long life4 ,the classic spirit enthralled his intellect1 and the splendor of the ,medici prince captured his imagination4 ,in later years his careful ,latinity1 his splendid and liberal manner1 and his gay and witty conversation1 together with his patronage of artists and his passion for the antique1 proved how profoundly he had been influenced by the experiences of his early youth4 ,placed thus in the very heart of a movement which freed the individual from all limitations save those of his own personality and opened the world before him1 he early made up his mind to become ,pope and to raise his own family1 as the ,medici had done1 to the rank of princes4 ,the ambition was perhaps common1 but the ability with which he pursued these aims for upward of sixty years was not common1 and their complete achievement was little short of the marvellous4 ,it took him forty years to reach ,st4 ,peter's chair1 and he occupied it only fifteen2 but before he died one of his grandsons had married a daughter of ,charles ,v1 the ,emperor of ,austria2 another was betrothed to the daughter of the ,king of ,france2 and two more were cardinals and multimillionaires4 ,later on1 his descendants married into the royal houses of ,portugal and ,spain1 and the ,farnese family passed out of existence only by being merged by marriage into the royal house of the ,neapolitan ,bourbons4 ,one grandson1 ,cardinal ,alessandro ,farnese ,,ii1 was the chief art patron of his time1 and this in an age when there were many such men2 and one great-grandson was that ,duke of ,parma whose fame as a great captain is written in what were1 until the second decade of the twentieth century1 the bloodiest annals of the ,netherlands4 ,to provide a suitable setting for this princely family1 the ,pope1 some five years before his death1 began this ,farnese ,palace4 ,antonio da ,san ,gallo1 the younger1 ,giacomo della ,porta1 and ,michelangelo designed its faades and cornice4 ,the great structure was completed long after the ,pope's death by ,alessandro ,farnese ,,ii4 ,it was recognized at once to be the most sumptuous of the ,roman palaces4 ,it stands upon the site of the old ,palazzo ,ferriz1 which was at one time the residence of the ,spanish ambassador1 and had passed into the possession of the ,augustine monks of the ,piazza del ,popolo4 ,the old ,ferriz ,palace had been on the ,tiber bank1 for it was not until ,julius ,,ii's time that the ,strada1 or ,via ,giulia1 was cut through1 thus separating the palace from the river4 ,where these fountains now stand as the ornaments of a spacious piazza1 there was at that time nothing but a collection of hovels extending as far as the ,campo de' ,fiori4 ,the far-sighted young cardinal--the ,farnese were thrifty1 for all their magnificence--bought the old palace from the monks1 and lived there in ever-increasing splendor under the successive pontificates of ,julius ,,ii1 ,leo ,x1 and ,adrian ,,vi4 ,finally1 under ,clement ,,vii1 the great sack of the city caused him to fly to the ,castle of ,st4 ,angelo4 ,as in the ,massacre of ,st4 ,bartholomew1 forty-seven years later1 only those ,huguenot gentlemen survived who were kept in the ,king's closet1 so during the horrors of the sack only those cardinals escaped outrage who were sheltered with the ,pope in the ,castle of ,st4 ,angelo4 ,farnese by this time ranked next to the ,pope in importance1 and he was1 of course1 among these4 ,from the ,castle he witnessed1 with the terrified ,clement1 the devastation inflicted upon the latter's exquisite pleasure-house on ,monte ,mario1 an act of wanton vandalism committed by the ,colonna to spite the ,pope4 ,some ten years later ,cardinal ,farnese bought this wrecked palace1 restored it1 and presented it to his daughter-in-law1 ,margaret of ,austria1 who rested there on her triumphal wedding procession into ,rome4 ,it is called after her to this day the ,villa ,madama4 ,in #aedj1 when the old ,palazzo ,ferriz was destroyed to make room for the ,palazzo ,farnese1 the workmen came as usual upon traces of earlier times4 ,modern archologists have discovered that the mosaic pavement under the right wing of the palace was a part of the flooring of the ,barracks of the 8,red ,squadron of ,charioteers40 ,it has been generally supposed that the new palace was built of stone from the ,coliseum1 but its materials came from numerous and varied sources4 ,the great travertine blocks were quarried at ,tivoli2 and ,paul ,,iii obtained permission to demolish and use for his building the partly ruined battlemented monastery of ,st4 ,lorenzo ,outside the ,walls4 ,after this quarry was exhausted1 his nephews obtained the ruins of ,porto1 the ,baths of ,caracalla1 and what was still more important the remains of the greatest temple of imperial ,rome--,aurelian's ,temple of the ,sun1 which1 at that date still towered one hundred feet above the ,colonna gardens4 ,illustration3 ,one of the fountains in the ,piazza ,farnese4 ,contemporary artists sketched these various structures as the masons destroyed them1 so that students of the present day can form some idea of their classic grandeur1 and can judge for themselves the value of the ,farnese ,palace on the one hand and on the other that of the imperial baths and temple1 and the medival monastery1 out of which it is built4 ,the great new palace made necessary the great new square in front of it2 but years before this the ,pope had begun that regeneration of ,rome for which he is so gratefully remembered4 ,the entry into ,rome of ,charles ,v1 on the #eth of ,april1 #aecd1 first aroused the ,romans to the deplorable condition of their city1 and1 under the ,pope's enlightened guidance1 the preparations for the imperial visitor took the form of permanent and far-reaching municipal improvements1 which improvements were carried on throughout the entire period of ,paul ,,iii's pontificate4 ,the enlarging of such great thoroughfares as the ,babuino and ,condotti date from this time1 as does also the modern ,corso1 this last finally superseding the ,via ,giulia as the fashionable resort4 ,paul ,,iii preferred the old ,palazzo di ,venezia at its foot to any other residence1 and he connected it with the ,campidoglio by the great viaduct1 lately destroyed2 while for him ,michelangelo designed the ,campanile of the ,senate ,house4 ,a great ,roman of the present day asserts that the fifteen years of ,paul ,,iii's pontificate comprise one of the happiest periods in the city's life4 ,when ,margaret of ,austria rode through the ,porta del ,popolo1 8two hours before sunset1 dressed in white satin embroidered in pearls and gold10 it was not merely a curious crowd who met and welcomed her4 ,that concourse of citizens represented the self-respect of the ,romans1 risen from the abasement of a decade1 and eager to prove to the daughter of the world's greatest sovereign their worthiness to be her subjects4 ,they could not know that ,margaret felt contempt for her youthful husband1 nor that in the long duel between ,paul ,,iii and the ,emperor of ,austria she stood not for ,rome but for ,austria1 saying once when her assistance was sought that she had rather cut off her children's heads than ask her father to do anything that displeased him6 ,these were matters for the ,farnese to deal with4 ,so far as ,rome was concerned1 with the entry of the ,emperor's daughter1 its place among the cities of the world became once more important and imposing4 ,charles ,v might despise the upstart ,farnese as ,francis ,i had laughed at ,cesare ,borgia1 but the self-made ,italians of the ,renaissance--churchmen1 merchants1 and condottieri1 were forces which hereditary monarchy could not do without4 ,spain had the riches of the ,new ,world2 ,france and ,england were breeding the manhood of ,europe2 but ,italy held the keys to the past--to the culture for which men's souls longed4 ,the time was not yet--in #aedj--;although it was close at hand1 when ,italy's deliberate choice of evil rather than good finally made her1 by weakening and corrupting her1 a captive to ,spain4 ,time was not yet2 and in that last lingering glow of her greatness and freedom the old ,pope1 ,paul ,,iii1 moves as her incarnate spirit4 ,to a figure slight and stately1 though with stooping shoulders1 was united a shrewd and kindly countenance1 with a massive nose and flowing beard1 mobile lips and piercing eyes4 ,his voice was modulated1 and his manner gracious and noble4 ,this outer man held guard over a mind so crafty and tenacious1 so secretive and resourceful1 that to the ,venetian ambassador--ever the most astute observer--he remained a fascinating and baffling enigma2 while for ,cardinal ,mendoza and the ,emperor he was an antagonist whom1 for all their secret ,austrian contempt and bitter hatred1 they could not afford to ignore4 ,it was remarked that the ,pope never wished to hear or to speak of his predecessor4 ,he felt that the election of ,clement ,,vii had robbed him of fourteen years of the papacy4 ,posterity may well share his prejudice1 for it seems safe to assume that1 had ,paul ,,iii been ,pope in #aebg1 ,bourbon's soldiers would never have got within sight of the city walls2 there would have been1 in fact1 no sack of ,rome4 ,the ,pope felt with all the force of his ,italian nature the danger to ,italy from the side of ,spain4 ,better patriot than priest1 he had made secret treaties with the ,protestants as a weapon against the ,spaniard2 and while no one realized more keenly than he the necessity of reforms in the ,church1 yet he dreaded them lest they might in any way weaken the strength of the papacy4 ,his singular ability to unite the fortunes of his family with profitable political undertakings runs throughout his long life2 but this nepotism1 which no pope ever carried further1 and for which he has been unsparingly censured by historians1 represents the kindliest strain in his nature4 ,it was the human side2 and it was the direct cause of his death4 ,in a dispute over retaining the ,duchy of ,parma in his family1 the ,pope's grandson1 ,octavius1 opposed the old pontiff4 ,paul felt this ingratitude deeply1 and spoke openly about it to the ,venetian ambassador4 ,the day after ,all ,saints' ,day1 #aedi1 the old man repaired to his villa on ,monte ,cavallo 8to ease his mind10 and from there he sent for ,alessandro ,farnese ,,ii4 ,he came1 this magnificent young cardinal1 handsome1 courtly1 the great art patron1 the lover of scholars and poets1 the finest flower of the ,farnese1 a grandson and namesake of whom ,paul ,,iii was justly proud4 ,the cardinal was the ,pope's darling1 and from him ,paul felt he could expect support and sympathy4 ,the interview1 however1 soon became stormy4 ,high words passed4 ,the ,pope flew into a rage and snatched the biretta from the cardinal's head4 ,he had discovered that ,alessandro also was carrying on a secret counterplot against him1 and the discovery broke the old man's heart4 ,such a violent attack of anger at the age of eighty-three brought on an illness from which he had neither the strength nor the wish to recover1 and in a week's time ,paul ,,iii was dead4 ,even after his death the ,romans loved him--a rare tribute to any pope--and all ,rome went to kiss his feet4 ,he had been the first ,roman to occupy ,st4 ,peter's chair in over one hundred years1 and the ,romans felt his virtues and his failings to be their own4 ,fifteen years before1 they had carried him on their shoulders into old ,st4 ,peter's for his coronation1 and now they buried him there4 ,his tomb cost twenty-four thousand ,roman crowns1 and is the masterpiece of ,guglielmo della ,porta4 ,the two recumbent statues upon it are said to be after a sketch by ,michelangelo4 ,the connection of ,michelangelo's name with the tomb is interesting1 but of greater interest is the romantic legend which surrounds the statue of the younger woman4 ,this figure1 once called ,truth and now known to be ,justice1 is said to be the portrait of ,paul ,,iii's sister1 and this recalls the fact that the fortunes of the princely family of the ,farnese rest upon no more honorable basis than the passion of ,alexander ,,vi 7,borgia7 for this sister1 the beautiful ,giulia ,farnese4 ,no one can study the statue on the tomb without understanding how it was that this magnificent creature seemed to the men of her time the flesh-and-blood presentment of those ,pagan goddesses whom they all1 secretly or openly1 worshipped4 ,the superb body is now concealed by ,bernini's hideous leaden draperies1 but the carelessly waving hair and tiny ear have witchery even in the marble1 while the face possesses that solemnity of perfect beauty found only in the masterpieces of the ,greeks4 ,never before or since was such a price paid for the ,red ,hat6 ,alexander ,,vi made the young brother1 ,alessandro ,farnese1 aged twenty-five1 a cardinal1 and ,giulia ,farnese went to reign in those ,borgia apartments1 decorated by all the genius of ,pinturicchio1 and at once the pride and disgrace of the ,vatican4 ,the young cardinal was nicknamed the ,petticoat ,cardinal2 but he seems to have felt no compunction at the transaction4 ,with the ,romans1 as with the ,parisians1 ridicule is the most powerful engine of destruction2 and the fact that ,alessandro ,farnese lived this sobriquet down1 proves1 as nothing else can prove1 the hold he had upon the ,roman people4 ,any account of ,paul ,,iii would be incomplete without some reference to his extraordinary belief in astrology4 ,it was quite a recognized fact that he never even considered any scheme1 public or private1 before consulting the planets4 ,if the heavenly bodies were not in favorable conjunction1 the enterprise was given up1 or as nearly given up as was possible to so obstinate and tenacious a mind4 ,in his own time this singular characteristic was felt to be incongruous and rather disgraceful2 but it is easy for the modern spirit to understand1 and even condone1 the weakness4 ,surely1 it was not strange that such a man1 with such a life1 should feel that 8the stars in their courses fought0 for him4 ,the impression made upon the mind by the ,farnese fountains is not pleasing4 ,they are certainly 8rare and vast10 but as fountains they are not a success4 ,the form overshadows the substance2 for the single jet of water thrown upward over the structural part of the fountain is not adequate1 and is lost in the effect produced upon the eye by the huge tubs turned black by the deposits of the ,acqua ,paola2 while the water falling back into these receptacles is caught as in a prison1 the overflow from the upper to the lower basins being not sufficient to give an idea of a copious stream4 ,the monster granite baths have a sepulchral effect4 ,they seem more like coffins made to hold the bones of departed heroes than like basins for receiving and distributing living water4 ,during more than two centuries these fountains bore witness to the magnificence of the ,farnese family2 but as that magnificence had been sought and held for reasons as purely personal and selfish as men have ever known1 it had no real value or significance for the world4 ,no memories of patriotism or ghost of romance hangs over these fountains1 or over the palace which they guard4 ,the family and the splendor once were1 and now are not2 and all the sunshine which daily floods the spacious piazza fails to reanimate the majestic vacancy of the faade1 or to lift the gloom from the dejected and sombre fountains4 ,,villa ,,giulia ,illustration ,,villa ,,giulia ,i4 ,,fontana ,,pubblica ,,di ,,giulio ,,iii 8,in ,xanadu did ,kubla ,khan a stately pleasure dome decree1 99 99 99 99 99 ,so twice five miles of fertile ground with walls and towers were girdled round4 ,and there were gardens bright with sinuous rills1 where blossomed many an incense-bearing tree1 99 99 99 99 99 ,it was a miracle of rare device1 ,a sunny pleasure dome with caves of ice44440 ,the ,villa ,giulia is the ,italian version of 8,kubla ,khan10 not built by 8lofty rhyme10 but constructed of actual stone and marble for a pleasure-loving pontiff of the ,cinque ,cento4 ,the desire to realize the poet's vision is often felt by absolute monarchs4 ,versailles1 ,san ,souci1 and the ,hermitage show what unlimited power1 wealth1 and caprice have accomplished in that direction2 but none of the northern sovereigns possessed either the climate1 soil1 historical1 poetic1 and pictorial setting or the artists1 architects1 and marvellous art treasures which were at the command of ,pope ,julius ,,iii4 ,when this pontiff1 whose election dates from #aeej1 decided to build a pleasure-house upon the vineyard in the ,via ,flaminia1 which he had inherited from his uncle1 the elder ,cardinal ,monte1 he bought up adjoining property from various landowners1 so that his domain finally extended from the ,tiber eastward up the ,valle ,giulia and adjoining slopes of ,monte ,parioli4 ,the southern boundaries have not yet been fully determined1 but those to the north extended as far as the ,chapel of ,st4 ,andrea1 a beautiful little building erected by ,vignola to commemorate ,pope ,julius's 7then ,cardinal ,monte7 deliverance from the soldiery at the time of the sack of ,rome in #aebg4 ,the ,via ,flaminia was at that time the fashionable drive4 ,it was lined by fine villas and palaces1 and ,amannati alludes to it as the 8beautiful ,via ,flaminia40 ,the approach to it was from the ,piazza del ,popolo1 then a place of gardens1 through the fine ,porta del ,popolo which1 begun so long before under ,pope ,sixtus ,,iv1 had just been finished by ,michelangelo and ,vignola4 ,the fine avenue extended as far as the ,ponte ,molle1 where it crossed the ,tiber1 and1 after skirting the western slopes of ,monte ,soracte1 began its long march to the north4 ,a little road 7called the ,via del ,arco ,oscuro7 leading up from the ,tiber crossed the ,via ,flaminia at right angles and climbed up the ,valle ,giulia1 turning abruptly toward the northern spur of ,monte ,parioli4 ,the original ,monte property lay along this little road2 and it was at the head of this thoroughfare1 where it turned sharply to the north and therefore at some distance from the ,via ,flaminia and on much higher ground1 that ,pope ,julius decided to build his villa4 ,its creation quickly became the absorbing passion of his life4 ,the greatest architects of the time were employed upon it and no expense was spared4 ,after ,pope ,julius's death1 the entire place was confiscated by the ,camera ,apostolica for thirty-seven thousand scudi1 the estimated amount of ,pope ,julius's debts4 ,the ,monte ,pope 7,julius ,,iii belonged to the ,roman family of ,monte7 would leave the ,vatican by the passage leading to the ,castle of ,st4 ,angelo1 take there a magnificent barge and be rowed up the great sweep of the ,tiber to the landing-place at the foot of the ,arco ,oscuro4 ,here a fine flight of steps was constructed leading up to a vaulted pergola which traversed the fields between the ,tiber and the ,via ,flaminia4 ,the pergola was a bower of verdure and terminated in a fine building and gateway bordering the ,tiber side of the ,via ,flaminia4 ,here it was necessary to cross the great highway in order to begin the ascent of the ,arco ,oscuro1 which led directly to his new villa4 ,the highway was dusty1 and the salita or ascent long and steep1 and the ,pope decided to create a resting-place at this point4 ,he had begun digging for water very early1 while cultivating his vineyard1 8without ever having had the slightest indication that water could be found there40 ,eventually he accomplished his purpose1 for he succeeded in bringing to his vineyard the leakage waters of the ,virgo ,aqueduct4 ,the 8leakage0 was very much in the nature of a tap1 and the proceeding was high-handed and reprehensible to a degree4 ,in imperial days such tampering with the aqueducts was visited by punishment which ,frontinus considered not too severe for so great a crime against the public welfare4 ,julius ,,iii's pontificate lasted only five years2 but in the year following his death the ,virgo ,aqueduct had already ceased to supply the city1 and his successors1 ,pius ,,iv1 ,pius ,v1 and ,gregory ,,xiii1 were obliged to begin and carry on a systematic and thorough restoration and enlargement of the aqueduct4 ,for ,julius ,,iii the wonderful water was only a perquisite belonging to the 8good gift of the papacy10 and he devoted his short pontificate to its exploitation and adornment1 possibly silencing his scruples by the thought that the construction of a public fountain on this highway justified his manner of obtaining the water4 ,at the two opposite angles of the ,via ,flaminia and the ,arco ,oscuro1 where the ascent toward his villa began1 he erected two fountains1 blunting the acute end of each angle by a mostra or high faade from the base of which issued the water4 ,the fountain on the right-hand side was a drinking-trough for horses1 while that on the left was one of the most beautiful and interesting fountains in all ,rome4 ,it was the work of ,bartolomeo ,amannati1 possibly assisted by ,vignola2 and very often must the youthful ,domenico ,fontana have studied it1 for the famous 8,fontana ,fountain0 is only a modification of this truly beautiful work of the dying ,renaissance4 ,it is noticeable that ,amannati's fountain is not a screen nor a gateway2 its mostra stands against a solid background with severely plain wings of the same height flanking it at an angle on either side4 ,this mostra is of peperino in the ,corinthian order1 the columns supporting a fine classic entablature and pediment4 ,the apex of the pediment was surmounted by a colossal statue of ,neptune1 and the corners of it terminated in two pedestals carrying1 the one a ,minerva1 and the other a ,rome4 ,between these two figures and the ,neptune were two minor pedestals marking the architectural termination of the great central division of the fountain1 and on these stood two small obelisks1 a feature borrowed by ,fontana for his fountain of the ,moses4 ,the arch of the central division held between its ,corinthian pillars the huge square slab with the inscription3 ,,julius ,,iii ,,pont4 ,,max4 ,,public ,,commoditati ,,anno ,,iii ,the niches on either side of this slab once contained statues1 one of ,happiness and the other of ,abundance1 a design embodied two hundred years later in the background of the ,fountain of ,trevi4 ,the basin for receiving the water did not extend across the full width of the mostra1 but was1 and is 7for this still remains71 a noble white granite conca standing at the foot of the central division under the inscription4 ,it originally received the water from a beautiful antique head of ,apollo4 ,all this is described in a letter written by the architect himself1 ,amannati1 from ,rome in #aeee1 and there follows a description of the arcade behind the fountain4 ,this consists of three loggias with ,corinthian columns1 making a semihexagonal design and carrying a vaulted roof ornamented by pictures and exquisite stucco work4 ,this was where 8his ,holiness got repose without incommoding the public10 which1 on the other side of the wall1 refreshed itself and its beasts of burden from the public fountain4 ,the columns were joined together by a balustrade1 and the three-sided colonnade held in its embrace a large fish-pond with various jets d'eau4 ,beyond this architectural loveliness stretched long walks bordered with fruit-trees and espaliers1 and up these paths the ,pope walked when1 refreshed after his long journey from the ,vatican1 and eager to see what his workmen had concluded over night1 he finally decided to go on to the villa on the hill4 ,this beautiful fountain and its loggias have suffered more than customary outrage from time1 neglect1 and stupidity4 ,there would seem to be no vile use to which the loggias have not been put2 and the superimposition of the ,casino of ,pope ,pius ,,iv1 which is now recognized to be the work of ,piero ,ligorio1 has entirely altered the proportions and beauty of the public fountain4 ,the fate of ,pope ,julius's creation1 from the time of his death until #aijj1 is poorly outlined in the various half-obliterated escutcheons and inscriptions which now ornament the fountain and its superstructural ,casino4 ,as the villa and all the land about it had been immediately sequestered by the ,apostolic ,chamber in spite of the protests of ,julius ,,iii's legal heirs before a tardy compensation was awarded them1 this portion of the ,monte property was divided by ,pope ,pius ,,iv between a son of the ,duke of ,tuscany 8who was to have the usufruct for his lifetime0 and his own two nephews1 ,carlo and ,federigo ,borromeo4 ,a sister of these ,borromeo brothers married a ,colonna1 and the property was bestowed upon her as dowry4 ,it remained in that family until #aijj1 when it was purchased by the present owner1 ,cavaliere ,giuseppe ,balestra1 who already owned the adjoining villa on the high ground1 which might have been a part of the original ,villa ,giulia1 since it corresponds to that land which ,julius ,,iii had acquired from ,cardinal ,poggio and ,cardinal ,san ,vitelleschi4 ,the ,medici escutcheon may have been placed there either by the ,duke of ,tuscany or by ,pius ,,iv4 ,the ,pope was of very humble ,milanese origin and had no connection whatever with the great family whose name he happened to have2 but after he became ,pope1 the ,duke ,cosimo ,i1 who found it to his interest to have the ,pope on his side1 permitted him to use the escutcheon4 ,contrary to the decent ,roman custom1,b the original inscription of ,julius ,,iii was removed in the first quarter of the seventeenth century1 by that one of the ,colonna who inherited the property after the death of the last descendant of the earlier branch4 ,he placed his own1 the present1 inscription in place of it1 sparing the inscription to ,carlo ,borromeo1 either because of ,borroraeo's connection with the ,colonna family or because of the great veneration felt by everyone for the memory of the sainted young cardinal4 ,it was also at this time that the beautiful antique head of ,apollo was replaced by the ,colonna escutcheon and the sculptured trophies4 ,the inscription on the small tablet under the spring of the arch relates that in #agej ,pope ,benedict ,,xiv gave to the ,colonna family the right to draw 8two ounces0 of water daily from the receiving-tank of the ,trevi ,fountain for use in their ,roman palace as a recompense to them for their gift to the public of the ,trevi ,water in this old fountain4,c ,those who visit the ,villa ,giulia in the morning hours may see the ,campagna carts on their way back from ,rome drawn up before the public fountain of ,pope ,julius ,,iii1 and the sleepy drivers1 tired horses1 and responsible little dogs refreshing themselves with the water4 ,illustration3 ,fountain of the ,virgins4 ,so far the picture created more than three hundred and fifty years ago remains the same2 fundamental customs do not change in ,rome4 ,but on the other side of the wall1 where once sat and talked the joyous ,pope and his company1 what ruin and desolation6 ,some day the ,italian ,government will sweep the crumbling loggias free from dust and rubbish and tear away the protecting foliage1 not redeeming but unmasking the desecration of the centuries4 ,to-day the dark water in the rough garden tanks1 the unpruned trees and wild flowers1 the old mule stabled under the ruined loggias where hay is stored1 the mysterious gloom of the vaulted roof above the ,corinthian capitals and everywhere black shadows of impenetrable depth make up a scene whose like can in all probability be found only among the engravings of ,piranesi4 ,illustration ,,ii4 ,,the ,,nymph,,um ,,or 8,,secret ,,fountain0 ,the ,villa ,giulia proper is designated in the old ,italian books as l',invenzione nella ,vigna ,giulia1 and the literal ,english translation of invention not inappropriately describes this truly marvellous creation4 ,amannati1 ,vasari1 ,vignola1,d and even the aged ,michelangelo spent themselves upon the architectural devices by which this pleasure-house became a place of almost fabulous beauty4 ,consummate knowledge of perspective was employed in making the building1 which is not at all large1 seem so1 and the only defect in the entire design is1 as might have been expected1 the ,pope's fault1 for ,julius insisted upon working into the loggias in the rear of the upper court of the fountain a gift of columns1 beautiful in themselves but too small for the surrounding proportions1 thus making that part of the construction appear insignificant and inferior to the rest4 ,the ,pope's changing caprice wearied even the good-natured ,vasari1 who has left the record that 8there was no getting the villa done02 and it was not long before ,vignola1 a man of genuine and independent genius1 wearied utterly of serving such a master and went off with the great ,cardinal ,farnese to build the latter's villa of ,caprarola1 where he could work at peace and for an appreciative and sympathetic patron4 ,the last remains of ,aurelian's ,temple of the ,sun were presented by ,prince ,colonna to the ,pope and went into the fabric of the villa1 and a great collection of portrait busts of the ,emperors1 found in the villa of ,hadrian1 helped to adorn the loggias and niches4 ,the villa was filled with rare marbles1 tables1 statues1 and vases1 and the marble columns of the central loggia were so lustrous that ,amannati says they mirrored every one who entered there4 ,as the villa is constructed on the hillside1 various levels are the natural result1 and this feature has been used with diverse and happy effects4 ,the various courts are all on different planes while1 with the one exception of the grand double stairway in the central court1 all the stairs are cunningly concealed so that there is no suggestion of physical effort as the eye passes from one plane to another4 ,the vaulted roofs of the long semicircular galleries and various rooms were decorated with paintings or with stucco work of the most exquisite perfection4 ,traces of this last are still to be seen above the niches containing the colossal river-gods1 the ,tiber and the ,arno 7,amannati was a ,florentine74 ,the place was truly a ,palace of ,art4 ,nothing but beauty was permitted to enter it4 ,stables1 offices1 and kitchens were placed outside the villa1 and the one house which stood within the villa grounds--that of the keeper or custodian--was designed and decorated with great care1 so that1 according to ,amannati1 the entire invention was of such beauty that it was in itself 8good enough for any great prince40 ,nothing remains of this splendor but the bare shell1 and this has been so tampered with that it is only from old plans or from outlines of restoration by ,letarouilly and ,stern that a true conception can be obtained of the villa of ,pope ,julius ,,iii4 ,it is necessary to know1 for instance1 that the front court1 now a commonplace garden1 was originally a great paved cortile filled with statuary now in the ,vatican or scattered far and wide over ,italy4 ,the loggia leading up and out of this court was originally closed and entered by doors4 ,the shallow1 broad stairway leading down from the right-hand garden under the terraces was put in for the benefit of the cavalry quartered there during a petty war of the eighteenth century1 when the horses were taken down to drink at the ,nymphum6 ,the present gardens in no wise represent the beautiful formal gardens which stretched there on either side of the various courts1 and the present walls cannot possibly enclose that space which was once filled with orange groves and every sort of device for fastidious delight4 ,somewhere in those grounds1 probably on the right hand1 there was a monticello or little hill from which could be seen the ,tiber1 the ,seven ,hills1 the 8beautiful ,strada ,flaminia10 the ,vatican1 and the vast erection of new ,st4 ,peter's overtopping and gradually engulfing the old basilica1 the view extending even to the sea4 ,under the high ground still held in place by a great retaining wall were grottos beautifully decorated by stucco and painting and icy cold even in summer4 ,in the woods1 where the ,italian pastime of snaring birds was carefully provided for1 there were accommodations for every kind of animal1 and everywhere there were fountains1 marble seats1 and antique garden statuary4 ,louis ,,xiv1 for whom careful plans of the villa were drawn1 wisely made no attempt to copy the enchanted palace of ,italy4 ,versailles makes up in size for the beauty of color1 architecture1 vegetation1 and art treasures here formed into one beautiful whole by ,pope ,julius ,,iii4 ,the shape of the ,villa ,giulia is significant4 ,it is a series of gardens1 loggias1 and courts1 one enclosing the other1 each richer in ornamentation1 more ravishing in beauty than the last1 until finally the heart of the creation is reached1 and the 8secret fountain0 of the ,acqua ,vergine is discovered flowing out of the shadow and from a hidden source into a sunlit ,nymphum of marvellous beauty and again mysteriously disappearing into the shadow4 ,the ,fountain of the ,virgins1 as it came to be called1 was felt by its creator1 ,amannati1 to be beyond the power of description4 ,writing to a friend in ,padua1 soon after ,pope ,julius's death1 he describes the entire villa in extraordinary detail1 noting the attitude even of many of the statues2 but when1 after pages of description1 he has brought his reader to the lowest court of all1 his pen fails him and he says that unless he can paint a picture of this court and fountain he will never be able to give his friend 8any conception of this1 the loveliest1 richest1 and most marvellous place in the entire creation40 ,amannati saw it in its first splendor4 ,the caryatides were perfect1 white1 and gleaming1 and perhaps beautiful4 ,the niches round about were filled with marble boys carrying urns upon their shoulders from which the water was poured into the semicircular stream at their feet4 ,it is impossible to tell from the description of the old pictures what1 if any1 statue filled the central niche behind the virgins4 ,at present the niche holds a great white marble swan1 now almost hidden by fern1 from whose bill the water trickles into the black pool beneath4 ,the pavement1 made of every conceivable kind of marble1 glowed like a jewel4 ,the balustrade above held graceful statues and on either side of the court just above stood a great plane-tree1 giving delicious verdure and shade4 ,then1 as now1 the water came from large reservoirs hidden beneath the upper terrace to the east of the fountain2 then1 as now1 it was carried off over gentle1 rough-paved inclines2 then1 as now1 it fell steeply into a subterranean cavern--the entire construction producing waves of cool air and a ripple and murmur of water exquisitely refreshing to both eye and ear4 ,it is almost necessary to forgive ,pope ,julius his attack upon the aqueduct4 ,never before or since has the ,acqua ,vergine received such poetic treatment4 ,nothing remains of this beauty but the water and the masonry4 ,pope ,julius was hardly buried before the spoliation of his villa began4 ,like the ,pope's beautiful resting-place behind the public fountain1 the ,nymphum has endured three centuries of vile usage and neglect4 ,nowhere in ,rome is it more necessary to use imagination than in the ,villa ,giulia4 ,the visitor should descend into the lowest court on a day of brilliant sunshine and1 standing before the ,fountain of the ,virgins1 replace for himself the lost lustre of the columns1 the whiteness of the balustrades1 the rich coloring of mural paintings and stucco1 and the gleam of antique statuary4 ,he should see the flickering shadows cast by the great plane-trees across the marble pavement1 and hear the birds twittering or calling from the aviaries which were in the loggia wall above the river-gods4 ,he must fancy the fitful music of stringed instruments1 the perfume from the orange groves drifting over the garden walls where sat the monkeys and brilliant tropical birds4 ,he must feel the languid stir or deep repose of long1 indolent1 luxurious summer days1 and through it all1 he must be conscious of the water4 ,only so will he be able to form some adequate conception of what the 8secret fountain0 must have been in the days of ,pope ,julius ,,iii4 ,the highest charm of the beautiful creation lay in its presentation of contrast translated into a medium suitable to every sense4 ,it was an age of contrast1 sharp and constant4 ,no feature in the crowded ,italian life of those two centuries is so striking as this4 ,fame and obloquy2 triumphant health and the lazar-house2 honor and exile2 the luxury of an ,agostino ,chigi and the squalor of the beggar at his doors2 compassion and fiendish cruelty1 young ,cardinal ,borromeo's sanctity on the one hand1 and on the other unblushing licentiousness2 beauty to which all but divine honors were paid1 and hideous deformity2 these lay open to the eye on every side4 ,there seemed to be no transition4 ,the 8secret fountain10 with its light and shade1 its rest and motion1 sound and silence1 its art and nature1 was the poetic expression of life as it was known by the men for whom it was created4 ,the records of those days are never free from blood1 and at least one assassination is connected with the building of this house of mirth4 ,baronino1 an associate of ,vignola and ,amannati1 leaving the villa with a friend on a certain evening1 was set upon as he turned into the ,via ,flaminia and stabbed to death4 ,the angle in the walls made by the public fountain and the fact that it was a natural place for loiterers probably suggested the choice of the spot4 ,the assassin's identity was either never discovered or never revealed and the crime went unpunished1 for ,cellini was not the only lucky rascal4 ,artists especially carried their lives in their hands1 and genius was as open to violence as it was to fame4 ,historians and moralists accord scant justice and no mercy to ,julius ,,iii4 ,he is represented by them as spending his life in senseless and indolent pleasures4 ,yet he had begun his pontificate with some show of earnestness4 ,he had reopened the ,council of ,trent1 and had attempted to play a part in the diplomacy of ,europe4 ,that after two years he wearied of these arduous labors might have been because he had sufficient wit to perceive that1 for his time at least1 the ,papal ,see would have to be a tool in the hands of ,austria4 ,his devotion to the creation of his villa was perhaps the only outlet for the activities of a nature too slight to cope with the stern and sinister century on which his lot had fallen4 ,long days spent with ,vignola1 ,amannati1 and ,vasari1 and above all1 with the aged but undaunted ,michelangelo himself1 for whom this ,pope felt a loving veneration1 must have had a zest and stimulating quality sufficient to make the ,pope's life in this villa something more than the sybaritic enjoyment of mere sensuous beauty4 ,beyond a doubt1 the construction of his villa became an obsession with the ,pope4 ,he gradually abandoned all other avocations and duties4 ,it was at the villa that he held his audiences1 received ambassadors1 and gave his suppers1 at which last his wit was said to be of less fine quality than were his vintages4 ,he even had a medal struck1 with his own head on one side and on the other the front elevation of the ,villa ,giulia1 with the inscription1 8,fons ,virginibus40 ,one fatal day a pet monkey savagely attacked the ,pope4 ,he was rescued by a lad of sixteen whom he soon after made a cardinal4 ,the scandal was very great4 ,prelates and laymen alike felt this to be going too far4 ,the ,pope might lay himself open to censure but not to ridicule4 ,here in the midst of the beauty created by ,pope ,julius1 men's eyes began to turn toward the slightly grim1 ascetic figure of ,cardinal della ,croce1 great ,roman patrician and true saint1 who1 as if to give the final note to this life of vivid contrast1 moved about in the gay papal court1 reserved1 austere1 devoted to a life of such sanctity that the ,pope himself felt uncomfortable in his presence4 ,the villa was still far from finished when ,julius ,,iii's short pontificate came to an end4 ,the ,conclave almost unanimously chose as his successor their saintly brother1 ,cardinal della ,croce4,e ,the world had entered upon a new phase4 ,northern ,europe had brought the spirit of the ,reformation to the gates of ,rome1 and men were ashamed of ,pope ,julius ,,iii1 whose misfortune it had been to live half a century too late4 ,the ,villa ,giulia passed into the ownership of the popes and remained there until it was taken over by the state in the present government4 ,it was eventually finished by ,popes ,pius ,,iv and ,pius ,v1 but the art treasures were scattered far and wide4 ,during many pontificates it was used for the stopping place of ambassadors and other great personages who spent the night there before making their ceremonial entrance into ,rome4 ,perhaps the presence of so much water and luxurious vegetation made the place peculiarly sensitive to mould and decay4 ,even as early as #aehe it was not considered healthful4 ,sixtus ,v1 with the restless caprice of the poor sleeper1 wished to spend a night there1 but was forbidden to do so by his physician4 ,as it was papal property1 no private individual ever had the chance to take over the beautiful old building and gardens and keep them in repair2 and those popes whose tastes might have led them to restore it built pleasure-houses or palaces for themselves4 ,gregory ,,xiii began the ,quirinal ,palace1 and not infrequently for his villegiatura visited the magnificent villa of ,mondragone at ,frascati which ,cardinal ,altemps had already begun to build4 ,sixtus ,v built his ,villa ,montalto1 the new ,lateran ,palace1 and finished the ,quirinal ,palace4 ,clement ,,viii contented himself with the ,quirinal2 but his great cardinal nephew1 ,peter ,aldobrandini1 founded the magnificent ,villa ,aldobrandini at ,frascati4 ,the ,medici ,leo ,,xi devoted himself to the ,villa ,medici4 ,paul ,v did indeed make a restoration1 using much stucco1 which can easily be distinguished from the beautiful work of the original period1 but that ,pope's interest was really given to the great villa which his nephew1 ,cardinal ,scipione ,borghese1 was creating out of the old ,villa ,cenci4 ,finally1 late in the eighteenth century1 the papal chair was occupied by a man of culture who felt the charm of the old ,cinque ,cento villa in the ,valle ,giulia1 and tried to rescue it from total ruin4 ,this was the ,ganganelli ,pope1 ,clement ,,xiv1 the founder of the ,clementine sculpture gallery in the ,vatican4 ,clement ,,xiv's investigation of ,pope ,julius ,,iii's villa showed that the aqueducts were ruined1 the walls crumbled by water1 the pavements cracked by fire1 while all the wood and iron work was broken or rusted1 and the exquisite paintings1 stucco1 and gilding spoiled by smoke and damp4,f ,the papal architect1 ,raphael ,stern1 made careful and elaborate drawings from old plans1 with a view to a genuine restoration1 as ,pius ,,vi 7who1 in #aggd1 succeeded ,clement ,,xiv7 carried on the work4 ,this ,pope also felt the fascination of the marvellous1 all but ruined pleasure-house1 and decided to make it his autumn residence1 but it was too late6 ,pope ,pius ,,vi was carried off by the ,french ,revolutionary forces in #agih and died a prisoner in the ,french fortress of ,valence4 ,from that time forward1 the villa fell more and more into decay4 ,its pitiful condition might have furnished material for endless sermons on the vanity of life1 and the ruin of its exquisite decorations fills all artists and lovers of the beautiful with indignant regret4 ,it has been a veterinary hospital1 a cavalry barracks1 a storehouse for hay--no desecration has been spared it4 ,at last the present government rescued what was left of it and converted it into a museum of antiquities1 giving the last ironic touch to its fate by filling the rooms built to minister to the joy and pride of life1 with ancient coffins and relics of the dead4 ,,colonna ,illustration ,,colonna ,the fountain of the ,piazza ,colonna might be the 8,fountain of ,youth10 for the freshness of its marbles makes it seem to date from yesterday1 whereas it is in reality one of the oldest fountains of modern ,rome4 ,it was constructed three hundred and twenty-five years ago1 and belongs to that period when the ,acqua ,vergine 7,trevi ,water7 was the only water with which to feed a fountain4 ,as the ,acqua ,vergine has not sufficient head to rise to any great height1 and as its supply is in continuous and wide-spread use for domestic purposes1 the designs for the fountains which it furnishes have to be low1 and the sculptor or architect must rely for his effect not upon any lavish supply of water but upon the beauty of his materials and his own imagination4 ,the fountains of ,giacomo della ,porta show the practical difficulties with which he had to contend1 and the felicity of his genius in overcoming the limitation4 ,his fountain of the 8,tartarughe0 is a work of art1 and as such can be admired without the aid of the water4 ,the two side fountains in the ,piazza ,navona1 also his creations1 were quite lovely before ,bernini decorated one and artists of the nineteenth century the other with fantastic sculpture4 ,his fountain of the ,piazza ,colonna has been less tampered with and1 standing in full sunlight or darkened by the vast shadow of the ,antonine ,column1 it remains1 in its quiet beauty1 a masterpiece among the ,roman fountains4 ,it is a graceful1 hectagonal receptacle1 half basin1 half drinking-trough1 composed of different kinds of ,porta ,santa marble4 ,these are joined together with straps of ,carrara ornamented by lions' heads4,g ,its waters come to it from a vase of antique shape standing in the centre4 ,from the shallow bowl of this central vase the water gushes upward to fall over the rim in a soft1 unbroken1 silvery stream1 and through this vestal's veil the ,carrara1 to which the waters have given a wonderful surface1 gleams in unsullied freshness and beauty4 ,two tiny jets1 set midway on either side between the ends of the fountain and the vase in the centre1 bring an additional volume and add to the animation of the pool4 ,the vase in the centre is represented in an old engraving by ,falda as being much lower than the present one and carved in crowded leaflike convolutions1 like the vase of the ,scossa ,cavalli fountain4 ,by #ahbi this bit of old travertine sculpture had become so misshapen that the artist ,stocchi1 by order of ,leo ,,xii1 replaced it by the present ,carrara vase1 adding at that time to either end of the trough the small groups of shells and dolphins4 ,these are such dainty bits of fancy1 and so frankly an afterthought1 that in their first freshness at least they could not have marred the beauty of the original conception4 ,rather must they have enhanced it1 as the white doves which are perched upon its rim make the charm of the 8,pliny's ,vase40 ,giacomo della ,porta is the first fountain builder of modern ,rome1 and the fountains which he did for ,gregory ,,xiii--all constructed for ,trevi ,water--are still among the loveliest the city holds4 ,the passion for fountain building began in the second half of the ,cinque ,cento4 ,julius ,,iii rediscovered the immense sthetic value of water1 the ,nymphum in his ,villa ,giulia being1 in fact1 the apotheosis of the ,acqua ,vergine4 ,pius ,v's enlarged fountain of ,trevi was a recognition of the importance of water to the city's welfare4 ,this ,pope and his predecessor1 ,pius ,,iv1 as well as his successor1 ,gregory ,,xiii1 all occupied themselves seriously with the restoration1 improvement1 and upkeep of the ,virgo ,aqueduct4 ,the return to the water question is the one healthy and hopeful sign in the city's life during those years which lay between the death of old ,paul ,,iii and the accession of ,sixtus ,v4 ,michelangelo died within this period and his great spirit was not more surely departed than was the age of art and learning in which he had moved as king4 ,that outrage to civilization known as the 8last sack of ,rome0 had occurred in #aebg1 under ,clement ,,vii1 and ,rome1 in the person of her pontiff and in that of every citizen1 had suffered insult1 spoliation1 and dishonor4 ,the devotion of the ,romans to ,clement's successor 7the ,farnese pontiff1 ,paul ,,iii7 was in great part due to their recognition of the fact that his pontificate represented a sustained and gallant attempt to restore to his people their lost prestige--that figura so dear to the ,roman heart4 ,with the death of the old patrician the deplorable condition of the city once more asserted itself and men realized more keenly than ever the permanent devastation wrought by the sack4 ,posterity gains some faint idea of its horrors from the autobiography of ,benvenuto ,cellini4 ,it is indebted to him for the dramatic description of the death of the ,constable de ,bourbon1 killed by a chance shot from the ramparts when1 in the dense fog which enveloped the beleaguered city1 he was planting the scaling ladders against the walls4 ,four days earlier1 and during the march on ,rome1 the other commander of the besieging army1 the veteran ,george ,freundsberg1 had died of a stroke of apoplexy brought on by the mutinous conduct of his troops2 so that1 without leaders1 forty thousand of the worst soldiery of ,europe were turned loose within the city walls--turned loose to recoup themselves for their long arrears of wages out of everything which the taste1 learning1 and moral sense of civilized man has always held most precious4 ,history records that the ,spanish were the most cold-blooded1 the ,germans the most bestial1 and the ,italians the most inventive in forms of villainy4 ,the week of unspeakable atrocities1 wanton destruction1 and wholesale pillage came to an end2 but when it did1 that marvellous treasure-house of civilization--,rome of the ,renaissance--had perished1 and the place thereof was to know her no more4 ,it was no wonder that1 during the decade which followed1 ,rome--what was left of her--seemed hardly to breathe4 ,when1 during the pontificate of ,paul ,,iii she began to revive1 it was plain to all men that she was not1 and could never be1 the same4 ,life came back to her at last1 not through sthetic but through ethical channels4 ,thenceforward the popes1 whether they wished it or not1 were to be serious men4 ,as the ,reformation spread through ,england1 the ,low ,countries1 ,france and ,germany1 the papacy set its house in order and prepared to fight1 not for its temporal supremacy1 as in the medival struggle with the ,emperors1 but for its spiritual authority4 ,it was at this point that there came to its aid a new force1 a force whose influence has never yet been accurately measured4 ,in #aeci1 just before the close of ,luther's life1 ,ignatius ,loyola founded the ,society of ,jesus4 ,this was in the time of ,paul ,,iii4 ,four pontificates later1 under ,pius ,,iv1 the ,jesuits1 as ,calvin was the first to call them1 furnished the sensational element in the second sitting of the ,council of ,trent2 and in #aegb1 when ,ugo ,boncompagni became ,pope1 under the title of ,gregory ,,xiii1 the order made its appearance on the world's stage as the recognized director of the church militant4 ,the ,jesuits were the keepers of this ,pope's conscience1 and the history of his pontificate is the first chapter in the history of ,jesuit rule4 ,for them the ,pope erected the present building of the ,collegio ,romano1 founded in ,loyola's time2 for them he founded the ,german and ,english colleges at ,rome1 and1 according to ,ranke1 8probably there was not a single ,jesuit school in the world which had not to boast in one way or another of his bounty40 ,the chief architects of the time were put at their disposal4 ,vignola designed and built for them the vast ,church of 8the ,ges02 and as he died while the work was in progress1 his distinguished pupil1 ,giacomo della ,porta1 turned from the making of beautiful fountains and completed the cupola and faade4 ,the latter also built the high altar in that church1 and in its construction showed once more that love of rare marbles which is so distinctive a feature in the ,colonna and other fountains of his creation4 ,gregory ,,xiii had begun life as a ,bolognese lawyer4 ,he had been called to ,rome by ,paul ,,iii the very year ,loyola founded the ,society of ,jesus4 ,he had gone to ,spain as ,papal legate under ,paul ,,iv1 had been created cardinal by ,pius ,,iv1 and at the age of seventy was made ,pope4 ,his life had peculiarly fitted him to appreciate ,jesuit ideals4 ,his belief in educational institutions1 his keen interest in geography and the remote corners of the earth1 the correctness of his private life after his elevation1 his previous worldliness1 and his secular training1 all combined to make him the ,jesuit ,pope4 ,the ,roman ,church remembers him as the builder of the ,gregorian ,chapel in ,st4 ,peter's1 the reformer of the calendar1 the reorganizer of a great body of ecclesiastical law1 and the patron of the ,order of the ,jesuits4 ,to ,protestants he remains the ,pope who sang 8,te ,deums0 for 8the ,st4 ,bartholomew40 ,the pontificate of ,gregory ,,xiii was a deplorable one for the ,holy ,see and for the ,romans4 ,conditions of living sank to a very low level4 ,banditti terrorized the ,states of the ,church and could not be controlled even in ,rome4 ,the great families whose estates ,gregory had confiscated to pay for his architectural and ecclesiastical extravagances were in open revolt1 and the treasury was empty4 ,venice had been estranged1 and ,england and the ,netherlands were forever lost4 ,gregory ,,xiii's successor1 ,sixtus ,v1 fell heir to this condition of misrule and disaster4 ,no one can be surprised at the grim irony of the new pontiff in ordering masses to be said for the soul of ,gregory ,,xiii6 ,looking at the tranquil loveliness of the ,colonna fountain--so white and shining in the sunlight--it is difficult to picture it as a part of the turbulent life of the period in which it was erected4 ,yet many a time its waters must have restored consciousness1 stanched wounds1 stifled cries for mercy or succor1 and washed away the stains of blood4 ,it has always been a ,pilgrims' ,fountain4 ,long before ,sixtus ,v with his passion for converting the 8high places0 of ,paganism into ,christian monuments had restored the ,antonine column and placed upon it the statue of ,st4 ,paul--long before that time the ascent of the column had been a part of the ,roman pilgrims' itinerary4 ,in the ,middle ,ages the column had become the property of the monks of ,san ,silvestro1 who leased it to the highest bidder4 ,as ,rome numbered her pilgrims by the thousands in any year1 and by the tens of thousands during the years of the ,papal ,jubilee1 a goodly profit was derived from the fees paid by the pilgrims to the custodian of the column1 and the monks could therefore always count upon making an advantageous lease4 ,gregory ,,xiii1 in erecting this fountain1 must have thought primarily of the comfort and interest of the pilgrims4 ,as the traveller of to-day remembers the fountain of ,trevi1 so the pilgrim of the sixteenth century remembered the fountain by the side of the ,column of ,st4 ,paul--the fountain of the ,piazza ,colonna4 ,its beauty delighted the eyes of footsore men from far-off and still barbarous countries2 while the crystalline waters which quenched their thirst and washed away the stains of travel would have had for these ,christians from the ,north a symbolic significance undreamed of by the ,romans4 ,the vision of this shining fountain has been carried back to many distant monasteries and remote firesides throughout the ,christian world4 ,its situation in the ,piazza ,colonna1 which is but a widening of the ,corso1 has kept it in the main current of ,roman life4 ,the people use it and cherish it2 ,falda has engraved it2 and1 in the beginning of the nineteenth century1 ,pope ,leo ,,xii embellished it with its dainty shells and dolphins1 as a father might twine flowers in the hair of some beautiful child4 ,,quattro ,,fontane ,illustration ,,quattro ,,fontane ,these quaint old fountains1 now fast fading away1 were erected during the pontificate of ,sixtus ,v to decorate the famous 8,crossing0 created by himself and his architect ,domenico ,fontana when these two began to make over ,rome of the ,renaissance into modern ,rome4 ,the ,crossing occurs where the ,via ,venti ,settembre traverses at right angles the ,via ,sistina4 ,the former leads from the ,porta ,pia to the ,piazza of the ,quirinal1 and the latter runs all the way from the ,trinit de' ,monti to ,santa ,maria ,maggiore1 changing its name just above the ,crossing to ,via ,quattro ,fontane1 and after passing the ,via ,nazionale becoming ,via ,agostino ,depretis4 ,the ,via ,venti ,settembre becomes1 after leaving the ,crossing on the ,quirinal side1 the ,via ,quirinale4 ,sixtus ,v laid out the ,via ,sistina1 and called it for himself the ,via ,felice4 ,the ,via ,venti ,settembre was called in his time the ,via ,pia1 as it led to the ,porta ,pia1 which was erected by ,pope ,pius ,,iv4 ,the four fountains are of travertine and represent two rivers and two virtues4 ,they are all by ,fontana except that one which is placed across the grille in the wall of the ,barberini ,gardens4 ,this is the work of ,pietro da ,cortona4 ,the choice both of the rivers and of the virtues is significant4 ,pope ,sixtus ,v's early life shows what need he had of fortitude1 while fidelity marks his attitude toward his two 7and only7 friends1 ,pope ,pius ,v and ,domenico ,fontana4 ,the ,tiber1 represented by a river-god behind whom the reeds are growing1 was of course to be expected4 ,the ,anio1 also a river-god but with the emblem of the oak-tree1 may have been chosen because of ,sixtus ,v's intention to bring its waters to ,rome1 not by an aqueduct but in a canal1 for the transportation of the travertine and wood needed in his great enterprises4 ,for the ,tiber also he had plans4 ,he wished to enlarge its bed so that he might bring up his galleys from the sea to ,rome2 and he had a scheme for its separation at the ,ponte ,molle and for bringing one arm of it behind the ,vatican1 so as to make an island of that part of ,rome containing the papal palace1 ,st4 ,peter's and the ,castle of ,st4 ,angelo4 ,these were among the projects which he had not the time to carry out1 for ,sixtus ,v's pontificate lasted but five years4 ,seeing what he actually accomplished during that short period and reading what he still intended to do1 it seems as if this ,pope were not a link in the long chain of ,st4 ,peter's successors but one of those 8explosions of energy0 which occur from time to time in the history of men4 ,illustration ,sixtus ,v was not a ,roman nor even by descent an ,italian4 ,his origin was from the humblest condition in life4 ,the family name of ,peretti 7a little pear7 might have been taken by his father1 an ,illyrian immigrant of ,slavonic origin1 to denote his occupation1 which was that of a fruit gardener4 ,at twelve years of age this man's son1 ,felix ,peretti1 became a ,franciscan novice2 and from that time the enthusiasm1 ideals1 and limitations of the great ,order of ,st4 ,francis moulded and inspired a character formed by nature for leadership in any position to which it might attain4 ,to an ardent temperament1 an imperious will1 and a strong intellect was added a constructive1 even fantastic1 imagination of a high order2 but his lack of early culture and his exclusively monastic training had kept him in ignorance of all education not immediately connected with religion and had bred in him a hostility toward classic art almost amounting to fanaticism4 ,such was the great ,franciscan friar1 ,felix ,peretti who1 after first becoming ,cardinal ,montalto1 was elected ,pope in #aehe and took the title of ,sixtus ,v4 ,it may be said that1 although as head of the ,roman ,see his abilities obtained a far wider scope than his order could have given him1 yet from the point of view of character and ideals he remained the ,franciscan friar all his life4 ,his brief and splendid pontificate closed suddenly amid the last great political and religious struggle between ,france and ,spain4 ,to neither opponent had ,sixtus1 who could see both sides of the conflict1 given his final support2 and his suspension of judgment in a cause where the forces of ,protestantism were still represented in the person of ,henry of ,navarre gave rise to suspicions1 most unjust1 of his orthodoxy4 ,the ,roman people forgot the benefits and glories of his reign and remembered only its severity1 the destruction of their antiquities1 the drain of his taxation1 and his temperate policy toward a ,protestant king4 ,the marvel of his extraordinary rise to power had produced in the public mind fantastic theories1 and when a great storm burst over the ,palace of the ,quirinal1 where the ,pope lay dying1 it was commonly believed that 8,friar ,felix0 had at last been called upon to fulfil his part of the compact which he had made with the devil for power and place4 ,when this ,pope ascended the chair of ,st4 ,peter he found an exhausted treasury1 a starving people1 a cramped and crowded city suffering from lack of water and from every means of hygienic living2 and added to this there was such a condition of lawlessness in the ,states of the ,church as made them a byword throughout ,christendom4 ,within a year after his election the last great chieftain of the banditti had been destroyed1 and the foreign ambassadors journeyed in safety to take up their abode in the ,holy ,city4 ,within three years he had deposited in the ,castle of ,st4 ,angelo great sums of money1 which were to be used1 however1 only for the defense of the city1 the purchase of lost papal territory1 and wars against the ,turks1 with which last contingency his imagination was constantly at play4 ,during these years he had also reconciled the feud of the ,colonna and ,orsini1 had restored the disputed privileges of the nobility in the great cities1 and had brought ,venice once more into harmony with the papacy4 ,it was by command of this ,pope1 ,sixtus ,v1 that the gardens1 hills1 wolds1 and valleys of the ,states of the ,church were planted with mulberry-trees1 so that 8where no corn grew the silk industry might flourish40 ,it was ,sixtus ,v who encouraged woollen manufacture so that--to quote his own words--8the poor might have something40 ,in connection with this1 it is interesting to see that he had fully intended to turn the ,coliseum into an immense woollen factory4 ,the streets of ,rome resounded with the cheerful din of his architects and masons2 and though the nobility and populace had reason enough to fear the entire destruction of their ancient monuments at the hands of this ,franciscan1 yet they could but admire the great triumphs of architecture and engineering which day by day raised the city to her lost pre-eminence and restored the pride of the ,roman people4 ,his first great public enterprise marked him at once as a born administrator4 ,this was the introduction into ,rome of a new supply of water4 ,the work which the ,pope determined should be worthy of imperial ,rome was accomplished in spite of every obstacle and at a cost of two hundred and fifty-five thousand three hundred and forty-one scudi4 ,by it he all but doubled the population of his city and reclaimed that great tract of land comprising the ,viminal1 ,quirinal1 and ,esquiline ,hills4 ,this quarter had been a desert during eleven centuries2 and yet1 in the days of the ,empire1 it was the garden of ,rome4 ,piranesi's engravings give some idea of the savage wildness of the uninhabited parts of ,rome2 and the ragged and uncouth figures with which he peoples his ruins are1 no doubt1 a faithful representation of the squalor of the wretched tribe of outlaws who dwelt among them4 ,this state of things had resulted from one cause--lack of water4 ,the aqueducts which supplied these hills had been the first to perish at the hands of the barbarians1 and desolation had followed inevitably upon their destruction4 ,pius ,,iv had dreamed of restoring this great portion of the city2 but ,pius ,,iv1 like his immediate predecessors1 had lacked the means of doing this4 ,sixtus ,v brought to the task the required money1 public tranquillity1 and imagination4 ,he found in the erstwhile mason's apprentice from ,como1 ,domenico ,fontana1 the engineer and architect for such undertakings4 ,the old ,marcian ,aqueduct furnished the materials for the ,acquedotto ,felice1 and the water was brought all the way from ,zagarolla in the ,agra ,colonna1 near ,frascati1 twenty miles distant from ,rome1 to the ,pope's vineyard outside the ,porta ,maggiore1 and thence to the ,church of ,santa ,susanna4 ,the splendid stream carried over these arches was thus distributed throughout the desolation and sterility of the ,viminal1 ,esquiline1 and ,quirinal ,hills4 ,with this water at his command1 ,sixtus ,v began laying out what might be called to-day ,sixtine ,rome--the ,rome which lies between the terraces of the ,trinit de' ,monti and that portion of the ,aurelian wall pierced by the six gates--,porta ,pinciana1 ,porta ,salaria1 ,porta ,pia1 ,porta ,san ,lorenzo1 ,porta ,maggiore1 and ,porta ,san ,giovanni4 ,it was an enormous space to cover1 and the frescoes in the ,vatican ,library show how desolate and how wild it was4 ,the two great basilicas of the ,lateran and ,santa ,maria ,maggiore1 the ,coliseum1 and the ,septizonium 7for very good reasons not included in the picture71 the ,baths of ,diocletian1 the ,neronian arches1 the ,villa ,montalto with its rows of famous cypresses1 and in one panel the ,moses fountain and the ,porta ,pia--these constitute the main features of the wild landscape with its hilly background and its foreground of rough1 bare earth and shaggy vegetation4 ,the ,pope offered special privileges to all who would build on these hills1 and he himself began the work by levelling the ground about the ,church of the ,trinit de' ,monti and building the fine flights of steps which lead up on both sides to the church4 ,half-way between this church and the basilica of ,santa ,maria ,maggiore he created the ,crossing2 and for rest and refreshment1 as well as for beauty1 he placed here these four fountains4 ,this half-way point in the long ascent from the ,trinit de' ,monti to the basilica of ,santa ,maria ,maggiore was well known to ,sixtus ,v4 ,many a time had he1 as ,friar ,felix ,peretti1 climbed that lonely hillside and felt for himself the solitude and thirst of the desolate vicinity4 ,later on1 when he had become ,cardinal ,montalto1 he had passed that way in such state as a poor cardinal could command4 ,here ,fontana had first built him a modest dwelling1 and here he began to construct the ,villa ,montalto1 which1 as ,fontana labored over it1 became at length so beautiful that it1 together with the chapel he was also building in ,santa ,maria ,maggiore1 cost ,montalto the allowance given by the ,camera ,apostolica to poor cardinals1 since the ,pope judged no man to be poor who could build so magnificently4 ,gregory ,,xiii's inference and consequent action may have been natural1 but was not on that account just4 ,the enduring antipathy between ,ugo ,boncompagni and ,felix ,peretti dated from that ,spanish mission on which they had been sent together by ,pius ,v2 and when ,boncompagni had become ,pope and had1 therefore1 ,cardinal ,montalto in his power1 it befitted him to make a thorough investigation of any matter concerning his old antagonist before taking action4 ,as a matter of fact1 the villa1 though costing in the end thirty thousand scudi1 could not have been so extravagant in the beginning4 ,the characters of ,cardinal ,montalto and ,fontana1 as well as their accounts1 prove how certainly the owner and architect could get the best possible returns for their money4 ,these two men formed at that time one of the notable friendships of history4 ,fontana supplied out of his savings the funds for continuing the chapel2 and ,montalto1 as ,sixtus ,v1 proved his gratitude and appreciation4 ,their confidence in each other was as complete as was their recognition of each other's ability4 ,sixtus gave ,fontana the work of taking down and re-erecting the obelisk of the ,vatican--and this1 in spite of ,fontana's youth 7he was forty-two years old and judged by his contemporaries to be too young for such responsibility7 as well as the reputation of ,amannati and other competitors4 ,furthermore1 when the obelisk was finally lowered to its present position amid the prayers of the vast concourse of people1 ,sixtus was not even present4 ,the ,french ambassador was to have his audience at that hour1 and the state of ,europe was the ,pope's chief concern4 ,as ,sixtus passed along the street to the ,vatican1 revolving the affairs of ,philip ,,ii and ,elizabeth of ,england1 of ,mary ,stuart and ,henry of ,navarre1 and the 8,unspeakable ,turk10 the guns of ,st4 ,angelo apprised him that the obelisk was in place4 ,that had been ,fontana's business and he had trusted it to him4 ,nevertheless1 the old pontiff shed tears of satisfaction4 ,the ,villa ,montalto was eventually finished by the ,pope's nephew1 ,cardinal ,montalto ,,ii1 and later on it was known as the ,villa ,negroni4 ,engravings of the seventeenth and eighteenth centuries show that it contained an endless variety of fountains2 among them ,fontana's great fish-pond was truly magnificent4 ,all of these had been made possible by the ,acqua ,felice4 ,sixtus ,v preferred the ,quirinal to any other residence4 ,perhaps the ,villa ,montalto may have become distasteful to him by reason of the crime which was immortalized by ,webster's tragedy of 8,vittoria ,accoramboni or the ,white ,devil40 ,cinque ,cento ,italy was the ,italy of the ,elizabethan dramatists1 and in this tragedy1 the blackest of their ,italian productions1 many of the chief characters were drawn from actual life4 ,the ,cardinal ,monticelso of the written tragedy had been the actual ,cardinal ,montalto1 and ,vittoria ,accoramboni and her husband had been his nephew and his nephew's wife4 ,francesco ,peretti was the cardinal's favorite nephew1 and the ever-perplexing question of the formation of a cardinal's household had been solved for ,montalto by domiciling ,francesco and ,vittoria in the ,villa ,montalto4 ,vittoria had great beauty1 and her ambition and audacity were boundless4 ,she aspired to something higher than the handsome nephew of a parsimonious and conspicuously infirm old cardinal4 ,she captivated the head of the ,orsini1 the ,duke of ,bracciano1 and gave him to understand that she would marry him after he had made away with his wife and her husband4 ,the ,duchess of ,bracciano was the sister of the powerful ,grand ,duke of ,tuscany4 ,nevertheless1 ,bracciano strangled her with his own hands while pretending to kiss her4 ,young ,peretti was then called away from the ,villa ,montalto one night on the pretext that his dearest friend had need of him1 decoyed into the desolate spaces on ,monte ,cavallo1 and stabbed to death4 ,the cardinal1 his uncle1 buried him without a cry either for justice or vengeance4 ,he waited4 ,but ,gregory ,,xiii forbade forever the union of ,vittoria and the duke4 ,more the ,pope could hardly dare do against the greatest of his subjects4 ,vittoria and ,bracciano went through a mock ceremony and retired to the duke's great fortress castle of ,bracciano1 not far from ,rome1 where they waited for the ,pope's death4 ,when this occurred1 they returned to the city in order to have the marriage performed during that interim which must elapse between the death of one pope and the election of another4 ,vittoria became the legal ,duchess of ,bracciano2 but her former husband's uncle1 the feeble old ,cardinal ,montalto1 was elected ,pope1 and the two great criminals fled from a certain and terrible retribution4 ,venice at that time was the refuge for all the terror-stricken1 and the duke's kinsman1 ,ludovico ,orsini1 lived there as a successful general4 ,bracciano died there seven months later2 and six weeks afterward ,ludovico ,orsini murdered both ,vittoria and her young brother ,flaminio in ,padua1 whither they had gone to live on the duke's great legacy4 ,vittoria's possession of ,bracciano's fortune1 and the outraged pride of the ,orsini occasioned by her marriage1 for she was of humble origin1 prompted ,ludovico's crime4 ,but all three of these actors in the tragedy were guests of ,venice1 and ,ludovico ,orsini had in very truth reckoned without his host4 ,there was one pride greater than that of a ,roman noble1 and that was the pride of ,venice4 ,padua was ,venetian territory1 and the republic suffered no such acts of lawless vengeance within her jurisdiction1 no matter by whom they were committed nor on what provocation4 ,the ,venetian reprisals were summary and fearful4 ,ludovico ,orsini was strangled by the ,bargello with the red silk cord which1 as a nobleman1 he had a right to demand2 and his accomplices died by torture in the public square4 ,it was an age of crime1 flagrant and atrocious2 but the story of ,vittoria ,accoramboni1 involving1 as it did1 the temporary ruin of the ,orsini family1 lives on when others equally horrible have been happily buried and forgotten in the archives of the families in which they occurred4 ,sixty years after the death of ,sixtus ,v this region about the ,quattro ,fontane had become both fashionable and beautiful4 ,the fountains were then known as the four fountains of ,lepidus1 and ,evelyn described them as the 8abutments of four stately ways40 ,sixtus ,v had made it illegal for any house along his great thoroughfare of the ,felice to be torn down against the will of the owner1 even after a decree of the ,tribunal4 ,in an age of uncertainty created by the ,pope's own high-handed measures1 this security alone must have gone a long way toward encouraging building4 ,in #aehg ,sixtus himself bought the beautiful ,piazza of ,monte ,cavallo from the heirs of the ,caraffa family1 and the ,quirinal ,palace1 already begun by ,gregory ,,xiii1 was finished by him with great magnificence4 ,fontana also built in one corner of the ,quattro ,fontane the ,palazzo ,mattei1 now the ,palazzo ,albani4 ,the invaluable stimulant of the 8master's eye0 was always to be felt about the neighborhood1 for ,sixtus ,v often took his ,sunday walk after mass along these streets1 examining1 criticising1 and commanding everything4 ,he was 8always in a hurry40 ,it was as if he felt the time was short4 ,no modern methods surpass the rush of his undertakings2 but unlike the modern building1 that which he built remained1 and remains until this day4 ,the feeble body which so successfully deceived the ,conclave at his election and yet survived for those five titanic years of his pontificate lies in ,santa ,maria ,maggiore1 in the great chapel built for him by his ,fontana4 ,there1 as ,stendhal truly says3 8,amid all the marble magnificence1 what one really cares to see is the sculptured physiognomy of the ,pope himself40 ,one other statue of this ,sixtus which formerly adorned ,rome would now be of surpassing interest4 ,it was erected at the ,capitol in the ,pope's lifetime1 and was the work of that gifted young ,florentine artist1 ,taddeo ,landini1 who modelled the bronze boys in the ,tartarughe fountain4 ,the night the ,pope died this statue was covered by boards for fear of the violence of the mob1 and soon after it was removed2 but it is probably still in existence1 and the increasing interest in ,sixtine ,rome may some day bring it to light4 ,in this mortuary chapel in ,santa ,maria ,maggiore there is also the tomb of ,pope ,pius ,v1 erected by ,sixtus ,v1 and one of the panels in the ,vatican ,library depicts the solemn removal of the old saint's body to this splendid resting-place4 ,sixtus ,v saw this accomplished in his lifetime1 for his devotion to the ,pope1 who1 like himself1 had begun life as a friar1 and who had made him cardinal and stood his friend in trouble1 never wavered nor grew cold4 ,historians have dwelt much upon ,sixtus ,v's parsimony4 ,economy was said to be his favorite virtue4 ,but the best of the ,quattro ,fontane is that which represents the virtue of fidelity2 and this is the only one of them which is decorated with the emblems of ,sixtus ,v4 ,,tartarughe ,illustration ,,tartarughe ,giacomo della ,porta1 ,domenico and ,giovanni ,fontana1 ,carlo ,maderno1 and ,bernini are the ,roman masters in the gentle art of fountain-making4 ,giacomo della ,porta stands first chronologically1 and he has also created the loveliest of the lovely4 ,this is the ,tartarughe fountain for which the ,senate and people of ,rome paid over twelve hundred scudi1 evidently a large sum at that time for a fountain1 as ,baglioni mentions it particularly4 ,giacomo della ,porta delighted in rare marbles and for his fountain of the ,tartarughe he carved the broad shallow bowl of the classic drinking cup in the centre in bigio morrato fasciato1 or veined gray marble1 while he made the stem of a mottled yellow marble called ,saravezza4 ,the cup stands upon a ,carrara base1 moulded and carved with decorative shields or escutcheons1 from the four corners of which project huge shells of rare beauty and distinction of form carved in different varieties of ,african marble4 ,it rises from a shallow travertine basin1 gracefully shaped and slightly sunk below the level of the present pavement4 ,so far there is nothing to distinguish this fountain from others of its kind except the richness of its marbles and the shape of the shells1 but its four bronze figures so harmoniously composed give this design the dignity of a work of art1 and make it the most exquisite of ,roman fountains4 ,they are by ,taddeo ,landini1 whose early death was a distinct loss to the world of art4 ,these figures are of boys in the most beautiful period of adolescence1 their sinuous bodies lean against the swelling stem of the cup1 one slender leg of each figure pushed backward so that the foot rests on the toes1 preserving the balance1 while the other leg1 lifted high and bent at the knee1 presses its foot upon the head of a bronze dolphin4 ,the torsos lean toward each other in couples1 each supporting itself on its elbow so that the right shoulder of the one and the left shoulder of the other come rather close together4 ,the hands of these supporting arms grasp the tails of the dolphins1 while the other arms1 raised high above the head1 push upward with open palms and outspread fingers four bronze tortoises which clamber over the rim of the cup in haste to plunge into the water4 ,projecting from the under surface of the rim are carved in marble heads of cherubs1 so placed that the water which they spout falls in a steady stream between the figures of the boys and is received into the lowest basin4 ,the composition of these figures of boys and water-creatures is quite lovely2 and the water1 rising in a central jet from the drinking-cup1 gushing from the mouths of the dolphins and slipping in slender runnels from the cunningly curved lips of the huge shells enhances1 as it should1 the joyous naturalness of the entire conception4 ,illustration3 ,fountain of the ,tartarughe4 ,the popular appreciation of the beauty of the ,tartarughe is shown by the wide-spread impression that it was designed by ,raphael4 ,it is painful to give up that belief1 and in the face of facts which prove the hopelessness of such a contention the enthusiastic admirer can only assert that had ,raphael designed a fountain this is the fountain he would have designed4 ,there is assuredly some excuse for this assertion4 ,raphael depicted often1 and with peculiar tenderness1 the gracious figures of youths4 ,there is1 also1 a whimsicality in this conceit1 a certain sympathy seems to unite the boys with the water-creatures2 it is as if they were all joining in the sport of their own free will1 and might at any moment break away from each other only to reunite in some fresh prank in splashing water under happy skies4 ,all this is highly reminiscent of the art of ,raphael4 ,by virtue of it the ,tartarughe belongs not to the end of the sixteenth century but to that great period of the ,high ,renaissance when 8for ,leo ,x ,raphael filled rooms1 galleries1 and chapels with the ideal forms of human beauty and the pure expression of existence40 ,this fountain was erected in the last year of the pontificate of ,gregory ,,xiii and the first year of the pontificate of ,sixtus ,v1 which would explain why its erection is attributed sometimes to the reign of one pope and sometimes to that of the other4 ,it is difficult to understand how ,sixtus ,v could have permitted the erection of any fountain so entirely devoid of scriptural suggestion1 so purely pagan in its expression of joyous and irresponsible life1 as is the ,tartarughe4 ,possibly the play of the boys in the splashing water reminded the old man1 who was in spite of his fierce enthusiasms so kindly and so human1 of the far-off days of his childhood4 ,as ,cardinal ,montalto he had done much for his native village1 and many acts of his pontificate prove he had the poor always with him4 ,he never forgot their sufferings or their simple pleasures1 and in that old heart there lingered memories of his father's fruit garden at ,formi1 of the pear-trees which he placed in his coat of arms1 and of the great cistern in which he dabbled with such happy recklessness that one day he fell in and had to be fished out like any other urchin destined or not for the papal chair4 ,rome would1 undoubtedly1 be the richer for a fountain by ,raphael1 but it is probably fortunate for the ,tartarughe that it was not of ,raphael's creation4 ,it is not likely that this bit of fancy in bronze and rare marbles could have escaped destruction at the time of the sack of ,rome in #aebg1 only six years after ,raphael's death4 ,perhaps1 also1 this last blossom from the golden ,summer of ,italian ,art owes its perfect preservation to its position in an obscure corner close to what was once the ,ghetto4 ,but as a setting for this gem no situation could be more inadequate4 ,a mean square of dingy1 uniformly ugly houses surrounds it1 and there is not one redeeming feature in all this dreariness except the patch of blue sky overhead4 ,a fountain fit to be the crowning beauty of some prince's garden or to be celebrated in a canto of 8,the ,faerie ,queene0 plays on in this commonplace part of ,rome unheeded1 and seemingly uncared for4 ,however1 when in #ahih1 one of the tortoises was stolen the indignation felt at the theft was so wide-spread and so fierce that the thief was only too glad to abandon the precious tortoise in a place where it could be easily discovered4 ,trevi water supplies this fountain at present4 ,until quite recently it was the ,acqua ,paola1 but its deposits had so discolored the bronze and marbles that the water in the shells was changed back to the ,trevi1 for which water it was originally constructed4 ,however1 the highest jet in the fountain was not changed1 as ,paola water can rise to a much higher level than ,trevi4 ,,fontana ,,del ,,mos ,illustration ,,fontana ,,del ,,mos ,this is the first of the great ,fontana fountains1 and if ,domenico ,fontana got his inspiration for it from the beautiful public fountain made by ,amannati for ,julius ,,iii on the ,via ,flaminia1 with which he was familiar before the ,casino was placed above it1 his fountain in its turn became the prototype for the great fountains erected in the next century by his brother for ,pope ,paul ,v4 ,this ,fountain of the ,moses is a great portal consisting of three arches equal in size1 from the base of which the water issues in double cascades4 ,the water falls into three large basins guarded by couchant lions1 and each lion spouts an additional stream of water4 ,in the centre archway stands a colossal figure of ,moses in the act of striking the rock1 and the niches on either side of him are filled by high reliefs of scenes from the ,old ,testament relative to the importance and significance of water4 ,the relief to the right represents ,gideon testing his soldiers and is the work of ,flaminio ,vacca1 and in the left ,giovanni ,battista della ,porta has carved the scene in the desert after ,moses has brought the water from the rock4 ,four beautiful marble columns with ,ionic capitals stand one on either side of these arches1 and in the small triangular spaces between the capitals and the keystones are the emblems of ,sixtus ,v--the star1 the three mounts1 the pear branch and the lion4 ,these arches and columns support a massive entablature of which the inscription1 in the noble ,sixtine caligraphy1 forms the most important feature1 and is1 in fact1 the most impressive part of the entire structure4 ,above the inscription rises the florid pediment1 flanked by two obelisks 7an idea distinctly borrowed from ,amannati's fountain7 and bearing on its apex the three mounts of ,sixtus ,v which carry the huge iron cross4 ,underneath this and occupying the greater part of the pediment are the armorial bearings of ,sixtus ,v4 ,the huge shield is supported by two angels1 a conceit borrowed1 perhaps1 from ,pius ,,iv's escutcheon over the ,porta ,pia1 and repeated again for ,paul ,v in his fountain on the ,janiculum4 ,the armorial sculpture is by ,flaminio ,vacca4 ,such is the great ,fontana fountain1 grandiose rather than magnificent1 but still distinctly imposing and adequately filling by its size and importance the honorable position which it occupies among the fountains of ,rome4 ,it is the main delivery tank of the ,acqua ,felice2 and the ,acqua ,felice was the first new supply of water which ,rome had received since the aqueducts had been cut off from the city by ,vitiges in #ecg4 ,the statue of ,moses is a colossal blunder4 ,prospero ,bresciano had modelled the curious ,sixtine lions which served to support the ,vatican obelisk1 and the ,pope gave him the commission for the principal figure in his great fountain4 ,contrary to the advice of his friends1 ,bresciano carved this statue1 which was to be his masterpiece1 directly from the travertine without any previous modelling--the block lying horizontally on the ground4 ,when the figure was raised it was found to be not only out of proportion but also out of conformity with the laws of perspective4 ,its unveiling was greeted by the critical ,roman populace with a shout of derisive laughter1 so ,homeric in its volume and duration that it utterly condemned the artist1 who1 as a result1 fell into a melancholia and died4 ,the present lions1 which are of bigio marble1 are modern1 dating from the days of ,gregory ,,xvi 7#ahdf74 ,this ,pope created the ,egyptian ,museum in the ,vatican and removed thither the original lions1 which were of ,egyptian origin and had been appropriated for his fountain by ,sixtus ,v--two from the ,piazza of the ,pantheon and two from the gate of ,st4 ,john ,lateran4 ,the two great points of difference between the ,fontana fountains and the ,amannati fountain on the ,flaminian ,way are interesting and significant4 ,they are1 first1 the place of the inscription1 and secondly the volume of water4 ,the first point of difference is due to the fact that the ,fontana fountains1 here and on the ,janiculum1 proclaim the appearance in the city of a new supply of water4 ,sixtus ,v and ,paul ,v had each built a new aqueduct and could announce the fact conspicuously by magnificent inscriptions2 whereas ,julius ,,iii1 using a stream of water from an aqueduct already in existence1 could only claim the honor of having erected the fountain for the convenience of the public4 ,his inscription1 therefore1 is not borne aloft on triumphal arches but occupies a place in the central niche1 filled in ,sixtus ,v's fountain by the figure of ,moses1 and in ,paul ,v's fountain left absolutely vacant4 ,the stream which ,julius ,,iii dared appropriate from the ,virgo ,aqueduct was only large enough to fill a single basin placed before the central niche of ,amannati's fountain2 whereas in the ,fontana fountains the water fills the entire space below the mostra1 as it was naturally the intention to show the magnitude and force of the new supply4 ,pope ,sixtus ,v's great fountain demands for its effect1 like ,paul ,v's1 wide and spacious surroundings4 ,the high modern buildings crowding upon it and dwarfing it have done much toward diminishing its artistic values4 ,one of the panels in the ,vatican ,library shows what the fountain was like in the years immediately following its erection4 ,gardens and vineyards lay all about it1 and it easily dominated the walls and gateways which were its only architectural neighbors4 ,the ,porta ,pia to the left merely enhanced its dignity1 and in the far distance the hills1 aqueducts1 and the open sky lent themselves for a magnificent background4 ,the ,acqua ,felice1 which was the first water of papal ,rome1 had been the last water brought to the ancient city4 ,in #bbf the ,emperor ,alexander ,severus built the eleventh and last aqueduct of the classic city4 ,its remains are still to be seen on the ,via ,prnestina4 ,over this aqueduct he brought the ,acqua ,alexandrina1 which was from practically the same sources as those which now supply the ,acqua ,felice4 ,the ,acqua ,alexandrina was brought by the ,emperor down the ,via ,labicana as far as the ,esquiline1 where he erected for it a magnificent fountain4 ,a coin of his period shows the design to have somewhat resembled the present 8,fontanone0 on the ,janiculum4 ,sixtus ,v selected as the site for his fountain an open space on the ,viminal ,hill near the ,church of ,santa ,susanna4 ,he faced it southwest1 at right angles to the ,via ,pia1 which terminated at some distance to the northeast in the ,porta ,pia4 ,the ,acqua ,felice enters ,rome at the ,porta ,maggiore at the altitude of #ei metres and supplies #ba1fcb4h cubic metres of water daily4 ,in order to bring the water to ,fontana's fountain it was necessary to cut a wide street1 the ,via ,ceruaia1 and to tunnel through the ,baths of ,diocletian4 ,although the ,acqua ,felice served the ,pope's purposes and literally made the desert blossom like the rose1 ,sixtus ,v had no sentiment about it4 ,when the water actually reached the city1 his sister and nephew1 thinking to please him1 hastened to bring him a cupful4 ,the ,pope1 who hated a scene of any kind1 refused to drink it1 declaring that it had no taste1 which is quite true4 ,it is to this day the least valued of the ,roman waters1 and the overflow or 8lapsed water0 of ,fontana's great fountain is used for laundry purposes4 ,the ,pope bought the land containing the feeding-springs of the ,acqua ,felice from ,cardinal ,colonna1 and brought it to the city underground for thirteen miles and for the remaining seven over arches4 ,its channel is known as the 8ugly aqueduct40 ,the worst of the crimes committed by ,sixtus ,v and ,domenico ,fontana against the antiquities of the city was the destruction of the ,septizonium4 ,artists of the period have left invaluable sketches of this last fine example of classic architecture4 ,it had been built by ,septimius ,severus against the ,palatine1 probably as an architectural screen to the mass of confused buildings in its rear4 ,it faced south down the road by which travellers from ,africa entered the city4 ,it had survived the sieges1 the earthquakes1 and the fires of more than thirteen centuries2 yet ,sixtus ,v1 without a qualm1 demolished it for the sake of the blocks of travertine and peperino and its beautiful marble columns1 which he wished to use in his own architectural enterprises4 ,it is impossible not to wonder what were ,fontana's feelings as he superintended the destruction of this masterpiece of his own profession4 ,he does little more than mention the fact in his memoirs1 and this may be in itself significant4 ,some of the material went into the fabric of the ,moses fountain2 but the ,romans never forgave either ,sixtus ,v or ,fontana4 ,considering the dearth of water in ,rome in the sixteenth century and the character of ,sixtus ,v1 the conception of the central idea of this fountain--that of ,moses striking the rock--was not only happy but almost inevitable4 ,although the ,pope was an ardent churchman1 it was easier for him to believe in the conversion to ,catholicism of the conqueror of ,ivry than to understand that the ,roman ruins had any other than a commercial value4 ,leo ,x had believed in art 8for art's sake40 ,he had believed in nothing else4 ,to ,sixtus ,v1 on the other hand1 all the efforts of painting1 sculpture1 and architecture were to be for the glory of ,god1 more particularly as that glory was understood and expounded by himself4 ,the ,neptunes and ,tritons of later pontificates would have seemed to him creations of the devil4 ,the ,old ,testament was to him1 as it was to the ,english ,puritan of the next century1 the source of artistic inspiration2 and for his great fountain the ,hebrew lawgiver1 bringing the water out of the rock at the ,divine command1 was alone adequate4 ,it was not unnatural for him to think of himself as standing in the place of ,moses4 ,,sixtvs ,v ,,pont ,,max ,,picenvs ,,aqvam ,,ex ,,agro ,,colvmnae ,,via ,,praenest ,,sinistrorsvm ,,mvltar ,,collectione ,,venarvm ,,dvctv ,,sinvoso ,a ,,receptacvlo ,,mil ,,xx ,a ,,capite ,,xxii ,,addvxit ,,felicemq ,,de ,,nomine ,,ante ,,pont ,,dixit ,,coepit ,,an ,i ,,absolvit ,,iii ,,mdlxxxvii ,pope ,sixtus ,v1 of the ,marches1 conducted this water from a junction of several streams in the neighborhood of ,colonna1 at the left of the ,prnestine road1 by a winding route1 twenty miles from its reservoir and twenty-two from its source1 and called it ,felix1 after the name he himself bore before his pontificate4 ,he commenced the work in the first year of his pontificate1 and finished it in the third1 #aehg4 ,,the ,,lateran ,illustration ,,the ,,lateran ,modern photographs can still be found of the original fountain of the ,lateran4 ,it was the work of ,fontana and was placed in this spot after he had erected the obelisk for ,sixtus ,v4 ,the present fountain is quite new and most inadequately replaces the old one which had stood there for over three hundred years4 ,by the close of the nineteenth century the upper basin of ,fontana's fountain was badly broken1 while the lower one had been held together for some time by iron clamps4 ,the carving was so worn and defaced that the dolphins and eagle were quite shapeless1 and the figure of ,st4 ,john writing in a scroll upon his knee and looking to ,heaven for inspiration had long since disappeared4 ,maggi's engraving of this fountain made in #afah shows it to have been one of the richest ever designed by ,fontana4 ,a curious feature in this old fountain was the blending of the insignia of three popes4 ,the pears of ,sixtus ,v were carved in heavy festoons under the huge supporting scrolls of the mostra 7which was a screen made low so as to bring the figure of ,st4 ,john in simple and high relief against one of the square sides of the pedestal71 the ,borghese eagle poured the water into the shell-shaped upper basin2 and finally the ,aldobrandini bar of continuous ,maltese crosses was used as frieze4 ,the obelisk of the ,lateran was set in its present place by ,fontana only two years before the death of ,sixtus ,v1 and it is quite probable the fountain was not erected until some years later4 ,sixtus ,v rushed the work on the ,lateran at top speed2 and this obelisk was no sooner in place than ,fontana was commissioned to transport its companion to the ,piazza del ,popolo4 ,the ,lateran obelisk was erected in #aehh4 ,in ,august1 #aeij1 ,sixtus ,v died4 ,four popes followed him in rapid succession--,urban ,,vii1 ,gregory ,,xiv1 and ,innocent ,,ix1 all dying so soon that by ,january #bj1 #aeib1 ,clement ,,viii 7,aldobrandini7 had become ,pope2 and ,fontana may have finished this fountain during the first years of ,clement's pontificate1 before he fell under that pontiff's displeasure4 ,the frieze on the fountain must have been originally the ,montalto or ,peretti frieze1 which forms so beautiful a finish to the ,lateran ,palace2 but ,fontana1 while keeping the star of ,montalto 7one of ,sixtus ,v's emblems7 in the corners under the cornice of the screen1 changed the design of the intervening space into the ,aldobrandini bar4 ,it was a small detail1 and the change was a mere matter of custom and policy and involved no disloyalty to the great past in ,fontana's life4 ,this would account for the ,aldobrandini frieze4 ,the eagle seems at first more difficult to explain4 ,from the accession of ,paul ,v the eagle denotes the ,borghese family2 but ,paul ,v did not become ,pope until #afje1 and ,fontana left ,rome for ,naples in #aeif4 ,therefore1 the eagle of this fountain cannot have any connection with the ,borghese family4 ,why did ,fontana use it instead of the lion's head1 which was another of ,sixtus ,v's emblems and would have made a better architectural outlet for the water8 ,it must have been because the eagle is the emblem of ,st4 ,john4 ,in ,michelangelo's fresco of the ,fourth ,evangelist in the ,sixtine ,chapel the eagle stands with bent head and folded wings close against the figure of the saint who1 seated upon the ground1 is writing in the scroll supported by his knee4 ,fontana1 or the sculptor who carved for him the figure on the top of the mostra of this fountain1 was undoubtedly inspired by ,michelangelo's creation4 ,the ,st4 ,john of the fountain was1 according to the old engravings1 a beautiful and youthful figure looking to ,heaven for inspiration and writing in the scroll held upon his knee4 ,the eagle was wanting1 but ,fontana placed him just below the cornice between the curving tails of the dolphins1 and adapted him to the purposes of a fountain4 ,the design was original and extremely interesting1 as it shows both ,sixtus ,v and ,fontana in a new and unusual light4 ,they were dominated by the place4 ,the great new ,lateran ,palace which they had built1 the ancient obelisk which they had set up1 the fountain which supplied the invaluable ,acqua ,felice1 were all subservient to the venerable basilica of ,st4 ,john4 ,the piazza and all that it contained were dedicated to ,st4 ,john1 and had been so for seven hundred years4 ,pope and architect may have felt that in this fountain the insignia of any pontiff were more fittingly kept in a purely subordinate position4 ,the mostra of the old fountain rested1 as the present one does1 on the base of the obelisk2 and the fine ,piranesi engraving of the ,piazza of the ,lateran shows its position and proportions as well as the admirable balance which it gives to the entire scene4 ,this obelisk is still the highest in the world1 although the lower end was so badly broken and damaged 7by fire7 that ,fontana had to shorten it by three feet4 ,it was also broken in three pieces and ,fontana's device for mending it1 which so pleased the ,pope1 can be traced in various places among the hieroglyphics4 ,when the obelisk was at last erected1 ,fontana carved his name with his title of knight in ,latin on the base1 and the three mounts and the star of ,sixtus ,v were fastened to the apex4 ,above everything was placed the huge bronze cross1 for ,sixtus ,v considered the obelisk to be the supreme symbol of divinity in a great ,pagan theology2 and by placing the cross on all those which he re-erected1 the ,pope felt that he was exhibiting in the most picturesque and conspicuous manner the triumph of ,christianity4 ,this obelisk1 which is of red granite1 was found by accident lying prone and buried in the marshy ground of the ,circus ,maximus4 ,near by was another1 the one which now stands in the ,piazza del ,popolo4 ,fontana employed five hundred men in raising and removing the obelisk of the ,lateran4 ,of these men1 three hundred were employed day and night keeping out the water which poured in on all sides4 ,this stream is now thought to have been the brook ,crabra1 the 8goat brook0 of ,tusculum1 described by ,frontinus1 which1 in the general decay of medival times1 had become one of the 8lost waters0 of ,rome4 ,the difficulties encountered in transporting the obelisk up the rough sides and through the old streets of the ,quirinal ,hill were numerous4 ,the obelisk of the ,piazza del ,popolo was removed from the same place and set up on its present site for the sum of ten thousand three hundred and thirty-one scudi2 whereas this obelisk of the ,lateran cost the papal treasury twenty-four thousand six hundred and eleven scudi4 ,it was originally brought to ,rome in the early days of the ,christian era4 ,twenty-seven years after ,constantine had transferred the seat of government to his own new capital of ,byzantium1 his successor1 ,constantine ,,ii1 visited ,rome4 ,he visited ,rome like any foreign prince and was profoundly impressed by the magnificence and majesty of his discarded capital4 ,a not unnatural instinct prompted him to leave some memorial of himself among the monuments and trophies of his heroic predecessors2 and for this purpose he sent for the obelisk which ,thotmes ,,iii had originally placed before the great temple of ,thebes4 ,it was brought to ,rome and placed in the ,circus ,maximus4 ,its subsequent history and the causes of the fall of this last of the imperial obelisks are still lost in the mystery which hangs over so much of medival ,rome4,h ,the original pedestal had been too damaged by fire to admit of using it again2 so ,sixtus ,v gave permission to ,domenico ,fontana to make the new pedestal out of the materials of an old arch which ,domenico was to destroy for this purpose4 ,the permission was given in writing1 for ,domenico ,fontana had found that it was necessary to be armed with written instructions from the ,pope whenever he began one of his devastating raids upon the antiquities of the city4 ,the city government had endured such pillage and destruction at the hands of the great ,pope's great architect that all the past vandalism of private individuals seemed slight in comparison4 ,they protested in vain against most of the destruction upon which ,sixtus ,v had set his heart1 and neither princes nor magistrates could save the old pontifical residence of the ,lateran which had stood since the seventh century on this very piazza4 ,it was a marvellous rambling pile of buildings--churches1 monasteries1 shrines1 loggias1 colonnades1 oratories1 banqueting rooms and halls filled with mosaics1 pictures1 and frescoes--and1 according to a great authority1 the most wonderful museum of medival art that ever existed4 ,this priceless record of the past was ruthlessly demolished and razed to the ground in a few months' time by order of ,pope ,sixtus ,v4 ,it is difficult to understand his motives for this particular action1 since it was not the history of ,paganism but of his own predecessors that he was destroying4 ,the populace never forgot1 or forgave him this destruction1 involving as it did the loss of the ,oratory of the ,holy ,cross4 ,an exquisite example of early ,christian architecture1 built in the shape of a ,greek cross1 this oratory was held in peculiar veneration by all classes2 and the ,roman people might not unnaturally conclude that the wanton destruction of anything at once so beautiful and so sacred as this oratory could only be ascribed to the promptings of the devil himself4 ,posterity can hardly accept ,pope ,sixtus ,v's fountain1 even with its obelisk1 as an adequate substitute for the three fountains of rare marble in the atrium of this oratory which perished by order of the ,pope4 ,the ,church of ,st4 ,john ,lateran was under the protection of the ,kings of ,france1 as the ,church of ,santa ,maria ,maggiore was under the protection of the ,kings of ,spain1 ,st4 ,peter's under that of the ,emperor of ,austria1 and ,st4 ,paul's ,beyond the ,walls under the protection of the ,english sovereign4 ,in the pontificate of ,clement ,,viii1 when the papacy began to turn toward ,france in its foreign policy1 the work of embellishing the ,lateran cost ,rome--and indeed large portions of the surrounding country--untold treasures in costly marbles and gilt bronzes4 ,the first were sawed into slabs for the transept of the ,church2 and the ,altar of the ,sacrament owes its magnificence to the many hundred bronzes which1 together with portions of the bronze beams of the ,pantheon1 went to the smelting furnaces4 ,in ,sixtus ,v's time1 however1 the old church was still comparatively simple2 and it was in this old ,church of the ,lateran1 probably during his pontificate1 that ,stradella's prayer 78,pity1 oh1 ,saviour607 was sung1 while hired assassins waited in the outside darkness to take the composer's life4 ,as the service was long1 the bravos stepped inside the church to enjoy the music before committing the murder4 ,there1 in the wavering light of the altar candles and under the subtle influence of the incense1 they became so impressed by the pathetic beauty of that marvellous ,aria di ,chiesa that they felt it impossible to put out of existence the man who could write such music2 and in the darkness and silence that followed the close of the divine melody they themselves warned ,stradella of the plot against his life and abetted his escape4 ,of late years this legend has been discredited2 but in such a case as this it is well to remember the attitude taken by the writer of 8,the ,renaissance in ,italy10 8,i would rather accept10 says ,symonds1 8sixteenth-century tradition with ,vasari than reject it with ,german or ,english speculators of to-day4 ,i regard the present tendency to mistrust tradition1 only because it is tradition1 as in the highest sense uncritical40 ,over the door of the ,vatican ,library is a fresco map of ,sixtine ,rome4 ,it portrays not what ,sixtus ,v actually left1 but what he at one time intended to leave4 ,in this fresco a great thoroughfare runs from the ,piazza del ,popolo to the ,piazza ,laterano1 and at each end of the magnificent vista stands an obelisk erected by the ,pope4 ,such a street laid out to-day would lead along the ,via ,babuino1 the ,piazza di ,spagna and the ,via ,due ,macelli1 and1 passing through the tunnel1 come out on the ,via ,merulana1 and reach the ,piazza ,laterano after traversing the eastern slope of the ,esquiline and the new streets between it and the basilica4 ,sixtus ,v abandoned the idea as the great thoroughfare would have cut its way directly through the precincts of the ,quirinal1 and he had determined to make that spot his own abode1 not only because he loved it but because he recognized the sovereign quality of the situation of ,monte ,cavallo in the ,rome which he was reconstructing4 ,the ,fontana fountain of the ,lateran is not included by ,baglioni in his list of ,fontana's works2 but that list which is embodied in his account of ,fontana's life is manifestly incomplete4 ,the fountain was engraved in full detail as early as #afah by ,maggi2 and later engravings were made of it by ,cruyl1 ,millotte1 and ,falda4 ,these designs were so comprehensive that it would have been an extremely simple matter to entirely reconstruct the old fountain1 more especially as the mostra and old basins were still in place1 and there could have been no difficulty in ascertaining the proportions4 ,had this been done1 the pictorial effect and1 above all1 the historical interest of the ,piazza of ,st4 ,john ,lateran would have been greatly enhanced4 ,the old fountain disappeared in the general submersion of papal ,rome4 ,its modern substitute is a mere paraphrase1 and the eagle seems intentionally to represent the eagle of imperial ,rome rather than the emblem of ,st4 ,john4 ,,trinit ,,de' ,,monti ,illustration ,,trinit ,,de' ,,monti ,the fountain on the terrace in front of the ,villa ,medici has been called by a lover of ,rome 8,the ,fountain of the ,brimming ,bowl40 ,it is a happy surname1 for the marble vase beneath the formally clipped ilex trees is nothing more or less than a huge bowl filled to overflowing with the ,acqua ,felice4 ,the stream gushes upward in a slender column until it reaches the spreading branches overhead4 ,there it returns upon itself in clouds of glistening spray1 filling the bowl with circles of gleaming water1 ever widening until they brim over the edge and veil the marble in a continuous overflow4 ,the octagonal basin which receives this copious stream is sunk into the ground and its shadowed waters have all the unobtrusive beauty of a quiet and sequestered pool4 ,there is no sculpture1 no decoration4 ,with unerring taste1 the artist has made his appeal to the eye through fundamental and universal elements of beauty4 ,grace of line and of proportion1 contrast of solid rock and flowing water1 the impression of abundance and perpetuity1 symmetry1 contrast1 suggestion--these are the simple qualities out of which he composed his ,fountain of the ,brimming ,bowl4 ,sunlight flickering through the ilex branches overhead and the crumbling shadows of their dense foliage add a poetic charm1 while the ,italian trinity--,art1 ,time1 and ,nature--have given to this modest fountain a background of unsurpassed interest and dignity4 ,the view from the terrace of the ,villa ,medici might be described almost exactly by ,wordsworth's sonnet on ,westminster ,bridge1 and truly 8,dull would he be of soul who could pass by ,a sight so touching in its majesty40 ,here in ,rome 8444 towers1 domes1 theatres1 and temples lie10 massed together in that famous quarter of the city known in classic times as the ,campus ,martius2 and through this architectural maze1 spanned by bridges old and new1 the ,tiber 8floweth at its own sweet will40 ,on its farther shore the modern ,palace of ,justice and a network of thoroughfares with names relating to the ,risorgimento and to ,italy of to-day crowd against the venerable ,castle of ,st4 ,angelo4 ,beyond that lies the densely packed ,borgo or ,leonine city1 surrounded by walls1 while the heights of the ,janiculum to the left and those of the ,vatican ,hill and ,monte ,mario to the right give a background of green to all this masonry4 ,in the very centre of the distance1 on the ground once covered by the ,circus of ,nero1 dominating everything and seeming to float against the western sky1 rises the dome of ,st4 ,peter's4 ,the terrace leads on the one hand to the gardens of the ,pincio and on the other to the ,church of the ,trinit de' ,monti4 ,from #aedd to #aefj1 when ,annibale ,lippi was working on the ,villa ,medici1 that portion of the ,pincian ,hill covered to-day by the ,pincian ,gardens belonged to the ,augustinian monks of the ,piazza del ,popolo4 ,the villa stood on the ground between them and the gardens and convent of the ,trinit de' ,monti4 ,the terrace with the fountain was the approach to the cardinal's villa and to the precincts of the convent4 ,the old engravings show the fountain standing quite free from trees1 which1 however1 are growing along the edge of the hill and down its slope4 ,the fountain is generally ascribed to ,annibale ,lippi1 but there seems to be no positive proof that it is his work4 ,it resembles in general outline the fontanella on the balcony inside the villa1 which is by ,lippi2 and the fact that the basin is made of bigio marble might put its date as early as ,lippi's time4 ,the fountains in the first half of the ,cinque ,cento were generally made of marble or granite1 whereas after ,fontana and in ,bernini's period travertine was used almost exclusively4 ,the villa was the property of ,cardinal ,monte ,pulciano1 but it was barely finished when ,cardinal ,ferdinand de' ,medici began negotiations for its purchase4 ,medici1 whose childhood had been passed in the ,boboli ,gardens1 which were created by his father1 spent eleven years in laying out and beautifying the gardens of this villa1 where he had a small zoological collection1 and also in making the gallery of ,greek and ,roman sculpture which rivalled that already belonging to his old friend ,cardinal ,alessandro ,farnese4 ,he returned to ,florence in #aehg1 and some time after the villa passed into the hands of another ,medici1 ,cardinal ,alessandro1 who became ,pope ,leo ,,xi in #afje4 ,this ,cardinal ,alessandro de' ,medici also spent much time and money in the decoration of the villa1 and it seems probable that the fountain was constructed during his tenure of the property1 since the introduction of the ,acqua ,felice in #aehg had at last made it possible to have fountains on this hillside4 ,evelyn1 describing this fountain in the last days of ,pope ,urban ,,viii's pontificate1 speaks of the magnificent jet of water spouting fifty feet into the air4 ,the earliest engravings of it date from the middle of the ,sei ,cento and show the water springing from a large ball of travertine which has long since lost its size and shape from the constant action of the water4 ,the pedestal and base of this fountain are also of travertine4 ,the present ,church of the ,trinit de' ,monti was erected by ,louis ,,xviii1 of ,france1 to replace the original building which had been destroyed during the excesses of the ,french ,revolutionary period4 ,but in #aedd the old ,gothic church of the ,valois ,king stood looking westward over the ,french quarter of the city4 ,this church dated from the year #adie1 when ,charles ,,viii1 of ,france1 on his way to reconquer his ,neapolitan territory1 entered ,rome and paid a visit--half threatening1 half ceremonious--to ,alexander ,,vi4 ,he left as a memorial of his stay in ,rome this ,church of the ,trinit de' ,monti4 ,the church became the nucleus of ,french influence in ,rome4 ,the ,french convent of the ,sacred ,heart grew up beside its walls1 and many famous ,frenchmen lived within its shadow4 ,cardinal ,ferdinand de' ,medici1 who gave his family name to this villa1 as well as to the ,venus which1 upon its discovery in ,hadrian's ,villa1 he immediately bought and placed here1 was one of the commanding figures of his time4 ,fourth son of ,cosimo1 first ,grand ,duke of ,tuscany1 he had been made a cardinal at fourteen1 in the room of his elder brother ,cardinal ,giovanni de' ,medici1 who had died at nineteen4 ,the second ,grand ,duke of ,tuscany1 ,ferdinand's eldest brother1 died in #aehg1 leaving no son1 and so1 after twenty-four years of ecclesiastical life1 ,cardinal ,ferdinand1 who had never taken holy orders1 laid by the red hat to become third ,grand ,duke of ,tuscany4 ,he married ,christine de ,lorraine1 a granddaughter of ,catherine de' ,medici1 and therefore a distant cousin of his own1 and had1 like his great-grandfather ,lorenzo the ,magnificent1 and his own grandfather ,cosimo ,i1 eight children1 his eldest son succeeding to the grand duchy4 ,it is difficult to trace in the wise and beneficent grand duke the intractable young cardinal who had been a handful for even ,sixtus ,v4 ,the old pontiff had found in him an obstinacy and a craft equal to his own1 and he must have 8thanked ,god fasting0 when ,medici was no longer a member of his curia6 ,the ,pope was an old man1 and the cardinal had the physical advantage of youth2 nevertheless it was a battle royal when this true chip of the ,medicean block interceded with the ,peretti ,pope for the life of his old friend1 ,cardinal ,alessandro ,farnese4 ,sixtus1 who was not to be shaken in his determination1 kept track of the time1 and held firmly to his resolution until he was sure that the appointed hour for ,farnese's death had come and gone2 then1 knowing that it was too late1 he graciously consented to spare ,farnese's life1 to please his ,cardinal de' ,medici4 ,but the cardinal knew his ,sixtus ,v1 and had1 before his audience1 taken the precaution to set every clock in the ,vatican1 outside the ,pope's private apartments1 back one hour6,i ,the fire still lives in the ashes of this ,ferdinand1 for1 in #aijf1 a deputation from ,leghorn visited his tomb in the ,medici mausoleum in ,florence and laid upon it a bronze wreath as a testimony of their undying gratitude and affection4 ,leghorn1 a mere fishing village of the ,cinque ,cento1 had been raised to her position of the second seaport in ,italy by this ex-cardinal1 and that chiefly through the operation of an edict of toleration almost incredible at the period in which it was promulgated4 ,when the ,spanish ,armada1 the struggle in the ,netherlands1 and the religious wars in ,france kept all ,europe in a ferment1 ,leghorn rose suddenly and swiftly like an exhalation of the sea through the peaceful labors of the ,french1 ,flemish1 and ,jewish refugees who1 within her walls and under the powerful protection of her ,grand ,duke1 the ex-cardinal1 found absolute liberty of conscience and security of life and property4 ,it was this ,ferdinand who furnished from his own rich coffers the sinews of war to ,henry of ,navarre2 it was he who mediated between ,henry and the ,pope2 and it was his niece1 ,maria de' ,medici1 who became ,queen of ,france as wife of ,henry ,,iv1 bringing with her1 as ,sully said1 such a marriage portion as had never before been brought into the kingdom4 ,five years after this event ,cardinal ,alessandro de' ,medici became ,pope2 so the ,villa ,medici1 as well as the ,church of the ,trinit de' ,monti1 had1 in spite of their ,italian names1 many affiliations with far-off ,paris2 and partly on account of these associations1 partly for the sake of the marvellous view1 their terraces became the favorite haunt of those artists who1 in the early days of the ,sei ,cento1 began to find their way to ,rome4 ,in the continuity of the development of art there are few events more interesting than the appearance of the ,french art student in ,rome4 ,gaul had been the first of the northern nations to assimilate ,roman culture1 and ,france was the first to come under the influence of the ,renaissance4 ,just at the time when the ,catholic reaction against the license of the ,cinque ,cento had begun to force ,italy under the stultifying influence of ,spanish domination1 ,france awoke to the full consciousness of her sthetic nature and to her need of those things which ,italy alone could give4 ,the army of ,charles ,,viii had carried back across the ,alps imperishable memories of beauty1 and soon afterward ,francis ,i had enticed to ,paris some of the greatest ,italian artists of the time4 ,even the fierce religious wars of the sixteenth century could not stamp out the seed sown by the soldiers' stories and by the works of art left by homesick ,italian masters in ,fontainebleau4 ,one by one the eager ,french artists crossed the ,alps1 and they came in ever-increasing numbers when the genius of ,richelieu brought order and amenity into ,french life1 and when ,richelieu's contemporary1 ,maffeo ,barberini1 for many years papal legate to ,france1 had become ,pope ,urban ,,viii4 ,to reach ,rome all of these voyagers had to endure severe physical hardships1 and some of them never returned to ,france4 ,the greatest of them--,le ,poussin and ,claude--died in ,rome4 ,painters1 engravers1 sculptors1 and architects came to these terraces to worship and to work1 and to this day the galleries and palaces of northern ,europe cherish the pictures planned or sketched about the ,fountain of the ,brimming ,bowl4 ,pope ,urban ,,viii1 who died in #afdd1 was himself half ,french1 not only by virtue of his temperament and genius1 but also by the trend of his sympathies and his foreign policy4 ,under his enlightened patronage1 the artists of ,france found a congenial home in the ,eternal ,city4 ,this was the beginning of the ,french ,academy of ,painting in ,rome1 which was formally founded in #afff by ,colbert1 the great minister of ,louis ,,xiv4 ,for the first seven years of its existence this institution had no permanent abode2 but in #afgc the ,capronica ,palace was placed at its disposal1 and later on--in ,louis ,,xv's time--it moved to the ,mancini ,palace near the ,corso4 ,the slope leading from the ,piazza of the ,trinit de' ,monti 7now the ,piazza di ,spagna7 to the terraces above had all this time been a natural hillside1 whereon grew trees1 grass1 and wild flowers familiar to ,rome4 ,the footpaths leading upward must have been a rather steep climb2 but five years before the founding of the ,academy an event occurred which was to make the ascent of the hillside not only easy but delightful4 ,in #affa ,rome came into the possession of a large sum of money left to the city by the learned ,french gentleman1 ,etienne de ,guffier1 for the express purpose of constructing a magnificent stone stairway which should cover this slope of the ,pincian ,hill1 and unite for all time the ,campus ,martius with the terraces above4 ,the stairway was long in building1 and during its construction the connection between the ,academy in the ,mancini ,palace and the old terraces of the ,trinit de' ,monti may have been slender2 but in #agbe the ,scalinata was opened with great pomp1 and once again ,french artists could spend long hours on their beloved terraces4 ,seventy-six years later ,napoleon1 with his supreme instinct for effect 7a possession he shared with ,julius ,csar71,j and not unmindful of the ,french association with this quarter of the city1 removed the ,french ,academy from the old ,mancini ,palace and lodged it permanently and most impressively where it now is1 in the ,villa ,medici1 the villa built by that family which had given two queens to ,france4 ,so the fountain of the ,trinit de' ,monti is still a feature in the life of the ,french artists at ,rome2 and it is perhaps a pardonable fancy that1 in this particular fountain1 the ,acqua ,felice plays in ,french6 ,,villa ,,borghese ,,now ,,villa ,,umberto ,,primo ,illustration ,,villa ,,borghese ,,now ,,villa ,,umberto ,,primo ,a garden where the centuries ,of men have come and none did care ,save for the green grass and the breeze ,and shelter from the noontide glare4 ,but that which makes the garden fair-- ,the sense of life's futility1 ,is deathless beauty4 ,born of ,death1 ,it blossoms under cloudless skies-- ,one's very dream of ,italy4 --,from an unpublished ,,ms4 ,such a garden was the ,villa ,borghese2 and such a garden it still is1 in spite of constant desecration4 ,this is the home of the most poetic of ,bernini's fountains4 ,it stands on the summit of a rising avenue1 yet it does not terminate a vista1 it makes itself a part of one1 for the avenue continues after the fountain has been reached4 ,it stands in full but tempered sunlight1 girt about by a circle of box hedges and ilex trees1 with here and there a tall stone pine4 ,the lower basin lies in the turf1 like a natural pool1 and the water fills it to the brim4 ,it reflects the trees and clouds in its quiet depths1 or as the little breeze ruffles the surface1 it gives back the sunshine like a broken mirror4 ,single shafts of water1 spouting upward from between the forefeet of the sea-horses1 fall back into the same basin from which they rose1 curving like the arches of a pergola2 yet so steady is their flow that the tranquillity of the pool is hardly troubled4 ,four foam-flecked circles1 only1 show where the falling water mingles with the water at rest4 ,greater peacefulness could not well be given to any artificial bit of water4 ,then from the centre of this dreaming pool there rises a fountain so rich in carving1 so beautiful in design that it seems rather a great and splendid efflorescence than the work of men's hands4 ,from its leaf-fringed lower basin there rises a second and much smaller one1 not like another basin but like a corolla within a corolla1 and the flower-like composition terminates in a beautifully wrought cup resembling the blossom of the campanula4 ,the water gushes upward from this cup1 but not to any height4 ,it falls back at once over the scalloped edges of the marble1 and slipping in and over the carved foliage of the lower basins finally reaches1 in a gentle1 pensive manner1 the quiet pool beneath4 ,sea-horses with tossed manes and backward curving wings plunge outward from the shelter of the lower basin4 ,their tails twine about its stem1 and the basin is close above their heads1 but it does not rest upon them2 they are free4 ,it is evident that in one more spring they will be out and away4 ,yet they do not take it1 and they never will4 ,for once ,bernini's genius masters his fancy4 ,his fountain is not a fanciful conceit but a rich and peaceful artistic creation4 ,an enchanter's wand has checked the horses in mid-career1 and here they remain1 motionless1 for all their movement1 under the shadow of the leafy basin1 part of a beautiful whole that must never be broken4 ,this is one of those rare compositions in which the artist has most happily achieved the second essential in a fountain1 that it should be a thing of beauty1 a source of delight to the eye and ear4 ,it is admirably suited to its surroundings1 for rich carving and imaginative sculpture held in subservience to the natural charm of quiet water1 conform exquisitely with a garden where stately formality enhances the loveliness of wild and simple beauty4 ,the fountain is of travertine1 the natural mellow tone of which has been rendered even more lovely by centuries of soft ,italian weather4 ,it does not stand out conspicuously in the vista2 it detaches itself from the surrounding trees gently1 as if it had grown there among them4 ,illustration3 ,the ,fountain of the ,sea-,horses4 ,on either side of this fountain the ground falls away sharply into groves of ilex1 traversed by natural footpaths4 ,in the gloom of these wooded spaces there are two other fountains4 ,great basins catching the water from tiers of smaller ones in the centre and each surrounded by a broken circle of curved stone benches4 ,they are the work of ,antonio ,vansantio2 and1 according to drawings by ,letarouilly1 the back of each semicircular bench was originally decorated at regular intervals with statues4 ,behind these stood a formally clipped box hedge rising some three feet above the benches1 while the larger trees growing behind the hedge made by their branches a green canopy to this truly charming bit of garden architecture4 ,vansantio's basins and benches are now in a half-ruined condition1 but they are still extremely lovely and suggest pictures of eighteenth-century garden-parties1 where groups of ,watteau's figures idle away the hours4 ,the fountains are hardly visible1 even at close range4 ,they betray themselves by the sound of their falling water1 which gives to the scene1 like the song of the hermit-thrush1 a poignant sense of remoteness and solitude4 ,the deep shadows and half-hidden waters of ,vansantio's fountains form a well-conceived contrast to ,bernini's sunlit basins on the slope above4 ,there are many other fountains in this villa4 ,a large round pool decorated with a central figure of a nymph1 and set about with huge cactus-filled vases of a shape peculiar to the ,villa ,borghese1 stands behind the ,casino1 while at the other end of the gardens the so-called ,fountain of ,esculapius fills a shady place with the sound and beauty of abundant water4 ,this is a beautiful fountain1 not because of any special charm or originality of design in the fountain itself1 but because of its splendid jet of water and the composition of it and its surroundings4 ,the arch containing the statue of ,esculapius stands on a slight eminence surrounded with tall trees and shadowy foliage4 ,beneath and before it1 the ground slopes in masses of broken rock and bowlders1 and the fountain1 a single round and shallow vase of finished travertine1 stands in the midst of them4 ,the jet of water almost tops the ,arch above the statue1 and it falls in great abundance upon the rocks at its base4 ,there is also the ,fountain of the ,amorini--so daintily lovely that the fact that it is incomplete is hardly noticed4 ,the little ,loves still firmly grasp their frogs and dolphins1 but the vase they once carried on their heads is gone4 ,the moss-grown stone-work of the basin1 and the light and shade of the great ilex trees about it give this little fountain a peculiar charm4 ,it seems to belong quite consciously to other days than ours4 ,there are fountains everywhere in the gardens4 ,they are as common as the trees and the marbles and the violets4 ,the water seems to play at will among the lights and shadows1 for during three centuries this has been a ,roman pleasure-ground2 and to the ,roman no pleasure-ground is worthy the name without the sound and sight of water4 ,illustration ,the ,villa ,borghese was created by ,cardinal ,scipione ,borghese during the sixteen years that his uncle held the keys of ,st4 ,peter1 under the title of ,paul ,v4 ,the ,pope assisted him in every way1 for ,paul ,v's chief pleasure consisted in advancing and aggrandizing his family4 ,marc ,antonio ,borghese1 a second nephew of his1 became the founder of the family in ,rome1 and ,cardinal ,scipione had as commanding an influence over the ,pope as had ever been known4 ,paul ,v found his model in ,paul ,,iii1 and so well did he emulate the founder of the ,farnese fortunes that by the close of his pontificate the ,borghese had become the wealthiest and most powerful family that had ever arisen in ,rome4 ,cardinal ,scipione's annual income alone was one hundred and fifty thousand scudi--about one hundred and sixty thousand dollars--and ,paul ,v destroyed the ruins of the ,baths of ,constantine so as to build for him what is now called the ,rospigliosi ,palace4 ,their habits1 charities1 possessions were all but regal4 ,the cardinal endeavored to lessen the envy which such opulence naturally aroused by a complaisant and courtly behavior1 as well as by benevolence2 and he earned for himself the sobriquet of 8the delight of ,rome40 ,this villa he laid out for the benefit of the people1 and it has really existed for them for over three hundred years4 ,paul ,v's pontificate came to an end in #afba1 and in #afde ,mr4 ,john ,evelyn writes in his 8,diary0 a long account of the ,villa ,borghese4 ,the groves and avenues had by that time a generation's growth1 but the ,casino and little temples and the multifarious delights which enriched them were still in pristine freshness4 ,the taste of the present day may prefer the gardens as they now are to those of #afde2 they have more of natural beauty and fewer artificial devices1 and the simple fountains are more effective than the spouts of water made to resemble the shapes of vessels and fruits and the conceit of artificial rain4 ,much of the architecture and statuary ,evelyn describes has vanished1 but enough remains for the present traveller to recognize the picture and to feel that he is walking in groves and meadows trodden by many feet through many years4 ,since ,evelyn's time eight generations have also found these pleasure-grounds delightful4 ,as full of memories as of fragrance1 these gardens convey a sense of human life once lived among them and now forever gone1 which is as poignant as the smell of the boxwood hedges in the hot sunshine4 ,the ,villa ,borghese has pre-eminently this subtle quality1 and therefore it has become the loveliest as well as the best beloved of all ,roman villas2 and it is precisely because it is a ,roman garden that its memories are so compelling4 ,the men and women who have walked in these long avenues and lingered about these fountains have been the aristocracy of mankind4 ,england1 ,france1 and ,germany come here to gather memories of their great men4 ,statues to ,goethe and ,victor ,hugo are not needed4 ,hugo and ,goethe and many more of these noble ghosts come back1 together with a long line of splendid popes and brilliant cardinals1 to haunt the sun-warmed yet shadowy places1 never jostling or disturbing the living but felt by the living in some strange and undefinable way4 ,illustration3 ,the ,fountain of the ,amorini4 ,these groves and fountains have been the setting for many scenes in ,life's dramas4 ,there has been a ,napoleonic interlude with dancing1 masquerading1 and somewhat boisterous merrymaking2 and here1 amid the loveliness of an alien civilization1 began the last act in the tragedy of the ,stuart ,kings4 ,the son of the exiled ,james ,,ii of ,england lived and died in ,rome1 and his children--,prince ,charlie and the little ,duke of ,york--played beneath these trees1 as scores of other brothers of less fateful history have played before and since4,k ,here they came every morning with their fowling-pieces4 ,high-spirited ,english lads1 they made of the ,italian groves a ,sherwood ,forest of their own4 ,it was a far cry at that time to ,culloden1 and a long way to the cathedral of ,frascati1 where the younger brother was to read the funeral service over the elder4 ,time means so little in ,rome that here in the villa where the ,stuart ,princes played1 the 8adventure of the '#de0 seems to have happened only yesterday4 ,the villa is at its loveliest in ,may and ,october4 ,on every ,thursday and ,sunday of this latter month it used to be the custom for the ,prince ,borghese to receive all ,rome within his gates4 ,forty to fifty thousand people would sometimes come to these garden-parties1 all classes mingling yet preserving their identity with the admirable dignity and self-respect of the ,romans4 ,the young ,princess ,gwendolin ,borghese was seen for the last time at one of these great ftes4 ,her saintly young spirit adds a breath as of incense to the ,borghese gardens1 and it is more easy to think of her presence here than among the ponderous marbles of the ,borghese ,chapel in ,santa ,maria ,maggiore where she lies buried4 ,yet another ,princess ,borghese has left her memory within these gates4 ,canova has portrayed her as ,venus ,victrix1 and she takes her place among the antique marbles by the right of flawless beauty4 ,the flesh-and-blood original of ,canova's masterpiece1 ,pauline ,bonaparte1 ,princess ,borghese1 cared but little for her beautiful villa4 ,the ilex groves were gloomy and the fountains were insignificant compared with those of ,versailles4 ,she wearied of palace1 prince1 and villa1 and spent as much time as possible with her own kin4 ,it is recorded that the prince1 her husband1 was far more jealous of ,canova's statue of his wife than of his wife's person4 ,the ,princess ,pauline ,borghese passed away like a summer cloud1 but the ,venus ,borghese remains4 ,the personality of ,cardinal ,scipione ,borghese is preserved in the two magnificent busts still standing in the picture-gallery of the ,casino4 ,it is difficult to believe that such vitality as ,bernini has here portrayed could ever have quite faded from the earth1 and surely his ghost must at times return to these gardens of his creation4 ,,la ,,barcaccia ,illustration ,,la ,,barcaccia ,at the foot of the great stone stairway1 known in ,italian as ,la ,scalinata and in ,english as the ,spanish ,steps1 which leads down from the ,church of the ,trinit de' ,monti to the ,piazza di ,spagna lies the singular fountain called ,la ,barcaccia4 ,the design of this fountain is that of a quaintly conventionalized boat1 fast sinking under the water which is pouring into it4 ,to this effect it owes its name2 for 8barca10 being the ,italian for boat1 and 8accia0 a termination of opprobrium1 ,barcaccia means a worthless boat4 ,the boat is supposed to commemorate an event which occurred during the great flood of #aeih4 ,on ,christmas ,day of that year the ,tiber rose to its highest recorded level4 ,all this part of the city was submerged to a depth of from seventeen to twenty-five feet2 and here in the ,piazza di ,spagna a boat drifted ashore1 grounding on that slope of the ,pincian ,hill1 which is now covered by the ,spanish ,steps4 ,for a long time the design of this fountain was supposed to commemorate this event1 and it is quite possible that this may have been the case4 ,still there are other fountains of this design1 the work of ,carlo ,maderno1 and as one is in the ,villa d',este at ,tivoli and the other in the ,villa ,aldobrandini1 it is also quite possible that ,carlo ,maderno and the creator of the ,barcaccia may have had yet another idea when they constructed their stone boats with a fountain amidships and lying in basins not much larger than the boats themselves4 ,for the ,romans of this time knew much and surmised still more about the mysterious boats lying at the bottom of ,lake ,nemi1 in the ,alban ,hills1 not more than seventeen miles distant from ,rome4 ,these boats had been discovered first during the pontificate of ,pope ,eugenius ,,iv1 and had been rediscovered in ,paul ,,iii's time1 in #aece1 or about a hundred years before ,carlo ,maderno employed this design for a fountain4 ,at each date an attempt had been made to raise the boats1 but these efforts as well as all subsequent attempts proved unsuccessful4 ,however1 in #aece measurements had been computed and many objects belonging to the vessels had been brought to the surface to excite the wonder and admiration of the ,roman world4 ,it was discovered that the boats when once raised and floated would all but fill the tiny lake4 ,the decks had been made of concrete and marble1 and amidships there had been fountains whose falling waters mingled with those of the lake4 ,the mystery surrounding the purpose and construction of those huge vessels is yet unsolved1 but in the seventeenth century it still stirred men's imaginations with all the force of fresh discovery4 ,both ,maderno and ,pietro ,bernini could not have been ignorant of it1 and they must have seen the exquisite bronzes and lead pipes bearing the stamp of the ,emperor ,tiberius which had been detached and brought up from the sunken vessels4 ,the ,barcaccia fountain is the last work of ,pietro ,bernini1 the father of ,lorenzo4 ,he had been employed to bring a branch of the ,trevi ,water from its reservoir at the head of the ,vicolo del ,bottino as far as the foot of the ,pincian ,hill in front of the ,trinit de' ,monti1 and the fountain done by order of ,pope ,urban ,,viii 7#afbc-afdd7 was the adequate consummation of that work4 ,from whatever cause he derived his inspiration1 his design of the ,barcaccia fountain is so admirably suited to its position that it explains and almost excuses the popular idea that the fountain was made low in order not to obscure the view of the ,spanish ,steps4 ,a reference to dates at once shows the absurdity of this last suggestion4 ,in the ,keats ,memorial ,house hard by there can be seen an engraving by ,falda 7born in #afdj7 showing ,pietro ,bernini's completed fountain against the background of the tree-planted slope of the ,pincian ,hill4 ,the fountain was finished before the death of ,pope ,urban ,,viii1 which occurred in #afdd1 and the steps were not begun until #agba1 nine pontificates after that of ,urban ,,viii4 ,on the prow and stern of the boat is carved the coat of arras of the ,barberini family1 for ,urban ,,viii was the ,barberini ,pope and the founder of that family in ,rome4 ,this pontiff1 whose character was a formidable compound of priest1 statesman1 warrior1 and man of letters1 delighted in the design of the fountain4 ,pietro ,bernini had placed cannon at either end1 thus making his boat into a war-vessel1 whereupon ,urban ,,viii composed a ,latin distich in its praise3 8,bellica pontificum non fundit machina flammas1 ,sed dulcem1 belli qua perit ignis1 aquam40 8,the war-ship of the priest1 instead of flames1 ,pours water1 and the fire of battle tames40 ,at both ends of the large basin in which the boat stands are long1 flat pieces of travertine4 ,these are the stepping-stones on which any one using the fountain stands while dipping up the water4 ,the ,marcia ,pia now supplies the houses in this part of the city1 but the ,romans still prefer to drink ,trevi1 and the stepping-stones are as much in use as they were in the days when ,falda and other artists of that period engraved this fountain1 placing in the lower basin figures of men or women in the act of dipping up the water4 ,this quarter of ,rome1 once a part of the ,campus ,martius of classical days1 has been for a long time given over to the interests of the ,american and ,english colonies2 but for more than three centuries its foreign associations were chiefly ,french4 ,urban ,,viii was in many ways a ,french ,pope1 although he came of a ,florentine family4 ,as papal nuncio he had spent many years and made many powerful friends at the courts of ,henry ,,iv and ,louis ,,xiii4 ,in the conclave which elected him ,pope1 ,france openly and ardently supported his claims4 ,during his residence in ,france he had known ,armand du ,plessis1 who was to become ,cardinal ,richelieu4 ,the two great churchmen went up the ladder of preferment side by side4 ,they became1 as pope and cardinal minister1 respectively1 lifelong allies in their tireless and successful efforts to humble the dual power of ,austria and ,spain1 while promoting on the one hand the prestige of ,france and on the other the stability of the ,papal ,see4 ,at the accession of ,urban ,,viii1 ,spain and ,austria held the passes of the ,alps1 thus dominating ,europe and threatening the existence of the ,papal ,states4 ,at the close of his pontificate1 ,france was rapidly becoming the first ,continental power1 and the ,papal ,states had reached their utmost limit of territorial expansion4 ,with his death the ,french influence in papal politics rapidly declined1 but its artistic ascendency still lingered on4 ,thirteen years later a certain ,french gentleman1 attached to the ,french embassy at ,rome1 and named ,etienne de ,guffier1 left in his will a sum of money for the construction of a great stone stairway which should connect the ,piazza of the ,trinit de' ,monti1 in the centre of which lay the ,barcaccia fountain1 with the ,church of the ,trinit de' ,monti1 standing far above1 on the slope of the ,pincian ,hill4 ,this gentleman1 of whom little is known1 must have been the friend of more than one of the great ,french artists who were living in ,rome contemporaneously with himself4 ,possibly the splendid project of the ,scalinata was the result of long hours of comradeship1 when he1 with his fellow countrymen1 watched the sunset from the terrace which ,sixtus ,v had placed before the ,church on the ,hill1 or scrambled down the tree-planted slope before it in order to reach the fountain at its base4 ,certain it is that ,rome owes this most distinctive architectural feature of papal times to the imagination and generosity of a ,frenchman4 ,the two ,latin inscriptions upon the steps are worthy of attention4,l ,the building of the steps1 begun by ,alessandro ,specchi and completed by ,francesco de ,sanctis1 was not undertaken1 as appears from the inscription1 till sixty years after the death of ,de ,guffier and six pontificates later than that of ,alexander ,,vii 7,chigi71 in which ,de ,guffier died4 ,by that time the ,spanish influence had reasserted itself to a marked degree1 and as the ,spanish embassy had been established in a palace on the western side of the square1 the old name of the ,piazza della ,trinit de' ,monti gradually gave way to the present name1 ,piazza di ,spagna4 ,and so finally the great stone stairway1 the gift of a ,frenchman in the heyday of ,french influence at ,rome1 came to be known as the ,spanish ,steps4 ,yet1 after all1 the paramount association with the fountain of the ,barcaccia is neither ,french nor ,spanish1 but belongs pre-eminently to the ,english-speaking race4 ,this fantastic fountain1 with its commonplace background and its limited view of the ,scalinata1 forms the only outlook from the windows of the house in which the poet ,keats spent the last three months of his life2 so that from the position of this house the fountain of the ,barcaccia is connected for all time with the fate of the 8young ,english poet0 who lies buried now these many years in the ,protestant cemetery outside the walls4 ,from the windows of his narrow death-chamber he watched the plashing waters in the fountain below him1 while above his head the bells in the church1 which he could not see1 remorselessly rang out the quarter-hours or tolled for some fellow creature the 8agonia10 or 8passing bell40 ,during his hours of listlessness or fits of sombre rage1 this passing of time and of life was always in his ears1 as the futile play of the water was always before his eyes4 ,it is not difficult to connect the bells and the fountain with the bitter epitaph written1 by his own wish1 above his grave3 8,here lies one whose name was writ in water40 ,,triton ,illustration ,,triton 8,have sight of ,proteus rising from the sea1 ,and hear old ,triton blow his wreathd horn40 ,the exquisite lines rise involuntarily to the lips as one comes suddenly upon ,bernini's old fountain in the ,piazza ,tritone1 which1 standing in the centre of one of the busiest and most prosaic thoroughfares of modern ,rome1 still keeps its own quality of beauty and seems to weave about itself the enchantment of the world of fable4 ,roman art has created many ,tritons1 notably the joyous group surrounding ,galatea in the ,farnesina ,palace1 but there is about this water-worn old figure such distinction and such emphasis of life that he becomes the prototype of all his race4 ,he is ,il ,tritone4 ,triton blows his conch-shell with all his might as he kneels across the hinge of a wide-open scallop-shell1 which is supported on the upturned tails of three dolphins massed together in the middle of a large1 low-lying basin4 ,the dolphins' tails are twisted and folded about large papal keys--a ,bernini conceit which1 suggesting ,st4 ,peter both as fisherman and pontiff1 must have delighted the ,pope4 ,the composition of dolphins1 keys1 and shell is extraordinarily rich and harmonious4 ,triton1 kneeling upon this noble support is1 from the waist upward1 a severely simple figure1 almost uncouth and somewhat out of keeping with the rest of the design4 ,this effect is entirely accidental4 ,it has been brought about by the ceaseless flow of the water1 which for two and a half centuries has been thrown upward in a slender jet of great height1 returning upon itself with such precision that ,triton's face and shoulders have been worn and blurred into shapeless surfaces of travertine4 ,triton has suffered from a sculptor's point of view1 but as a work of imaginative art it is1 perhaps1 all the better for ,nature's modelling4 ,the shapeless head and shoulders have in them something of the formlessness and blurred masses of the elements1 and the water-creature becomes more real to the imagination in proportion as he suggests--but does not entirely resemble--a man4 ,the entire design is on a colossal scale and has a dignity and harmony rarely to be found in ,bernini's creations4 ,this is because the central idea is the only idea1 and no subsidiary and fantastic inventions are presented to bewilder the eye and brain4 ,illustration3 ,the ,fountain of the ,triton4 ,this fountain was done by ,lorenzo ,bernini for ,pope ,urban ,,viii4 ,it stands near the ,barberini ,church of the ,capuchins1 and was intended to adorn the approach to the ,palazzo ,barberini4 ,this third of the trio of the great palaces of the nepotizing ,popes--,farnese1 ,borghese1 and ,barberini--was built by ,urban ,,viii in order to invest his house with an importance equal to that enjoyed by the families of ,paul ,,iii and ,paul ,v4 ,as the fountain was an adjunct of the palace1 it had to bear upon it in some way the emblem of the ,barberini--the colossal bee--and this explains why ,bernini united the curving bodies of his dolphins by escutcheons carrying three bees and the papal arms4 ,another fountain1 contemporaneous with the ,triton1 once stood in this same piazza1 at the corner of the ,via ,sistina2 and this fountain1 also made for ,urban ,,viii by ,bernini1 was in itself the emblem of the ,barberini1 for it represented merely a great shell into which the bees spouted water4 ,in some way this second fountain has disappeared1 but the piazza still remains the ,barberini quarter of the city2 and the ,triton1 as well as the magnificent palace1 recalls the days when the power and rapacity of that family brought upon it the unforgettable pasquinade3 8,what the ,barbarians spared1 ,the ,barberini took40 ,,navona ,illustration ,,navona ,before the genius of ,valadier moulded the isolated buildings and waste spaces of the ,piazza del ,popolo into a noble symmetry1 the ,navona was considered the finest and most important piazza in ,rome4 ,in length and breadth it is a reproduction of the stadium of ,domitian1 for the houses1 churches1 and palaces which line the ,piazza ,navona are based squarely upon the seats and corridors of that old ,roman playground4 ,this part of the city1 not far from the ,pantheon or old ,baths of ,agrippa1 is low1 and it has always been easy to flood it with water4 ,the ancient ,romans were so keen for shows of every kind that when the great ,flavian amphitheatre 7the ,coliseum7 was closed for repairs1 ,domitian found it necessary to provide a second place of amusement where the gladiatorial combats and the naumachi or sea fights could go on without interruption4 ,it was a rule strictly enforced under the empire that no one could open new baths in the city without providing a fresh supply of water4 ,something more than a century after ,domitian1 ,alexander ,severus--having brought the ,acqua ,alessandrina to ,rome--was able to repair ,domitian's old stadium and to use it once more for the naumachi4 ,in modern times there does not appear to have been any fountain here until the pontificate of ,gregory ,,xiii1 and at that time the passion for fountain-building in modern ,rome really began4 ,pius ,,iv1 the ,pope last but one preceding ,gregory ,,xiii1 had repaired the old aqueduct of the ,acqua ,virgo1 originally brought to the city by ,marcus ,agrippa1 the son-in-law of ,augustus1 so that that water1 which for a long time had been running only intermittently in the fountain of ,trevi1 could now be obtained in a continuous stream4 ,it is impossible to throw ,virgo ,water to any great height1 and the fountains of the ,piazza ,navona have had to be constructed with reference to this limitation4 ,illustration3 ,the ,fountain of the ,four ,rivers4 ,the two end fountains1 designed for ,gregory ,,xiii by ,giacomo della ,porta1 are simply great basins of ,porta ,santa marble standing in still larger ,carrara basins of exactly the same shape and sunk into the ground4 ,the beauty of these fountains consists in their elegant shape1 the fineness of the marble1 and in their air of simple distinction4 ,the great basins hold the limpid ,trevi ,water as a ,venetian goblet holds wine3 the receptacle and that which it contains enhance each other's beauty1 and any further decoration seems superfluous and unfortunate4 ,this1 however1 was not the taste of the seventeenth century1 at which time there were added the various figures now crowding the upper basin of the south fountain4 ,on one side of the piazza stands the fine palace built for ,innocent ,x 7,pamphili1 #afdd-afee7 by ,rainaldi4 ,it was occupied during the ,pope's lifetime by his sister-in-law1 ,donna ,olympia ,maidalchini1 who1 for that period1 became the most important person of the papal court4 ,she filled the palace with art treasures and1 in order to make its exterior still more imposing1 ,bernini was commissioned to decorate della ,porta's fountain1 which stood directly in front of the palace4 ,the central figure1 called the ,moor1 was modelled by ,bernini himself1 and it was sculptured for him by ,gianantonio ,mari4 ,it is in travertine4 ,the ,carrara masques and marine creatures are by various pupils of ,bernini4 ,toward the close of the last century the originals of these side groups1 which had become badly disfigured1 were removed and replaced by those of the present day1 which were sculptured by ,amici after the old models4 ,this fountain since ,bernini's time has been called the fountain of the ,moor4 ,the fountain at the other end went from the earliest times by the name of the ,fountain of the ,scaldino1 probably because of the shape of the small vase in the centre which resembled a classic scaldino or brazier4 ,it can be seen in an engraving by ,piranesi1 for the fountain was left undisturbed until the close of the last century when the ,scaldino was removed and replaced by the figure of ,neptune4 ,this figure was carved by ,bitta ,zappal from a model of ,bernini's found in the ,villa ,montalto4 ,the figures around the edge are ,zappal's own1 and they as well as the ,neptune are of ,carrara4 ,all this wedding-cake decoration has spoiled the original effect of della ,porta's work1 and the best that can now be said for the side fountains is that they are in harmony with the fountain in the centre4 ,in justice1 however1 to the genius of della ,porta and to the taste of an earlier day1 an attempt should be made to think of these fountains without their more modern excrescences4 ,it is a pity that the ,roman municipality has found it necessary to surround them with a high iron fence4 ,if these fountains could be left free like the side fountains in the ,piazza del ,popolo their charm could be and would be much better appreciated4 ,in the centre of the piazza1 immediately opposite the church1 ,bernini erected for ,innocent ,x the ,fountain of the ,four ,rivers4 ,the obelisk of red ,oriental granite which surmounts it was brought from the ,circus of ,maxentius1 and tipped with the bronze dove and olive-branch1 the emblem of the ,pamphili family1 to which ,innocent ,x belonged4 ,bernini placed the obelisk on four flying buttresses of white granite1 crossing each other at right angles4 ,the obelisk rests upon the arch thus formed1 and the space beneath it is left as a grotto with four openings4 ,this gives the obelisk the appearance of resting upon nothing1 an effect which was greatly admired by the artist's contemporaries4 ,the bases of these flying buttresses are broadened and flattened so as to receive the recumbent figures of four river-gods carved in ,carrara4 ,they represent respectively the ,ganges1 the ,nile1 the ,danube1 and the ,rio de la ,plata4 ,the obelisk and its base stand in the centre of a basin some seventy-eight feet in circumference1 which is sunk into the pavement1 and which receives the water flowing from the four rocky projections where the river-gods lie4 ,beneath the grotto additional jets of water spout upward1 while a river-horse dashes furiously through one archway as if in terror of a lion which is coming out of another to drink of the water under the shade of a palm-tree cut in high relief against the rocks4 ,on top of one of the rocks crawls a serpent1 and a mass of cactus grows upward from behind one of the rivers4 ,in the lower basin two monstrous travertine fish are disporting themselves in characteristic ,bernini contortions4 ,escutcheons bearing the arms of ,innocent ,x 7three fleur-de-lis and a dove with an olive-branch7 of course are not wanting4 ,all this sculpture is in travertine4 ,this fountain has been called ,bernini's masterpiece1 and it deserves that title as an example of the utmost length to which the ,bernini idea of artistic invention can be carried4 ,from an sthetic standpoint it shows both in execution and design the faults and excesses into which he was led by his popularity1 and the boundless fertility of his genius4 ,the extravagances and absurdities of this fountain and its debased execution arouse curiosity both as to the artist and to the taste and character of the seventeenth-century ,romans for whom it was erected and by whom it was so greatly admired4 ,bernini came in with the seventeenth century and lived through eighty years of it4 ,the pompous epitaph under his bust1 which is let into the wall in the ,palazzo ,mercede1 speaks no more than the truth4 ,princes and popes did bend before him1 from ,paul ,v1 who recognized his precocious genius1 to ,louis ,,xiv1 who enticed him to ,paris4 ,charles ,i sent his ,van ,dyck portraits to ,rome1 that ,bernini might use them as guides in making his portrait bust of the ,stuart ,king1 and ,urban ,,viii thanked a gracious ,providence that ,bernini lived during his pontificate4 ,his journey to ,paris was a triumphal progress4 ,the few clouds which marred his long and prosperous day were due not to any waning of popular appreciation but to the inevitable jealousy of less fortunate men4 ,yet his best work was done in his youth under the enlightened patronage of ,paul ,v and ,urban ,,viii4 ,by the time ,innocent ,x 7a mediocre man7 could command his services his faults had obscured his genius1 and the great days of ,rome were definitely over4 ,with the death of ,urban ,,viii1 the ,pope immediately preceding ,innocent ,x1 the last trace of vigorous artistic life had disappeared2 for as the ,french influence in the papal court declined and the ,hapsburg ideas regained and held the ascendancy spontaneous and free expression of thought and feeling were rigorously repressed4 ,men were made to live on the surface of things1 and in proportion as they became formal and superficial in themselves they demanded excitement and extravagance in their art4 ,this was the secret of ,bernini's immense success4 ,he was exactly fitted to his time4 ,men wanted 8,sound and fury1 signifying nothing10 and he gave it to them in full measure4 ,in this fountain he strove to produce the effect of a wild concourse of waters4 ,he wished to reproduce in stone the tumult of the falls of ,tivoli4 ,confusion1 rapidity of movement1 and noise are the qualities which he attempted to embody in his sculpture4 ,that the effect should be bathos and not grandeur was inevitable4 ,the ideas which ,bernini strove to express cannot be portrayed4 ,music is the only artistic medium by which they can be rendered1 and in looking at the ,bernini sculpture as well as architecture it is impossible not to wish that this artist of such undeniable genius and immense facility had been a musician4 ,as the composer and interpreter of great brio music ,bernini might have given no less pleasure to the men of his time and have secured from posterity a kindlier appreciation4,m ,but in the seventeenth century secular music as an art was still in its infancy1 and it was inevitable that ,bernini should express himself in sculpture1 or in the 8frozen music0 of architecture4 ,as the ,borgo holds its memories of the ,borgias1 and the ,via ,sistina and its vicinity recall the power of ,sixtus ,v1 and the ,piazza di ,spagna the versatility of ,urban ,,viii1 so the ,piazza ,navona brings back the times of ,innocent ,x4 ,the greatest gift which the ,pamphili family has left to ,rome is the ,villa ,pamphili1 which was built by the ,pope's nephew1 but here in the ,piazza ,navona stand the ,pamphili ,palace1 the ,collegio ,innocentium and the ,church of ,st4 ,agnes1 whose new faade dates from his pontificate4 ,it was during his lifetime that the festas of the 8,lago of the ,piazza ,navona0 were inaugurated4 ,every ,sunday in ,july and ,august the outlets of the great central fountain were stopped and the water was permitted to flood the entire piazza1 which was at that time much lower than it is at present4 ,then the carriages of the nobility and gentry drove around the piazza1 the water reaching up as far as the middle of the smaller wheels4 ,the owners of the houses and palaces invited friends to witness the spectacle from their windows1 refreshments were served1 and bands of music played on stands erected at various parts of the piazza4 ,the fact that only people owning carriages could drive in the procession and that only the inhabitants of the houses and palaces could invite their guests1 limited the number and regulated the quality of the participants in these curious pageants4 ,in the earlier days much license was permitted1 and the entertainments lasted through the night1 but in ,clement ,,xiii's time1 or about #agfj1 the number of hours was curtailed4 ,with the ringing of the ,ave ,maria the piazza was drained and the waters once more confined to the basin of ,bernini's ,fountain of the ,four ,rivers4 ,these harmless midsummer carnivals which came to an end during the pontificate of ,pope ,pius ,,ix were as much relished by the ,romans as were the naumachi held fourteen hundred years earlier in the same place4 ,,trevi ,illustration ,,trevi ,one hundred and fifteen years after ,agrippa brought the ,acqua ,virgo into ,rome the ,emperor ,nerva appointed as commissioner of the water-works of the city a man of extraordinary integrity and energy who was possessed of many accomplishments and had had a long training in the practical experience of government and war4 ,fortunately for posterity1 he was able to write as well as govern1 and in his book1 8,the ,water ,supply of the ,city of ,rome10 a copy of which has been preserved in the monastery of ,monte ,cassino for more than thirteen centuries1 there is an account1 true beyond the shadow of doubt1 of the earliest history of the ,trevi ,water4 ,frontinus says that the water was shown to some ,roman soldiers by a young maiden who guided them to the springs near her father's home1 that a small temple was erected near the springs containing a picture of the incident1 and that the name of ,virgo1 or maiden1 which still endures1 commemorates the event4 ,agrippa at once brought the water to ,rome and its delightful purity as well as its abundance must have given it immediate popularity4 ,suetonius relates that about this time the ,romans complained to ,augustus of the expense and scarcity of wine1 whereupon the ,emperor sent word to them that his son-in-law1 ,agrippa1 had sufficiently provided for their thirst by the ample supply of water which he had brought to ,rome4 ,the springs of the ,virgo rise in the valley of the ,anio and are not more than eighty feet above sea-level4 ,they are on land which once belonged to ,lucullus4 ,the veteran adversary of ,mithradates1 who had suffered all the privations of far-eastern warfare1 knew from personal experience the immense value of pure and abundant water4 ,it is not improbable that he was aware of his priceless possession and that he kept it for his own private use during those years of his peaceful old age passed in his gardens on the ,pincian ,hill4 ,when1 a generation after ,lucullus's death1 ,agrippa constructed the ,virgo ,aqueduct he brought it underground through the old gardens of ,lucullus to a reservoir beneath the hill1 and from there the water was carried to the ,campus ,martius1 and thence distributed throughout the city1 whose gardens and fountains it still supplies4 ,cassiodorus1 prime minister to that ,gothic ,king1 ,theodoric1 who1 from #dic to #ebf1 governed the ,romans with such extraordinary sympathy and intelligence1 felt for the ,virgo ,water the admiration and love of a veritable ,roman4 ,the true origin of the name had already been forgotten1 and ,cassiodorus supposes that 8,virgo's stream is so pure that the name1 according to common opinion1 is derived from the fact that those waters are never sullied1 since1 while all the others give evidence of the violence of rain-storms by the turgidity of their waters1 ,virgo alone ever maintains her purity40 ,it was quite a natural supposition1 for the ,virgo ,water has never had a filtering or settling reservoir4 ,those who have the good fortune to drink it receive it from its ,roman fountains exactly as it comes from its springs on the ,via ,collatina4 ,this aqueduct was cut off from the city in #ecg by the ,goths and ,burgundians1 and1 though in the same year ,belisarius restored the aqueducts of ,claudius and ,trajan1 the ,virgo seems to have remained entirely unused for the next two hundred years4 ,during that period the popes were not sufficiently powerful to undertake any great public works1 but when ,charlemagne visited ,rome in #ggh he gave the needed support to the head of the church1 and thereafter the popes began the restoration and the maintenance of the ,roman aqueducts4 ,the ,virgo was restored in #addg by ,nicholas ,v1 in whose pontificate ,constantinople was taken by the ,turks and the ,wars of the ,roses began in ,england4 ,he was a great ,pope and repaired the aqueduct so thoroughly that it remained in use for thirty years4 ,there must always have been a main fountain for the ,virgo ,water1 but the records of the modern 8,fountain of ,trevi0 begins with the fountain which ,vasari says was rebuilt by ,nicholas ,v's architect1 ,leon ,batista ,alberti4 ,after a short period the aqueduct was again restored and the fountain enlarged by 8,the ,great ,builder10 ,sixtus ,,iv4 ,then occurs a period of various vicissitudes1 and finally1 in #aegj1 ,pius ,v restored the ,virgo ,aqueduct effectively and rebuilt ,sixtus ,,iv's fountain1 making what is now known as the 8old ,trevi fountain40 ,this fountain stood not where the present one stands1 but to the west of it1 in the little ,piazza ,santa ,crocifere4 ,the old engravings show it to have been a huge semicircular pool into which the water poured from three great apertures made in massive stone piers4 ,illustration3 ,figure of 8,neptune0 in the ,fountain of ,trevi4 ,the name of ,trevi is supposed by some writers to be derived from these three streams of water--three ways1 ,trevie2 but there is more reason to believe that the fountain took its name from the medival name of that quarter of the city--,regione ,trevi1 from trevium1 because of three roads which converge near the present ,piazza of ,trevi4 ,sixtus ,,iv had constructed near the fountain a large public washing-trough1 and the whole composition was extremely simple and practical4 ,the ,rome of ,sixtus ,v and ,paul ,v became too sumptuous for the old fountain1 and as early as #afbe plans were made for its reconstruction4 ,the ,barberini ,pope1 ,urban ,,viii1 had his own ideas of magnificence2 he proposed to change the fountain from its old site to its present position against the southern faade of the great ,poli ,palace2 and ,bernini made for him some beautiful sketches for the new masterpiece4 ,urban ,,viii stripped the portico of the ,pantheon of its bronze and also carried off a part of the base of the tomb of ,cecilia ,metella1 proposing to construct his fountain out of these materials4 ,the ,roman people1 whose love for their own antiquities was constantly growing1 showed such indignation when the ,pope's project became known that ,urban was actually obliged to abandon his scheme1 and it was not until eleven pontificates after his time that the work on the new fountain was really begun4 ,then it was intrusted to the architect ,niccolo ,salvi by ,clement ,,xii 7,corsini1 #agcj-agdj71 and after the death of this pontiff and his successor1 ,benedict ,,xiv1 and eleven years after the death of ,salvi himself1 the fountain was at last finished4 ,this was in #agfb1 under ,clement ,,xiii 7,rezzonico1 #ageh-agfi74 ,niccolo ,salvi had succumbed prematurely to the hardships of his task4 ,the construction of the fountain necessitated spending much time in the subterranean chambers of the ,virgo ,aqueduct1 and this had proved fatal to ,salvi's health4 ,the tomb of ,cecilia ,metella was never again attacked1 and there is no bronze in the present fountain2 in other respects the great scheme of ,urban ,,viii was revived4 ,the fountain was placed against the ,poli ,palace1 and ,salvi used for the sculptural part of the fountain ,bernini's beautiful designs4 ,so severe a critic as ,francesco ,milizia declares that this fountain is justly considered to be the best work produced in ,rome during the eighteenth century4 ,it has elicited extravagant praise from other authorities1 and in later times some adverse criticism4 ,it has been woven into many of the romances connected with ,rome1 and until quite recently there were few ,american and ,english visitors to the ,eternal ,city who left her without paying a moonlight visit to ,trevi1 there to toss a coin into the water while they drank to their certain return4 ,romans of the eighteenth century often saw ,alfieri1 the tragic dramatist1 crouched beside the fountain1 lost in a day-dream evoked by the tumult and beauty of the water2 and it is recorded that the day after ,michelangelo's death there was found in his house no wine whatever1 but five jars of water1 presumably the ,trevi1 as it was the only pure drinkable water in ,rome4 ,the ,trevi fountain has become a feature in the city's life4 ,it is the chief fountain of the one water which modern ,rome inherits directly from her great past4 ,the fountain consists of a vast semicircular basin1 sunk so far below the level of the pavement that it is necessary to descend a flight of steps in order to stand beside it4 ,this device1 which was rendered necessary by the low head of the water1 is excellent from an sthetic view-point1 as the spectator1 being on a different grade from the piazza and its surroundings1 feels that he is in another world and is able to forget the city and give his entire attention to the scene before him4 ,looking up1 he sees a great ledge of broken rock1 over which the water pours in many streams and waterfalls1 disappearing and reappearing among the rocks like a veritable mountain torrent4 ,the main stream descends in a series of three quite lovely cascades1 their semicircular-shaped basins being prototypes of the great lower basin1 into which all eventually flow4 ,their edges are smooth1 as if they had been water-worn1 and the force of the water feeding them is so great that it boils and roars among masses of broken rock as it does in a natural waterfall4 ,above all this finely simulated wildness rises the ornate group of ,neptune riding in a chariot made of an enormous sea-shell and drawn by two sea-horses4 ,the horses are placed well to each side of the central cascades1 and the group is terminated by ,tritons who are restraining the onward dash of the horses and are blowing conches4 ,the background or frame-work to this scene of commotion and tumult is the highly finished conventional faade of a ,roman palace2 ,neptune issues forth not from a rocky cavern but from a ,renaissance tribune constructed with four ,ionic pillars and a richly carved roof1 on the frieze of which runs the following inscription3 ,,clemens ,,xii ,,pont ,,max ,,aqvam ,,verginem ,,copia ,,et ,,salvbritate ,,commendatam ,,cvltv ,,magnifico ,,ornavit ,,anno ,,domino ,,mdccxxxv ,,pontif3 ,,vi ,pope ,clement ,,xii decked out with magnificent ornament the aqueduct of the ,maiden1 which is recommended for its plenteous flow and for the healthful qualities of its water4 ,in the year of the ,lord #agce1 and of ,clement's pontificate the sixth4 ,on either side of this tribune the palace wall breaks into niches containing statues1 one of ,abundance1 the other of ,health2 and separated from each other by tall columns are panels depicting in high relief the discovery of the water and the construction of the aqueduct4 ,beyond these sculptures the windows and balconies of the palace frankly make their appearance4 ,nothing could be more incongruous and artificial4 ,the design is one which demands a background as an integral part of the composition1 but this background has absolutely no connection with the fountain1 except the purely physical connection of juxtaposition4 ,neptune should be appearing from some sea cave1 worn in straight1 steep cliffs like the cliffs at ,sorrento4 ,the architect who could so skilfully mass these rocky ledges and dispose these streams and cascades could have designed quite as well stone palisades and grottos2 but the fountain belongs to an age which played 8,macbeth0 in periwig and ruffles1 and it remains a magnificent example of the taste of that period4 ,,piazza ,,del ,,popolo ,illustration ,,piazza ,,del ,,popolo ,the fountains in the ,piazza del ,popolo should not be considered as individual creations2 they must be regarded as parts of an architectural composition which includes the piazza as a whole--its shape1 dimensions1 and location1 and the buildings which surround it4 ,this composition is the work of the distinguished ,roman architect ,giuseppe ,valadier1 whose life lay within the last thirty-eight years of the eighteenth century and the first three decades of the nineteenth4 ,his bust stands in the place of honor on the ,pincian2 that is1 it stands at the end of and facing the long1 broad drive called the ,passeggiata1 which begins on the terrace before the ,villa ,medici and runs northward along the western crest of the ,pincian ,hill4 ,valadier had been papal architect under ,pius ,,vi and ,pius ,,vii1 and he had laid out for ,napoleon the public gardens of the ,pincian4 ,up to that time most of that land had belonged to the ,augustinian monks whose convent stands below the hill1 close to the ,church of ,santa ,maria del ,popolo4 ,it has been their vineyard1 and the story goes that it was while he was walking in this vineyard that ,valadier got his first conception of what he might make out of the ,piazza del ,popolo4 ,illustration ,standing on the brow of the hill1 from which is obtained the incomparable view of ,st4 ,peter's at sunset1 ,valadier looked down upon the ,piazza del ,popolo as ,piranesi had engraved it in his time 7#agbj-aggh74 ,a somewhat shapeless area of flat ground stretching in an indeterminate way westward from the base of the ,pincian ,hill1 it seemed to be only the debouchment of the three great thoroughfares running into it from the heart of the city4 ,the twin churches standing one on either side of the ,corso1 the centre thoroughfare1 were the chief architectural features on the south side1 while on the north side ran the city wall and the ,church of ,st4 ,mary of the ,people4 ,in the centre of this area stood the obelisk as it stands to-day1 placed there by ,sixtus ,v in #aehi1 and with a single fountain at its foot--a huge basin carved by ,domenico ,fontana out of one solid block of marble taken from the ruins of ,aurelian's ,temple of the ,sun4 ,the water supplying this fountain was the ,acqua ,trevi1 the same which fills the fountains of the present day4 ,such was the ,piazza del ,popolo as ,valadier's eyes beheld it1 but at that point where the ,aurelian wall is pierced by the ,porta del ,popolo 7the old ,flaminian ,gate7 he saw something else3 ,he saw the end of the ,flaminian ,way--the great highroad leading directly from the north4 ,and at that point the actual faded away1 and to ,valadier there came a vision4 ,he saw the ,piazza del ,popolo as the magnificent and adequate antechamber to ,rome4 ,he saw it approached by this great highroad which1 first skirting the shore of the ,adriatic1 then traversing the breadth of ,italy and the watershed of the ,appenines1 descends thence to the western slopes of ,mount ,soracte and1 crossing the ,ponte ,molle1 comes all the way to ,rome from far-off ,ariminum1 or ,rimini1 the ,roman fortress and frontier town on the ,adriatic--two hundred and twenty miles distant--and the key to ,cisalpine ,gaul4 ,down this road1 which is but a continuation of the still greater ,via ,emilia1 have come all the northern friends and all the northern foes of ,rome4 ,other eyes than ,valadier's can see that procession4 ,barbarian invaders and imperial armies have covered all the countryside like swarms of locusts--the progress of most of them marked by burning farms and plundered villages4 ,in quieter times there have come pilgrim hosts and companies of merchants2 and travelling scholars1 and artists 8with hearts on fire0 for ,rome2 also ambassadors and foreign prelates1 exiles and penitents1 great bridal processions like ,margaret of ,austria's in #aecg1 funeral pageants1 bandit troops1 fugitives of every type1 bare-legged friars 7among them a ,luther71 soldiers of fortune1 and ,english noblemen in travelling carriages with postilions2 every sort and condition of man whom the north has sent forth to the ,eternal ,city4 ,down this ,flaminian ,road they came1 passed through the ,flaminian ,gate1 and received their first impression of ,rome here in the ,campus ,martius--the modern ,piazza del ,popolo4 ,valadier lived in the period of the ,first ,empire1 when the shock of change and of contrast quickened even the most formal imagination4 ,he came down from his 8mount of vision0 and designed the noble and finely proportioned piazza of the present day4 ,he formed the vast and slovenly-shaped piece of ground into a stately ellipse1 whose broadly curving ends1 made of ,roman brick and travertine1 ornamented by sphinxes and allegorical figures1 become the retaining walls of the terraced gardens at their rear1 so that these long retaining walls seem coped by a line of glistening green foliage4 ,on the side of the ,pincian ,hill the grass and trees of the ,pincian ,gardens rise in four tiers of terraces1 high against the sky4 ,behind the retaining wall1 opposite the ,pincian1 the tall cypresses screen the new city which stretches off toward the ,tiber4 ,a beautiful small semicircular basin1 with a shell-like upper basin1 stands in the centre of each of these curving ends4 ,they might be called decorative keystones to recumbent arches4 ,the water gushes through the retaining walls which form their background and falls between the convolutions of the shell in a fringe of steady1 slender streams4 ,it has been truly said that the eighteenth century did not die with the close of the year #agii4 ,it lingered on through the first1 and more than the first1 decade of the century which followed4 ,valadier remained an eighteenth-century architect to the end of his life4 ,this is most apparent in the ,piazza del ,popolo1 his work of widest scope and freest fancy and the product of his most mature talent4 ,elegance1 proportion1 and formality are the qualities on which ,valadier relies4 ,his composition is simple1 polished1 and formal1 and the note of affectation ingrained in the art of that period is given in the ,egyptian character of some of the ornaments and accessories4 ,this character was undoubtedly suggested by the obelisk1 but it is a curious coincidence that many archological remains of ,egyptian origin have been discovered in this part of ,rome4 ,the allegorical groups placed behind the fountains represent on the side of the ,pincian the god ,mars in full armor1 supported by the river-gods ,anio and ,tiber1 each with his respective emblem1 one of the emblems belonging to the ,tiber being the figure of ,mercury1 the god of trade4 ,on the side toward the river the group represents ,neptune between two ,tritons4 ,these groups are by ,valadier1 and their mass of elaborate detail proves an admirable foil to the fountains beneath1 which in their great simplicity are among the very loveliest in ,rome4 ,small white marble sphinxes1 said to be made out of blocks of ,greek marble1 found under the sea at the time that the bronze vase of ,mithradates in the ,palazzo dei ,conservatori was discovered1 mark the descending grades along the curving wall1 and1 as might be expected1 statues of the four seasons adorn its four terminal piers4 ,these conventional figures are the work of various and now little known artists of ,valadier's time or later4 ,the effect of ,valadier's creation has been somewhat marred by the huge monument to ,king ,victor ,emmanuel ,i of ,italy4 ,this ponderous and tasteless masonry rises in a series of three tiers1 placed one above the other1 against the ,pincian ,hill1 and makes a hard and artificial background to the fountains in the square4 ,besides being far less attractive than the green turf and living foliage1 this monument is quite out of proportion to all its surroundings4 ,it occupies the place where ,valadier had intended in the first instance to construct a vast fountain1 which was to rise in various jets on the summit of the hill now bordered by the esplanade and balustrade1 and descend in cascades from terrace to terrace until it gained the level of the piazza4 ,the scheme was abandoned for lack of water4 ,only the aqueducts of imperial ,rome could have furnished the amount required for such a fountain4 ,the design was most imposing1 but it is possible that ,valadier himself may have relinquished it willingly4 ,he was keenly alive to the beauty of proportion1 and the monument to 8,il ,re ,galantuomo0 shows how incongruous a ,niagara would have been amid such circumscribed and highly finished surroundings4 ,illustration3 ,piazza del ,popolo from the ,west4 ,when the time came to carry out ,valadier's design for the fountains about the obelisk1 ,domenico ,fontana's massive old basin was removed from its position on the south side of that monument and placed in the gardens of ,san ,pietro in ,montorio1 now the public gardens on the ,janiculum4 ,then the low stone terrace with its five steps was built around the base of the obelisk1 and the four corners of this terrace were marked by miniature pyramids of seven steps1 the top of each pyramid supporting an ,egyptian lioness couchant carved of ,carrara4 ,the water gushes in a copious fan-shaped stream from the mouths of these beasts and falls into four massive travertine basins1 each basin set so close against the base of its pyramid that the lower steps of the pyramid project well over a portion of the basin's rim4 ,the task of providing a modern architectural setting to an ,egyptian obelisk is probably an impossible one4 ,it must be conceded1 however1 that ,valadier1 while not achieving the impossible1 did succeed in producing a design which enhances the dignity and importance of the obelisk1 considered as the central architectural feature in a ,roman square4 ,more than this could not be expected1 and as much as this has not been achieved by any other architect4 ,the obelisk on ,monte ,cavallo is in no way affected by the objects grouped about it4 ,it is as utterly detached from the ,roman fountain and the ,greek statues at its base as though it stood by itself at ,alexandria4 ,bernini's extravaganzas1 in which the ,egyptian symbol of the mystery of life becomes the meaningless centrepiece for a banal fountain1 have long ceased to give pleasure4 ,it is doubtful whether the obelisk was altogether pleasing to the ancient ,romans4 ,they could not fail to admire its austere dignity and strength1 and they regarded it as the insignia of supreme power1 human or divine4 ,roman ,emperors from ,augustus onward constantly imported them to ,rome to celebrate a victory1 to adorn a circus1 or to place in pairs1 one on either side of the entrance to a tomb4 ,but when the ,romans re-erected an obelisk1 whether in ,rome1 in ,egypt1 or in ,constantinople1 they frequently1 if not always1 raised the monolith a perceptible distance above the plinth of the base4 ,on the four corners of this plinth they placed a bronze crab--one of the emblems of ,apollo--or1 as in ,constantinople1 a square of metal1 and the obelisk itself rested upon these1 daylight being distinctly visible between the obelisk and its base4 ,the crabs were fixed into the plinth of the base by huge bronze dowels1 and other dowels ran up into the four corners of the obelisk1 holding it in place4 ,the obelisk in ,new ,york1 its mate in ,london1 the larger ,constantinople obelisk1 and the ,vatican obelisk were all re-erected by the ,romans in that way4 ,opinions differ as to the reason for this departure from the original ,egyptian method1 but the decorative effect of this bold but simple device is at once apparent4 ,it is obvious that an obelisk mounted in this way lends itself more easily to alien architectural surroundings4 ,this obelisk of the ,piazza del ,popolo was brought to ,rome by young ,octavius1 afterward the ,emperor ,augustus1 to honor his victory over ,mark ,antony at the battle of ,actium1 ,b4 ,c4 #ca4 ,octavius believed that he owed his triumph to ,apollo2 and this obelisk erected by an ,egyptian monarch of the ,x,i,xth dynasty before the great temple in ,heliopolis1 the city of the sun1 seemed an altogether appropriate trophy4 ,octavius erected it in the ,circus ,maximus1 where it stood throughout the greatest days of the ,roman ,empire4 ,but the fate of the ,roman obelisks had overtaken it at some time1 for when ,domenico ,fontana suggested to ,sixtus ,v to remove it to its present position it was lying broken in three pieces under masses of rubbish on the site of the old ,circus4 ,there is no inscription upon the four fountains of the lionesses4 ,they are to be regarded solely as adjuncts architecturally suitable to the obelisk1 the interest of which must transcend all minor annals4 ,in developing his design for the ,piazza del ,popolo4 ,valadier had to consider and amalgamate the architectural features of many previous generations2 for here in the ,piazza del ,popolo are grouped the works of a great number of ,roman architects--men of the very first distinction in their own time and who have left the imprint of their industry or genius upon a large part of modern ,rome4 ,baccio ,pintelli1 ,michelangelo1 ,vignola1 ,carlo ,fontana1 ,rainaldi1 and ,bernini were at work here in the centuries preceding ,valadier1 but to this last was given an opportunity of combining the past with the works of his own creation1 such as had not fallen to the lot of any other ,roman architect since the days when ,michelangelo remodelled the ,capitol4 ,throughout the ,middle ,ages1 all that part of ,rome which lies between the ,flaminian ,gate and the ,church of ,san ,lorenzo in ,lucina on the ,corso was almost devoid of human habitation and given over entirely to orchards and gardens4 ,this condition still prevailed when ,sixtus ,,iv 7#adga-adhd7 demolished the old ,flaminian ,gate1 through which1 some five hundred years before1 the ,saracens had captured ,rome4 ,he did this in order to build the modern ,porta del ,popolo4 ,it was by way of this ,porta del ,popolo that ,charles ,,viii of ,france entered the city on ,new ,year's ,day1 #adie1 with the most imposing and brilliant force of arms which modern ,rome had ever beheld4 ,at three o'clock on the winter's afternoon1 the great gates opened to receive them1 and it was nine at night before they could close4 ,for six hours the great procession marched down the ,corso1 and when darkness fell torches and flambeaus were lighted and held aloft by the marching troops4 ,the advance-guard of ,swiss and ,germans was followed by five thousand ,gascons1 small of stature and very agile1 like the bersaglieri of the present day4 ,then came the cavalry1 twenty-five hundred cuirassiers from the ,french nobility1 all arrayed in silk mantles and golden collars1 and each knight followed by his squire and grooms leading three additional horses4 ,then more cavalry1 and finally four hundred archers1 of whom one hundred were ,scotch4 ,these last formed the body-guard of the ,king1 who rode surrounded by two hundred of the greatest of his nobles2 and among these came ,cardinal ,giuliano della ,rovere1 afterward ,pope ,julius ,,ii1 at that time papal legate to ,france and the most implacable enemy of the ,pope whose territory they were invading4 8,the ,king10 wrote ,brantme1 8was in full armor2 lance on thigh as though pricking toward a foe4 ,riding thus in full and furious order of battle1 trumpet sounding1 drums a-beating10 the rattle and rumble of the artillery bringing up the rear1 ,charles made his way to the ,palazzo di ,venezia1 whence he issued his edicts and gave his orders1 while his army1 with all its network of sentries and pickets1 occupied the city as though it were ,paris4 ,pope ,alexander ,,vi fled to the ,vatican and1 later1 to the ,castle of ,st4 ,angelo4 ,very little came--or1 for the time1 very little seemed to come--of all this glitter and commotion4 8,charles ,,viii and his lusty company of young men1 among them the youthful ,bayard1 all of good family10 says the old chronicler1 8but little under control10 were making a holiday war4 ,they could not have comprehended the great forces that were at work beneath the noisy agitation of their enterprise4 ,yet ,king and nobles fell at once under the spell of ,italy4 ,charles ,,viii1 bred in the fortress castles of ,louis ,,xi1 wrote home to his sister1 ,anne de ,beaujeu1 describing the loveliness of his ,neapolitan gardens and the genius of the ,italian painters who were to do wonderful ceilings for him when he had carried them back to ,france4 ,before he quitted ,rome1 the army got one day of pillage and the ,king founded the ,church of the ,trinit de' ,monti4 ,then after six months more of picturesque soldiering ,charles went back to ,france1 planning his return already in his heart1 and taking with him over the ,alpine passes an army which spread the legend of ,italy far and wide through the northern countries4 ,in the fifteenth century there were but two ways for a man to see the world4 ,either he went on pilgrimage to some far-distant shrine or he had to join an army of invasion6 ,charles ,,viii did not return1 but he had shown his subjects the way to ,rome1 having been the first ,french ,king to cross the ,alps since ,charlemagne4 ,even before the ,porta del ,popolo was finished and long after the orchards and gardens of this district had been converted into the spacious ,piazza del ,popolo1 ,rome and ,france felt the influence for evil and for good set in motion by this unjustifiable and light-hearted incursion of 7as the old ,huguenot historian calls him7 a 8madly adventurous young ,king40 ,modern methods of travel have deprived men of one of life's greatest sensations4 ,lovers of ,rome know this4 ,one of them1 a schoolboy1 spoke for all when he came out of the railway station1 exclaiming in bitter disappointment3 8,so this is ancient ,rome6 ,it might as well be modern ,chicago60 ,the ,piazza del ,popolo is no longer the entrance hall to the ,eternal ,city4 ,it must be sought for1 with guide-book or map2 but when it is found there is no better way to revive the ghost of that thrill which came spontaneously to those who entered ,rome by the ,porta del ,popolo than to seat oneself upon the edge of one of ,valadier's fountains1 preferably the western one1 and then--to try to think6 ,,pincian ,illustration ,,pincian ,until quite recently the ,acqua ,felice fed all the fountains on the ,pincian ,hill1 and the altitude of its source is so nearly the same as the top of the hill1 where the public gardens are situated1 that the only kind of fountain possible there was a sheet of water2 so the sculptor of the chief fountain in the ,pincian ,gardens1 ,count ,brazza1 the elder1 made a virtue out of necessity and created a fountain in which any kind of jet d'eau would be distinctly out of place4 ,brazza's white marble group of the infant ,moses and his mother stands1 set about with tall aquatic plants1 in the centre of a large white marble basin1 which is filled with placid yet ever-changing water1 and it is so happily suited1 both in subject and treatment1 to its purpose that the absence of action in the water is never felt4 ,on the contrary1 plashing water would be a false note in the quiet and legendary harmony of this composition1 and the higher jet produced by the recent change of water is no improvement4 ,the biblical story is portrayed with great naturalness and dignity4 ,the mother of ,moses has placed the basket containing her sleeping infant among the rushes1 which are represented by the living plants4 ,as she rises to move away1 she pauses1 on one knee1 to implore divine protection for the child whom she must abandon to his fate4 ,the heroic size of the figure enhances the strength and dignity of the artist's conception4 ,the design is little in sympathy with the gay and crowded life of the ,pincian ,gardens1 during the afternoon1 but all through the morning hours this fountain becomes the centre of one of the world's most tender settings for the comedy of childhood and early youth4 ,the civilization which man has made and kept can show nothing fairer than the ,pincian ,gardens at that time4 ,the soft ,roman sunshine then filters through the ilex branches only upon groups of little children and their nurses1 solitary old men who have become as little children1 and bands of seminarists or theological students wearing black or scarlet gowns and speaking divers tongues4 ,the little company occupy the benches1 or walk demurely in small groups beneath the trees1 or play the endless plays of babyhood1 in and out of the warm shadows2 all of them living in a dreamland as old as life itself1 and finding in this quiet garden of the ,eternal ,city a background full of sympathy and significance4 ,up and down the shaded alleys1 linking the present to the great past1 stretch the long rows of portrait busts placed there by order of ,mazzini during the short-lived ,mazzinian ,republic of #ahdi4 ,this is what has been called 8,the ,silent ,company of the ,pincio40 ,no happier fate can befall an imaginative child from northern lands than to wander at will through this ,roman playground4 ,all unconsciously the classic beauty is woven into his spiritual fibre1 and with that strange sensation of coming into his own--peculiar to such children--he finds1 in these seemingly endless rows of white marble heads1 faces which stimulate his fancy or fit the names of heroes already known to him4 ,in the centre of the garden stands an obelisk the history of which brings back the memory of a beautiful pagan youth who lived more than eighteen hundred years ago1 and of another story of ,old ,nile1 more pitiful1 if less important1 than the story of ,moses4 ,this is the obelisk which the ,emperor ,hadrian and his ,empress ,sabina raised to the memory of their beloved ,antinous--the most beautiful youth the world has record of--who drowned himself in the ,egyptian river1 under the impression that his voluntary death would avert calamity from his benefactor the ,emperor4 ,after all these eighteen hundred years it is still possible to feel the passion of ,hadrian's grief4 ,his biographer calls it 8feminine06 ,but the gifted ,emperor1 lover of all things beautiful in art and nature1 and a student of men and character1 understood the value of his treasure and knew full well the irreparableness of his loss4 ,he brought back to ,rome all that was left of that beauty--an urnful of ashes--and placed it in the ,emperor's own tomb1 now called the ,castle of ,st4 ,angelo2 and on the spina of the circus by the tomb1 ,hadrian and ,sabina erected this obelisk whose hieroglyphics1 only quite recently deciphered1 relate the deification of their favorite and give the information concerning his place of burial4 ,the obelisk must have been removed by a later ,emperor1 probably ,heliogabalus1 for it was found in #aegj1 near ,santa ,croce in ,gerusalemme1 in the gardens of the ,varian family1 to which family that ,emperor belonged4 ,bernini1 in the century following its discovery1 moved it to the ,barberini ,palace1 which he was erecting and beautifying for the ,barberini ,pope1 ,urban ,,viii4 ,later on1 a ,princess ,barberini presented it to ,pope ,pius ,,vi1 who set it up in the ,giardino della ,pigna in the ,vatican1 that temporary resting-place for so many treasures1 and finally1 in #ahbb1 ,pius ,,vii and ,valadier erected it where it now stands in full view of ,hadrian's ,tomb1 they being quite unconscious1 however1 that there was any connection between it and that great mausoleum4 ,not far from the fountain of ,moses stand two umbrella-pines1 their great boles shooting high up through all the foliage about4 ,a hundred years ago they marked the exit into a side lane from the vineyard where they had been planted1 for until that time these ,gardens of the ,pincio had been for centuries the vineyard belonging to the ,augustinian monks of ,santa ,maria del ,popolo1 the same order from which1 about #adid1 young ,cardinal ,farnese bought the property by the ,tiber1 on which he built the ,farnese ,palace4 ,the ,church of ,santa ,maria del ,popolo had been built by the ,roman people in the twelfth century1 and from that time on it and the ,augustinian convent beside it became the first hospice and sanctuary to the pilgrims from beyond the ,alps4 ,this was because the church and convent stand close to the ,porta del ,popolo1 the gateway to the ,flaminian ,road1 which is the great highway leading to the north4 ,with these ,augustinian monks stayed young ,martin ,luther when business connected with that order had brought him to ,rome4 ,the ,german seminarist who threads his way to-day among the ,pincian alleys must often cross those vanished paths in the vineyard once trodden by the sandalled feet of his great fellow countryman1 since ,luther's northern feeling for nature would surely have carried him at dawn or sunset to the convent's vineyard4 ,there the voices of the birds and the well-trained vines could soothe a spirit dazed and disquieted by the splendors and vices of ,rome4 ,the history of the ,german ,reformation may well have had its earliest beginnings in the thoughts which thronged the mind of that young monk1 as he leaned upon the vineyard wall and gazed with eyes that saw and saw not at the papal city1 where old ,st4 ,peter's--the church in which ,charlemagne had been crowned--was being made over by ,bramante into its present form2 and beside it the huge pile of the ,vatican housed the fighting ,pope1 ,julius ,,ii1 and a hierarchy of utter worldliness4 ,the monks retained possession of their ,pincian vineyard during the three following centuries1 or until #ahji1 at which time ,napoleon annexed the ,papal ,states to his ,empire1 banished the recalcitrant ,pope1 ,pius ,,vii1 and set about making ,rome over to suit himself4 ,he found the architect who had worked for ,pius ,,vi and ,pius ,,vii equally ready to serve him1 and it was to this architect1 ,giuseppe ,valadier1 that ,napoleon intrusted the conversion of the old convent vineyard into the ,pincian ,gardens of the present day4 ,the work was not begun until #ahab1 and before it was finished ,pius ,,vii was back in ,rome1 and ,napoleon was eating out his heart in ,st4 ,helena4 ,in that long dying1 when this last of the world's great conquerors had time to remember even all that he himself had done1 ,napoleon must have often thought of ,rome4 ,the old mother who had always believed in him1 yet never looked up to him1 still lived there in her sombre palace under the shadow of the ,austrian ,legation and the ,austrian hate4 ,his favorite sister1 ,pauline1 was a princess of one of the greatest of the ,roman families2 and the little son1 who was to grow up as the ,austrian ,duke of ,reichstadt1 was still1 to his father1 the ,king of ,rome4 ,did he ever think of the instructions he had given to ,valadier about a public garden for the ,romans8 ,there was time to think of everything as the seasons came and went and the remote seas washed the crags beneath his feet1 while his ,english jailers watched him from a distance with hard1 uncomprehending eyes4 ,it is something of a shock to find ,napoleon's bust in that company of great ,italians which ,mazzini placed here4 ,in these ,pincian ,gardens1 as elsewhere in the world1 he surely belongs in a niche by himself6 ,however1 the ,roman episode was of small importance in his life1 and he would not have grudged the honorable position to ,valadier1 whose bust stands alone facing the principal promenade of the ,pincian4 ,that architect lived to welcome back the exiled ,pius ,,vii and to finish for him the gardens begun by order of ,napoleon4 ,one explanation of ,rome's charm may be found in her power of suggestion4 ,although the things to be seen in the ,eternal ,city are of transcendent interest1 the things which are only apprehended have a still stronger hold upon the imagination4 ,the actual loveliness of the ,pincian ,gardens is forgotten as the archologists build up from buried marbles and scattered inscriptions the life lived here in centuries gone by4 ,where now is ,valadier's casino there stood in the second century of our era a great ,roman dwelling1 the home of a patrician family1 ,christian in faith1 its members holding from generation to generation high offices of state and called by historians 8the noblest of the noble40 ,the grounds about this house of the ,acilii included not only the present public gardens but also the precincts of the ,villa ,medici1 the garden and convent of the ,sacred ,heart1 and a part of the ,villa ,borghese4 ,it would be impossible to find nowadays in any land the exact counterpart of this ,roman dwelling4 ,its comfort1 splendor and universal perfection of detail could not be surpassed1 perhaps not equalled4 ,its artificially heated bathrooms1 the cool1 dark recesses of the wine-cellars1 the courts and offices and state apartments1 the devices for garden and foundation building1 everything which made up this perfect specimen of the highest domestic civilization the world has known1 has been discovered on the ,pincian ,hill4 ,the great buttresses which this private family built to sustain the northwestern boundaries of their terraced garden still support the public gardens of to-day1 and were incorporated by the ,emperor ,aurelian into the great wall with which he surrounded the city4 ,surely no stories of the ,pincian can ever give so good an idea of the power1 solidity1 and grandeur of ,rome as do these archological discoveries1 which show in fullest detail the domestic life of the ,roman patrician under the ,antonines4 ,of all this the northwestern buttresses of the ,pincian ,hill and the immortality of ,nature alone remain4 ,napoleon was only following in the footsteps of another ,emperor1 when he created these gardens2 for the ,emperor ,aurelian made the grounds--which had been the estate of the ,acilii--into a public park4 ,so whether owned by private individuals or by ,emperor1 church1 or municipality1 the ,pincian has always been known as the ,hill of ,gardens2 and the water which now feeds its public fountains is once more the ,acqua ,marcia--the same water which supplied the fountains1 baths1 and fish-ponds of the great ,antonine villa4 ,,fontana ,,paola ,illustration ,,fontana ,,paola ,throughout ,roman history the ,janiculum has suffered many alternations of peace idyllic and of sanguinary strife1 for it is a natural garden1 and it is also the key to ,rome4 ,whoever can hold the terraces of ,san ,pietro in ,montorio and the heights to the north and south has the city at his mercy4 ,at the present day the ,villa ,pamphili-,doria and the ,villa ,garibaldi crown its summit1 and stretch downward toward the west1 and its southeastern slope1 leading toward the ,tiber1 once contained the gardens of ,julius ,csar--those gardens where he received ,cleopatra and which he left by his will to the ,roman people4 ,one of the earliest chapters in ,roman history tells how ,lars ,porsena came over the ,janiculum to reinstate the ,tarquins1 and one of the latest recounts the struggle carried on across its heights and terraces in ,garibaldi's defense of the ,mazzinian ,roman ,republic4 ,like the gardens of ,ischia and the vineyards on ,vesuvius1 which are forever threatened by earthquake or eruption1 the ,janiculum villas will have1 so long as war lasts1 a precarious existence2 but with villas1 gardens1 and vineyards1 so great is the fertility of the soil and so enchanting the prospect1 while the world endures men will take the risk4 ,the water for this part of the city was brought to ,rome by the ,emperors ,augustus and ,trajan4 ,trajan built the aqueduct bearing his name2 and this aqueduct1 like that of the ,virgo1 has1 in spite of many vicissitudes continued to supply ,rome with a varying quantity of water from that time until the present day4 ,the ,emperor brought the water thirty-five miles from ,lake ,bracciano to the ,janiculum4 ,it was almost the last water brought to ,rome and entered the city at the level of two hundred and three feet above the sea4 ,the first water 7the ,appian7 had entered ,rome fifty feet under ground4 ,trajan used the water from the springs about ,lake ,bracciano1 not from the lake itself1 because the spring-water was much purer and the ancient ,romans were fastidious in the water they used4 ,alsietina water1 for instance1 brought to ,rome by ,augustus1 was considered fit only for baths and the naumachi2 and ,frontinus says that1 as a matter of fact1 the water was intended for that purpose only and for the irrigation of the gardens across the ,tiber4 ,christian ,rome was far from being so particular1 and its inhabitants drank ,tiber water as late as ,michelangelo's time4 ,during the 8,golden days of the ,renaissance in ,rome0 ,virgo water1 which was to be had intermittently from the ,trevi fountain1 and a remnant of this ,acqua ,traiana still flowing in the fountain of ,innocent ,,viii were the only pure waters4 ,meantime many ,romans of that period preferred the ,tiber water2 and ,petrarch coming to ,rome gave special instructions to a friend to have a quantity of ,tiber water which had stood for a day or two1 to settle1 ready for his use4 ,paul ,,iii took with him1 on his journey to ,nice to meet the ,emperor ,charles ,v and ,king ,francis ,i of ,france1 a supply of ,tiber water1 so that he might not miss his customary beverage6 ,when1 therefore1 ,pope ,paul ,v bethought him of reconstructing the ,trajan ,aqueduct he had nothing to hinder him from collecting the water from every available source4 ,he used ,trajan water from the springs1 water from ,lake ,bracciano1 and water from ,lake ,alsietina as well4 ,by this means the united water now called the ,acqua ,paola1 although not so pure as the former ,acqua ,traiana1 is yet good enough1 and it forms a supply of magnificent quantity and force4 ,paul ,v's intention was to surpass the ,acqua ,felice1 brought to ,rome some twenty years previously by ,sixtus ,v4 ,no one could forget ,sixtus ,v and the ,acqua ,felice4 ,was not the water always before men's eyes as it gushed out of the great fountain of ,moses on the side of the ,viminal ,hill2 and did not every ,roman know that ,cavaliere ,domenico ,fontana had brought it there by order of ,sixtus ,v8 ,the ,borghese pontiff determined to erect another fountain1 across the ,tiber1 on the ,janiculum1 which was a still more commanding position1 and to build another aqueduct for ,rome1 so that there should be an ,acqua ,paola as well as an ,acqua ,felice1 and men should remember ,paul ,v even as they remembered ,sixtus ,v4 ,domenico ,fontana had just died in ,naples1 rich and honored by the ,neapolitans1 but there were others at hand of that renowned family of architects4 ,fontana's elder brother ,giovanni was still alive1 and had great skill in hydraulics2 and ,carlo ,maderno1 his nephew1 was also to be had4 ,so in #afaa ,paul ,v employed these two to build his great fountain on the ,janiculum4 ,this fountain is made of travertine1 adorned with six ,ionic columns of red granite taken from the ,temple of ,minerva in the ,forum ,transitorium4 ,other portions of the same beautiful ruin were sawed into slabs and used in the decoration of the fountain4 ,the design is that of a church faade in the style of the florid and debased ,renaissance4 ,it consists of five arches1 three colossal ones in the middle1 directly under the great inscription which they support1 and on each side smaller arches4 ,the three centre cascades fall into a huge semicircular basin1 which is sunk into the ground1 while the arches on the side have small individual basins in which to receive the water4 ,the inscription1 which is a magnificent example of ,renaissance caligraphy1 gives the history of the ,paola ,aqueduct and the pontifical dates4 ,a smaller inscription describes the final completion of the fountain under ,alexander ,,viii4 ,,pavlvs ,,qvintvs ,,pontifex ,,maximvs ,,aqvam ,,in ,,agro ,,braccianensi ,,salvberrimis ,e ,,fontibvs ,,collectam ,,veteribvs ,,aqvae ,,alsietinae ,,dvctibvs ,,restitvtis ,,novisqve ,,additis ,,xxxv ,,ab ,,milliario ,,dvxit ,,anno ,,domini ,,mdcxii ,,pontificatvs ,,svi ,,septimo ,,alexander ,,viii ,,otthobonvs ,,venetvs ,p ,m ,,pavli ,v ,p ,,providentissimi ,,pont ,,beneficivm ,,tvtatvs ,,repvrgato ,,specv ,,novisqve ,,fontibvs ,,indvctis ,,rivos ,,svis ,,qvemqve ,,labris ,,olim ,,angvste ,,contentos ,,vnico ,,eodemqve ,,perampio ,,lacv ,,excitato ,,recepit ,,aream ,,adversvs ,,labem ,,montis ,,svbstrvxit ,,et ,,lapideo ,,margine ,,terminavit ,,ornavitqve ,,anno ,,salvtis ,,mdclxxxx ,,pontificatvs ,,svi ,,secvnd444 ,this water1 drawn from the purest of springs1 in the neighborhood of ,bracciano1 was conducted by ,pope ,paul the fifth1 thirty-five miles from its source1 over ancient channels of the ,alsietine aqueduct1 which he restored1 and new ones1 which he added4 ,in the year of the ,lord #afab1 and of ,paul's ,pontificate the seventh4 ,pope ,alexander the eighth1 ,ottoboni1 of ,venice1 in protection of the beneficent work of that most far-sighted pontiff1 ,paul the fifth1 recleaned the channel1 admitted water from new sources1 and constructed a single capacious reservoir for the common reception of the several streams which had formerly been strictly confined each to its own channel4 ,to prevent the wearing away of the hill1 he paved the surrounding area1 surrounding and beautifying it with a marble coping4 ,in the year of ,salvation #afij1 and of ,alexander's pontificate the second4 99 99 99 99 99 ,the ,borghese griffins and eagles compose the decoration of the mostra1 and the whole structure is surmounted by the papal insignia and the arms of ,paul ,v1 the escutcheon being guarded by two angels4 ,in ,maggi's book on the fountains of ,rome1 printed in #afah1 there is an engraving of this fountain4 ,it is represented as having four griffins and two eagles spouting water into the basins as do the lions in ,sixtus ,v's ,fountain of the ,moses4 ,this device is not shown in ,falda's engraving a generation later1 nor does ,piranesi show it4 ,it is probable that this feature existed only on paper in the original design for the fountain4 ,under the two side niches of the actual fountain the water spouts from lions' mouths4 ,from the three centre niches it simply pours in three cascades1 equal in size1 and of really magnificent force and volume4 ,the effect of this water in full sunshine is dazzling in the extreme1 and both in sight and sound the fountain must have been as conspicuous as ,paul ,v could have wished it to be4 ,paul ,v never saw it completed1 for he died in #afba1 ten years after the fountain was begun4 ,it was finished by ,alexander ,,viii in #afij1 eight pontificates later4 ,it was1 therefore1 seventy-eight years in building1 whereas ,domenico ,fontana built and unveiled the ,fountain of the ,moses for ,sixtus ,v within that ,pope's own pontificate1 which lasted only five years6 ,the ,fontana ,paola is--to translate sight into sound--an echo of the ,fountain of the ,moses4 ,it has the characteristics of an echo--it is magnified and meaningless4 ,giovanni ,fontana and ,maderno could not free themselves from the taste and traditions of the greater and more forceful ,domenico4 ,they did not mar the effect of their great fountain by an absurd colossus1 like the ,moses1 but they made a mistake of another kind2 they left the central niche above the cascade absolutely empty1 yet failed to secure an adequate background for the eye to rest upon1 so that the structure1 for all its size and magnificence1 gives a disagreeable sense of vacancy and incompleteness4 ,however1 as one studies the ,fontanone1 as this fountain is commonly called1 it becomes apparent that its mostra must be regarded not as a faade1 nor as a screen1 but as a great water-gate4 ,it is a triumphal arch through which the water of the ,pauline ,aqueduct makes its formal entry on the ,janiculum in the sight of all ,rome4 ,it is also built to hold before the eyes of all ,rome the inscription which sets forth the history of ,pope ,paul ,v and the construction of the aqueduct4 ,the inscription is certainly the most successful part of the mostra4 ,it is adequately supported1 its dimensions are noble1 and the lettering is remarkably beautiful4 ,the entrance of the water1 on the other hand1 is not sufficiently imposing4 ,the three streams are not great enough in themselves to justify their right to so pretentious a setting1 and they require a background which would augment their importance4 ,through the huge arches1 which were certainly never intended to hold statuary1 the eye should see the approach of the water either in a series of cascades or in one broad flood like the serried ranks of a great army4 ,but to produce this effect it would be necessary for the channel of the aqueduct to approach the fountain directly from the rear and to have the castellum or receiving tank immediately behind the mostra4 ,it is noticeable that neither in this fountain nor in the other two great fountains of ,rome--the ,moses and the ,trevi--is this done4 ,in all three the castellum is at the side of the mostra1 and the water falls into the basins at a right angle to the direction in which it enters the fountain from the castellum4 ,this position of the castellum was obligatory in the case of ,trevi1 as that fountain backs against the ,poli ,palace1 but when the ,moses and ,paola fountains were constructed they stood free from all other buildings on open hillsides1 and the castellum in either instance could be located at will4 ,in the ,paola fountain the castellum lies to the left of the mostra1 as it faces the city1 and the aqueduct comes underground down the hill forming the boundary between the gardens now belonging to the ,villa ,chiaraviglio1 which is a part of the ,american ,academy1 and a small villa owned by the ,torlonia family1 so that the stream approaches the fountain obliquely4 ,the ground directly back of the ,paola fountain is occupied by a modern villa with a small garden1 and the entrance to the house as well as the trees in the garden are clearly seen through the arches of the mostra1 which thus has more or less the appearance from the front of a huge screen before a shrine of no signification1 while the view of it in profile is too thin4 ,the entire fountain seems to require a solid background such as ,giovanni ,fontana gave to his truly noble and beautiful fountain of the ,ponte ,sisto4 ,there the immense niche is placed against a massive wall1 and the gloom of the vaulted space is lighted by a gleaming cascade which issues not at the base of the niche but high up in the very spring of the arch4 ,this cascade falls into a projecting vase1 also near the roof1 and thence descends in heavy spray to the black pool beneath4 ,on either side this pool jets of water spouting from the ,borghese griffins cross like flashing rapiers--a natural enough fancy to an artist living in an age when the thrust and parry of the rapier were known to all men4 ,this most artistic of all the ,fontana fountains was also erected for ,paul ,v4 ,it used to stand on the other side of the ,tiber1 opposite the ,strada ,giulia1 but in recent years1 when the ,tiber embankment was constructed1 the fountain was taken down and set up in its present position at the head of the ,ponte ,sisto4 ,if the waters of the ,fontanone had received some such treatment as this1 ,paul ,v's greatest fountain might have indeed rivalled those of ancient ,rome4 ,paul ,v 7,borghese71 surnamed by the friends of the ,aldobrandini 8the ,grand ,ingrate10 succeeded to the papacy in #afje4 ,his immediate predecessor had been the ,medici pontiff1 ,leo ,,xi1 but ,leo died twenty-six days after his election1 so that ,paul ,v's real forerunner was ,clement ,,viii 7,aldobrandini74 ,illustration3 ,mostra of the 8,fontanone40 ,the ,borghese family came originally from ,siena4 ,when the ,spaniard took that heroic and beautiful city1 ,philip ,,ii handed her over to the ,grand ,duke of ,tuscany1 and many ,sienese families emigrated1 rather than submit to the rule of the ,medici4 ,camillo ,borghese1 the father of ,paul ,v1 emigrated to ,rome1 where his son ,camillo1 the future pontiff1 was born4 ,this was in #aeeb1 ,julius ,,iii being then ,pope4 ,camillo's career began in the law1 as has been the case with so many of those who have risen to the ,see of ,st4 ,peter4 ,he studied in ,perugia and ,padua2 was sent on a mission to ,spain1 and1 proving successful there1 was given the ,red ,hat in #aeif by ,clement ,,viii1 he being at that time forty-four years of age4 ,living as cardinal1 quietly and unobtrusively among his books and documents1 he had seemed to ,peter ,aldobrandini1 who was the all-powerful nephew of ,clement ,,viii1 the very man to carry on ,clement's steady policy of restoring the ,french influence at ,rome and of keeping his own family in power4 ,the ,aldobrandini had left ,florence from hatred of the ,medici1 as the ,borghese had left ,siena1 and ,peter felt that in the case of ,camillo ,borghese he could rely upon feelings similar to his own to back up the coalition of himself and ,france against ,spain4 ,with the premature death of ,leo ,,xi all the complicated machinery of the conclave had had to be put in motion once again1 and in this second conclave the nephew of ,clement ,,viii was the most powerful of the forces at work4 ,he threw his influence for ,cardinal ,borghese1 and ,paul ,v undoubtedly owed his election to that fact4 ,peter ,aldobrandini had been a very great papal nephew1 indeed1 and he expected from the ,borghese pontiff a proper recognition of his services4 ,even with the keenest sense of humor in the world1 ,cardinal ,aldobrandini would have found it hard not to feel resentment when he learned that ,cardinal ,borghese1 now ,paul ,v1 considered his unsought-for election to the papal chair entirely due to the direct intervention of the ,holy ,spirit1 and that in consequence he owed nothing whatever to earthly aid4 ,it was because ,paul ,v carried this idea so far on the one hand1 and on the other poured such lavish favors upon his own kin1 that he won for himself the name of 8the ,grand ,ingrate40 ,looking upon himself as divinely appointed in a marked and special degree1 the quiet1 unassuming cardinal became the opinionated and inflexible pontiff4 ,he administered the papal power1 temporal and spiritual1 with the arrogance of a despot1 the intolerance of an inquisitor1 and the formality of the jurist4 ,during the sixteen years of his pontificate he succeeded in rousing bitter hostility on all sides4 ,the aged ,grand ,duke of ,tuscany1 who had lived through nine pontificates and had known both ,sixtus ,v and ,clement ,,viii1 complained that this ,pope judged of the world as he would of one of the towns belonging to the papal territory where everything was done according to the letter of the law1 and went on to say that in this respect there would soon have to be a change4 ,the year before his election the gunpowder plot had fanned ,england into a white heat of patriotism1 and a new oath of allegiance was required by ,parliament4 ,paul ,v was the ,pope who forbade the ,english ,catholics to take it4 ,he also was the ,pope who so mishandled the ,gallican ,church that he forced the ,states ,general of #afad to declare that the ,king of ,france held his power from ,god alone2 and1 finally1 it was ,paul ,v who spent the first two years of his pontificate in such a quarrel with ,venice as threatened to involve all ,christendom4 ,the ,republic so unflinchingly endured excommunication and interdict that the ,pope even thought of subduing her by arms4 ,he was brought to his senses only by the fear that ,venice in her extremity might call ,protestant powers to her aid and thus bring confusion and disaster not only upon ,italy but upon all ,catholic countries4 ,in this grave crisis ,france took it upon herself to mediate1 and the dispute was finally settled1 but with little honor to the papacy4 ,it was a ,venetian ambassador who has recorded of ,clement ,,viii that when he found he could not reform ,florence without great trouble he reformed his own mind4 ,but ,paul ,v did not1 like the wise ,clement ,,viii1 8look to his predecessors0 when in difficulties4 ,paul ,v had certainly no cause to love the ,venetians1 and it is one of the quaint tricks of history that his magnificent fountain on the ,janiculum was at last finished by a ,venetian ,pope4 ,although the ,fontanone was built in the seventeenth century1 its most interesting associations are connected with modern ,rome4 ,it is pre-eminently the fountain of the ,risorgimento1 for the last stand in ,garibaldi's three months' defense of the ,roman ,republic was made upon the terraces surrounding this water1 and it was just above here that the worst fighting occurred4 ,the second stage of the siege consisted of the nine days' defense of the ,aurelian wall1 behind which ,garibaldi was intrenched4 ,this bit of wall runs northwest and southeast on the eastern slope of the hill1 and within the walls of ,pope ,urban ,,viii4 ,at its northern end it is at about an equal distance from the ,fontanone and the ,porta ,san ,pancrazio4 ,when this defense broke down1 the ,french troops entered the city through a breach in the ,urban walls to the southwest of the fountain4 ,the narrow lane leading from this point to ,porta ,san ,pancrazio was soon choked with the dead and dying4 ,the ,italians and ,french fought hand to hand in the darkness1 along the road in front of the ,villa ,aurelia1 that road which is to-day so quiet and so clean6 ,during the previous eight days bursting shells from the ,french batteries erected on the walls and near the ,villa ,corsini and the ,convent of ,san ,pancrazio had wrought far-reaching havoc4 ,the ,church of ,san ,pietro in ,montorio was used by ,garibaldi as a hospital1 but its roof had collapsed1 and on the slopes above it all the great villas were in ruins4 ,to the northwest of the fountain1 just above the ,porta ,san ,pancrazio1 the ,villa ,savorelli 7now the ,villa ,aurelia and the present home of the ,american ,academy7 stood up against the sky1 a mere shell of blackened walls4 ,outside the porta1 the ,vascello lay in masses of crumbled masonry1 although ,medici still held it for ,garibaldi4 ,farther up the hill1 over the spot now occupied by the triumphal arch1 towered the remains of the magnificent ,villa ,corsini2 before it the body of ,masina1 still lying where the young lancer had fallen after his last wild charge up the villa steps4 ,amid the general devastation the ,fontanone stood unscathed4 ,its splendid stream of water flowed unpolluted1 and it fulfilled the noblest functions of a fountain during the heat and carnage of that ,roman ,june4 ,to those who are familiar with the story of the heroic 8,defense0 a visit to ,paul ,v's great fountain on the ,janiculum is not a bit of sight-seeing--it has become a pilgrimage4 ,,monte ,,cavallo ,illustration ,,monte ,,cavallo ,the fountain of the ,monte ,cavallo is overshadowed both literally and figuratively by the size and importance of the objects which surround it4 ,without it the obelisk1 which forms its background1 and the great groups of the ,dioscuri1 which flank it on either side1 would be sufficiently imposing and significant1 either separately or together1 to form the central decoration of the ,piazza of ,monte ,cavallo1 or of any piazza in any city2 but the fountain is not entirely superfluous4 ,its magnificent jet of water1 thrown upward between the heads of the rearing horses and swept hither and thither at the will of the wind1 binds together the otherwise disjointed and inharmonious group4 ,this fountain is not the first one to be erected on ,monte ,cavallo1 but the first fountain was as subservient as the present one to the colossal groups which have given the name 8,cavallo0 to this entire district4 ,the ,dioscuri were once a part of a kind of open-air museum which1 during the earliest days of the papacy1 existed on the slope of the ,quirinal ,hill4 ,gregory ,,xiii had them removed to the ,capitol1 but when ,sixtus ,v had purchased from the heirs of ,cardinal ,caraffa the site and the partly erected buildings of the ,quirinal1 he brought them back again and subjected them to a thorough restoration1 using for this purpose the material from the base of one of them4 ,there has existed a villa on this spot antedating ,pope ,sixtus ,v's time by many years4 ,it had been called the ,villa d',este1 but it should not be confused with the ,villa d',este1 at ,tivoli1 although it was built by the same ,cardinal ,ippolito of that family4 ,sixtus ,v was extremely fond of this portion of the city and with ,fontana's assistance he created the magnificent palace and surroundings which ever since his day have been associated with sovereign power in ,rome4 ,fontana enlarged the piazza before the palace in order to make it 8commodious for consistories10 and he also lowered the grade in order to bring hither the ,acqua ,felice4 ,there must have been many discussions between ,pope ,sixtus ,v and his architect with regard to the fountain on the ,quirinal4 ,everything that ,sixtus ,v did he did thoroughly and magnificently1 and it was quite natural that he should desire a splendid fountain before his own palace1 considering that it was he himself who had made it possible1 by the introduction of the ,acqua ,felice1 to have a fountain in that place at all4 ,a rare old engraving shows that the fountain1 as at first planned1 resembled the ,fountain of the ,moses4 ,in it the ,dioscuri occupy the niches as does the ,moses in the fountain on the ,viminal4 ,this plan was happily abandoned4 ,the great classic figures were erected as they stand to-day in front of the palace1 and ,fontana placed between the two groups1 in the same position as the fountain of the present day1 the conventional large basin and central vase which is to be seen in the old engravings of the seventeenth century4 ,it was certainly neither a very original nor a very interesting design and it must have relied for its effect entirely upon the copious supply of water which was described by ,evelyn in #afdd as 8two great rivers40 ,it is difficult to say when this old fountain of ,fontana's disappeared4 ,it was probably removed either at the time when ,antinori erected the obelisk for ,pius ,,vi or in the following pontificate when the same architect suggested to ,pius ,,vii the idea of replacing it by the present granite basin4 ,this basin had stood since #aeid in the ,campo ,vaccino1 the medival name for the ruins of the ,roman ,forum4 ,it had been placed there during the pontificate of ,clement ,,viii 7,aldobrandini7 by the city magistrates on a piece of ground given to them by ,cardinal ,farnese1 near the three columns of ,castor and ,pollux and the ,church of ,s4 ,maria ,liberatrice4 ,they had provided a high travertine base for it1 and it was fed from three jets of the ,acqua ,felice1 which1 some eight or nine years previously1 had been brought to ,rome by ,sixtus ,v4 ,the basin was used as a watering-trough for cattle1 and by the time ,pius ,,vii rescued it the travertine base had entirely disappeared under the gradually rising level of the ,campo ,vaccino--that strange composite mass of rubbish1 earth1 and ruins which1 up to the second half of the nineteenth century1 covered the old ,forum floor to a depth of more than twenty feet4 ,the basin measures twenty-three metres in circumference1 and when it was thus sunk in the ground it became a pleasant pool through which the carters walked their horses to refresh them on a warm and dusty day4 ,the removal of this basin was actually accomplished in #ahah1 when the architect ,raphael ,stern 7who built for ,pius ,,vii the ,bracchio ,nuovo7 designed the present fountain of ,monte ,cavallo4 ,he sank the basin in the pavement between the horse-tamers and erected in the middle of it a second basin which rests upon a travertine base4 ,the water of the fountain rises in a copious jet from the centre of the second basin to a height somewhat below the heads of the horses and1 returning on itself1 falls in a generous overflow into the lower basin4 ,illustration3 ,the ,fountain of ,monte ,cavallo4 ,to some1 the chief interest of this composite group of obelisk1 statuary1 and fountain centres in this lower basin1 for it is none other than the granite tazza into which ,marforio once poured the water from his urn1 far1 far back in the days of ,charlemagne1 and no one knows for how many years before that4 ,the obelisk which forms the centre of this group of antiquities now clustered together in the ,monte ,cavallo is one of a pair which flanked the entrance to the ,mausoleum of ,augustus4 ,its mate was erected by ,sixtus ,v and ,domenico ,fontana near the ,church of ,s4 ,maria ,maggiore4 ,pius ,,vi and ,pius ,,vii were the two ,popes whose pontificates coincide with the era of the ,french ,revolution and the ,napoleonic conquests4 ,their unhappy stories are bound up with the history of the ,quirinal ,palace1 which fronts upon the ,monte ,cavallo2 and they form a pitiful contrast to the life of that masterful old ,pontiff ,sixtus ,v1 in whose reign the history of the palace and the modern piazza begins4 ,sixtus1 having destroyed1 for no reason now known1 the old medival papal palace of the ,lateran1 decided to rebuild it to suit himself1 but found1 as the new building progressed1 that it was too cold and uncomfortable for a residence4 ,so the ,lateran1 which had been the papal palace since the seventh century1 holding its own against the magnificence and enormous size of the ,vatican1 was gradually abandoned as a residence1 and ,sixtus established himself in the ,quirinal4 ,sixtus ,v1 for all his detestation of classic statuary1 must have shared with his people the profound respect and admiration always aroused by the ,dioscuri4 ,these colossal groups were among the few rare works of antiquity which were cherished by the semi-barbarous ,romans of the ,middle ,ages1 and the web of fable spun about them during those dark years proves the hold they had over the superstitious imagination of the times4 8,nothing is beyond question0 about them1 says ,lanciani1 except that they once adorned the temple which the ,emperor ,aurelian built to the sun on his return from the conquest of ,palmyra in #bgb4 ,this most magnificent of all ,roman temples1 to quote the same great modern authority1 became a quarry for building materials1 even as early as the sixth century4 ,the ,emperor ,justinian is said to have taken some porphyry columns from it to adorn the ,church of ,st4 ,sophia in his new capital of ,constantinople4 ,the ,dioscuri must have been discovered later in the ,baths of ,constantine4 ,the relative positions of the horses and their tamers were ascertained from antique coins4 ,modern authorities are of the opinion that they are ,roman copies of ,greek originals1 and they are counted among the great inheritances from imperial ,rome4 ,it is curious to trace the working of the medival intelligence1 groping its way through mysticism and allegory to find some explanation for the undeniable impression made by these heroic figures upon the minds of all who behold them4 ,the attempt to read into them some abstruse ethical meaning was abandoned long ago1 and the world of to-day accepts the ,dioscuri frankly for what they are1 admiring1 with a wonder not unmixed with despair1 the unreclaimable art of ancient ,greece4 8,ye too marvellous ,twain1 that erect on the ,monte ,cavallo ,stand by your rearing steeds in the grace of your motionless movement1 ,stand with upstretched arms and tranquil1 regardant faces1 ,stand as instinct with life1 in the might of immutable manhood-- ,oh1 ye mighty and strange--ye ancient divine ones of ,hellas60 ,whatever may have been the lot of the ,dioscuri in the unaccounted-for days of the past1 since ,sixtus ,v placed them here they have been in the very thick of ,roman political life4 ,around and about them have surged some of the worst mobs of modern ,roman history2 and under their 8tranquil1 regardant faces0 crowds of peaceful1 expectant citizens have gathered from time to time during the last two centuries of papal government4 ,here they have waited during papal elections to watch for the smoke from the chimney of the ,quirinal which should indicate to the outside world that no choice had yet been made by the ,conclave1 since the cardinals were burning the ballots4 ,here they have received the blessing of the newly elected ,pope1 which was given from the balcony of the window over the entrance4 ,sixtus ,v died in the ,quirinal ,palace4 ,his pontificate had lasted but five years1 and it remains to this day one of the most memorable periods in the development and power of ,rome4 ,never had ,pope done more for his people2 yet1 when he came to die1 the ,romans had already forgotten the benefits of his pontificate and remembered only the severities4 ,they recalled the fact that this ,sixtus who was dying as the head of ,christendom had been born a poor gardener's son4 ,such dramatic contrasts exercise great sway over the ,roman mind--superstition and fancy played with the story1 and strange rumors drifted about concerning an unholy bargain which ,sixtus was said to have made for power4 ,here1 before the palace which he had built1 the silent crowds gathered to await his end2 and when1 as the old pontiff drew his last breath1 that terrific thunderstorm broke over the ,quirinal1 men shuddered and fled1 saying and believing that the ,prince of ,darkness had come in person for the soul of the monk whom he had made ,pope4 ,kindly old ,sixtus6 ,it was well that he could not know how the poor whom he had always remembered would remember him6 ,across the ,monte ,cavallo1 to pause before the balcony of the ,quirinal1 came in #ahdj that extraordinary funeral cortge which carried the body of ,lady ,gwendolin ,talbot1 ,princess ,borghese1 to be laid in the ,borghese chapel in ,s4 ,maria ,maggiore4 ,at seven in the evening of ,october #cj1 by torchlight1 amid a silence so profound that the low prayers of the priests were distinctly audible1 the procession moved slowly along the three-quarters of a league from the ,borghese ,palace to the church of ,s4 ,maria ,maggiore4 ,soldiers with reversed arms1 mounted dragoons1 mourning carriages1 religious societies1 priests1 prelates1 and all the ,roman poor1 comprised the train4 ,the funeral car was drawn1 not by horses but by forty ,romans dressed in deep mourning4 ,flowers were thrown upon the bier from the palaces along the ,corso1 and when the procession reached ,monte ,cavallo and paused before the ,quirinal1 from the balcony over the entrance ,pope ,gregory ,,xvi gave his final blessing to the beautiful young princess1 dead at twenty-two1 and saint if ever there has been one4 ,all the poor of ,rome felt that they had lost a friend and benefactress1 the like of whom would not come again4 ,later1 when ,prince ,borghese wished to know the names of those who had drawn the funeral car1 he was only told that they were ,romans6 ,up the slopes of ,monte ,cavallo in ,february1 #agih1 came with their tricolored cockades the soldiers of the ,french ,revolutionary ,army4 ,they entered the ,quirinal and called upon ,pope ,pius ,,vi to renounce the temporal power4 ,the eighteenth-century pontiff calmly refused to comply with this preposterous demand4 ,that refusal lost him the tiara and brought about his death eighteen months later in a ,french fortress4 ,rome was metamorphosed into a republic1 but this obscuration of the papal power was only temporary4 ,when ,pius ,,vi died1 at ,valence1 in ,august1 #agii1 the cardinals held their ,conclave at ,venice1 and on ,march #ad1 #ahjd1 elected ,pius ,,vii 7,chiaramonti1 #ahjd-ahbc71 who returned to ,rome the following ,july4 ,this was the ,pope who1 after many misgivings1 consented to crown ,napoleon4 ,five years later1 when the ,emperor proceeded to annex the ,papal ,states to his empire1 this was the ,pope who excommunicated him4 ,few of ,st4 ,peter's successors have been called upon to suffer and to dare more than the good and gentle ,pius ,,vii4 ,his ,italian nature comprehended to an unusual degree the strange character of ,napoleon1 enduring with perfect composure the ,emperor's outbursts of histrionic rage1 and daring to bring him back to business by the single word1 8comedian40 ,he braved no less calmly ,napoleon's genuine anger at the bull of excommunication1 and refused to cancel it4 ,consequently1 on the night of ,july #e1 #ahji1 the ,emperor's soldiers broke into the ,quirinal and took the ,pope prisoner4 ,for a moment1 standing under the stars which looked down upon ,monte ,cavallo1 ,pius ,,vii blessed his sleeping city1 and then was hurried away from ,rome to that wandering exile1 depicted in the frescoes of the ,vatican ,library1 which was only brought to an end by ,napoleon's fall4 ,then the ,states of the ,church were restored to the papacy1 and the ,quirinal ,palace once more received the aged pontiff4 ,in the quiet sunset of his days1 which outlasted by two years the life of the great conqueror1 the ,pope had time to erect the fountain of ,monte ,cavallo1 and to begin or continue the architectural and archological projects connected with his name4 ,in that brief halcyon period immediately following ,pius ,,ix's election to the ,holy ,see1 in #ahdf1 the ,quirinal ,palace and the ,monte ,cavallo were in a state of unwonted and constant activity4 ,pius played with all his heart the rle of the liberal ,pope1 both he and the ,romans mistaking his amiable disposition for liberal political convictions4 ,day after day the ,romans thronged the space before the palace1 waiting for their idol1 who was sure to appear some time on the balcony over the entrance4 ,standing there in his white robe1 his dark eyes glowing with sympathetic emotion1 he would bless the people with uplifted hand and in the most moving and beautiful of voices4 ,if the hour was late1 he might add the injunction to go home to bed6 ,the attitude of the ,pope and people at this time is epitomized in the story of the ragged little boy who one day found himself in the ,quirinal ,gardens face to face with the ,holy ,father4 ,dazed and enraptured1 he poured forth the pitiful tale of his hardships to the handsome and compassionate countenance bending over him1 and the wonderful voice comforted him with promises of redress--promises which both pontiff and child believed in passionately4 ,there is about this period of ,pius ,,ix's life1 with its visits to the prisons1 its charities and public appearances1 a strange atmosphere of unreality4 ,a factitious glamour blinded the popular mind1 and the ,pope lived upon pious and ideal illusions--as ,marie ,antoinette had played at simplicity and a return to ,nature on the eve of the ,revolution4 ,when the golden charm was broken by the outbreak of the ,revolution in ,palermo and the murder of ,pellegrino ,rossi in ,rome1 the frightened pontiff1 turning from an angry people1 whom in the nature of things he could not possibly satisfy1 appealed to the most reactionary of all the ,italian powers1 the ,king of ,naples1 or 8,bomba40 ,then the ,quirinal witnessed the last act which the papacy was to play within its precincts4 ,the ,pope and one attendant escaped from the palace by a small side door in the garden wall and fled across the frontier to ,gaeta1 on ,neapolitan territory4 ,he carried with him the pyx which ,pius ,,vii had carried when he also had quitted the ,quirinal in haste thirty-nine years before2 but1 unlike ,pius ,,vii1 ,pius ,,ix never returned thither4 ,when he came back to ,rome the ,vatican received him4 ,the ,quirinal1 the third one of the papal palaces1 has become a symbol of the actual sovereignty of ,rome1 and1 in #ahga1 it passed with the temporal power from ,pope ,pius ,,ix to ,victor ,emmanuel ,,ii1 ,king of ,italy4 ,the cardinals' coaches no longer drive about the fountain of ,pius ,,vii4 ,the consistories are held in the ,vatican2 and on the ,monte ,cavallo the ,bersaglieri have superseded the papal ,zouaves4 ,over the ,quirinal the pontifical yellow and white has given way to the green and white and red of ,united ,italy4 8,old things are passed away4 ,behold1 all things have become new0--once again in the city of eternal change4 ,illustration ,,appendix ,,inscriptions ,,in ,,piazza ,,di ,,spagna ,,on ,,the ,,spanish ,,steps ,i ,d4 ,o4 ,m4 ,,magnificam ,,hanc ,,spectator ,,qvam ,,miraris ,,scalam ,,vt ,,commodam ,,ac ,,ornamentvm ,,non ,,exigvvm ,,regio ,,coenobio ,,ipsiq4 ,,vrbi ,,allatvram ,,animo ,,concepit ,,legataq4 ,,svpremis ,,in ,,tabvlis ,,pecvnia ,,vnde ,,svmptvs ,,svppeditarentvr ,,constrvi ,,mandavit ,,nobilis ,,gallvs ,,stephanvs ,,gveffier ,,qvi ,,regio ,,in ,,ministerio ,,div ,,plvres ,,apvd ,,pontifices ,,aliosqve ,,svblimes ,,principes ,,egregie ,,versatvs ,,romae ,,vivere ,,desiit ,,xxx4 ,,ivnii ,,mdclxi4 ,,opvs ,,avtem ,,vario ,,rervm ,,interventv ,,primvm ,,svb ,,clemente ,,xi ,,cvm ,,mvlti ,,proponerentvr ,,modvli ,,et ,,formae ,,in ,,deliberatione ,,positvm ,,deinde ,,svb ,,innocentio ,,xiii4 ,,stabilitvm ,,et ,r4 ,p4 ,,bertrandi ,,monsinat ,,tolosatis ,,ord4 ,,minimorvm ,s4 ,,francisci ,,de ,,pavla ,,correctoris ,,genlis ,,fidei ,,cvraeq4 ,,commissvm ,,ac ,,inchoatvm ,,tandem ,,benedicto ,,xiii ,,feliciter ,,sedente ,,confectvm ,,absolvtvmqve ,,est ,,anno ,,jvbilei ,,mdccxxv ,,ii ,d4 ,o4 ,m4 ,,sedente ,,benedicto ,,xiii ,,pont4 ,,max4 ,,ludovico ,,xv ,,in ,,galliis ,,regnante ,,eivsq4 ,,apvd ,,sanctam ,,sedem ,,negotiis ,,pr,,posito ,,melchiore ,s4 ,r4 ,,ecclesi ,,cardinali ,,de ,,polignac ,,archiepiscopo ,,avscitano ,,ad ,,sacr ,,dis ,,alm,,qve ,,vrbis ,,ornamentvm ,,ac ,,civivm ,,commodvm ,,marmorea ,,scala ,,digno ,,tantis ,,avspiciis ,,opere ,,absolvta ,,anno ,,domini ,,mdccxxv ,,translation ,,of ,,above ,i ,o spectator1 this magnificent stairway which you gaze at in wonder1 that it might afford convenience and no small ornament to the city1 the noble ,frenchman ,etienne ,guffier conceived in his mind1 and1 money having been left in his will whence to defray expenses1 ordered it to be built4 ,he conducted himself with distinction in the service of the ,king at the courts of several pontiffs and other sublime princes1 and died in ,rome the thirtieth of ,june1 #affa4 ,the work1 however1 was interrupted by a variety of things1 and first in the reign of ,clement ,,xi there were placed before a council many plans and designs4 ,it was decided upon under ,clement ,,xi1 and1 being intrusted to the faithful care of the ,reverend ,father ,bertrand ,monsinat of ,toulouse1 corrector generalis of the lesser order of ,st4 ,francis de ,paul1 was begun1 and finally1 ,benedict ,,xiii blessedly seated upon the papal chair1 was brought to an end in the year of jubilee1 #agbe4 ,,ii ,benedict ,,xiii sitting in the papal chair as ,pontifex ,maximus2 ,louis ,,xv reigning in ,france2 ,melchior de ,polignac1 ,cardinal of the ,holy ,roman ,church1 and ,archbishop of ,aquitaine1 being his minister at the sacred see2 these marble steps1 in a manner worthy of such auspices1 for the ornamentation of the sacred temple 7the church above7 and the beloved city1 and for the convenience of the citizens1 were completed in the year of our ,lord1 #agbe4 ,,footnotes ,a ,the ,queen's palace was in the rear of ,raphael's house and faced the ,borgo ,vecchio4 ,opposite to it was the palace of ,cesare ,borgia4 ,b ,sixtus ,v was severely criticised for substituting his own arms for those of his predecessor1 ,gregory ,,xiii1 in the ,quirinal ,palace1 and after ,sixtus's death the ,boncompagni arms were restored to their original place4 ,c 8,ounce0 was a medival measurement of running water1 of which there were once as many varieties in ,italy as there were provinces4 ,some of these are still in use4 ,the ,roman oncia d'acqua1 or ounce of water1 was practically equivalent to four times the quantity of water known as the ,california 8miner's inch40 ,this 8miner's inch0 amounts to something like sixteen thousand gallons in twenty-four hours1 and therefore the grant of two ,roman 8ounces0 gave the ,colonna the right to draw from the ,fountain of ,trevi eight times that amount1 or one hundred and twenty-eight thousand gallons every twenty-four hours4 ,d ,one of ,vignola's early plans for the ,villa ,giulia has lately come to light4 ,it shows the main structure much as it is1 but with a large wing to left and right1 and a long garden running down either side of the central court behind each wing4 ,there are also other differentiations1 and it is evident the plan must have entailed a larger and more expensive building than that which was finally erected4 ,the plan measures four by five feet and is beautifully prepared4 ,it is now in the possession of ,mr4 ,lawrence ,grant ,white1 of ,new ,york4 ,e ,this cardinal became ,pope ,marcellus1 for whom ,palestrina is said to have written the ,mass of ,pope ,marcellus4 ,f ,a curious story related by ,wraxall 78,memoirs10 vol4 ,i1 p4 #ahc7 shows that the ,villa ,giulia in its eighteenth century period of isolation and decay proved a convenient shelter for secret crimes committed by persons of exalted rank4 ,g ,the ornamental detail of the 8,sixtine lion0 looks as if this fountain1 like the ,tartarughe1 had been finished in the pontificate following ,gregory ,,xiii's--that is1 in the pontificate of ,sixtus ,v4 ,h ,the fate of the ,roman obelisks presents one of the most baffling and fascinating problems of archology4 ,as no satisfactory explanation of their overthrow and mutilation has ever been given1 possibly the theory that they were destroyed by the ,romans of the ,dark ,ages1 in search of bronze1 is as good a working hypothesis as any other4 ,the idea that they were wrecked by barbarians1 and the assumption that they were thrown down by earthquakes are equally untenable4 ,much curious evidence goes to show that some of the principal obelisks were standing in the sixth and seventh centuries4 ,one stood erect on its pedestal in ,charlemagne's time1 while the fall of another can be placed as late as the tenth or eleventh century4 ,three of the principal obelisks show holes drilled in the shaft for the insertion of levers or crowbars1 and have unmistakable marks of fire about the pedestal4 ,now1 the ,romans generally re-erected the obelisk1 not directly upon its pedestal1 but upon bronze crabs 7as in the obelisk of the ,vatican7 or upon brass 8dice0 7as in the larger of the two obelisks in ,constantinople74 ,the ,egyptians sheathed the pyramidion of the obelisk with 8bright metal0 to reflect the rays of the sun1 and the ,romans crowned the apex1 sometimes if not always1 with metal ornaments1 like the ball upon the ,vatican obelisk1 which1 until it was removed by ,sixtus ,v1 was supposed to contain the ashes of ,julius ,csar4 ,the obelisk now in ,central ,park had been re-erected by the ,romans at ,alexandria1 in this fashion1 and one of the bronze crabs was brought to ,new ,york with the obelisk1 and is now in the ,metropolitan ,museum4 ,these bronze supports were firmly attached to the obelisk by heavy bronze dowels1 one dowel running upward into each corner of the shaft1 the other going down into each corner of the pedestal4 ,between the shaft and the pedestal there was therefore a space1 perhaps some four inches in height1 through which light was visible4 ,this was seen in the ,vatican obelisk1 which was still in situ when ,fontana drew his plans for changing its location1 and in the ,central ,park obelisk1 as described by an eye-witness of its removal4 ,three historians of ,rome's destruction--,fea1 ,dyer1 and ,gibbon--describe the almost incredible ingenuity1 labor1 and patience exerted by the ,romans of the ,dark ,ages in their search for bronze and other metals4 ,wherever bronze could be obtained1 it was stolen1 stripped1 or melted1 on account of its value and the ease with which it could be transported4 ,during the same historic period1 all pagan monuments were deprived of whatever protection they had had as objects of religious veneration4 ,the obelisks standing in spacious and lonely surroundings would have proved an easy prey to bands of clandestine or open marauders4 ,the ,roman method of blasting consisted in building a fire against the rock and pouring vinegar1 or even water1 upon the red-hot stone which then disintegrated4 ,it would have been an easy matter to kindle great fires at every corner of the pedestal which1 by the time this kind of destruction became popular1 had already lost much of their original height through the gradual rise of the ground level4 ,this method of blasting by fire would account for the all but universal gnawing away1 or rough rounding off of the lower corners of the shaft1 in which the bronze dowels were so firmly embedded4 ,after the disintegration of the granite the partially melted bronze could be extracted from both shaft and pedestal1 but not before the shaft had been thrown over1 and this was evidently helped along by the use of levers4 ,when the shaft was prone1 it became possible to remove any bronze which had been attached to its summit4 ,with perhaps only one exception1 the fallen shafts were always found broken in three pieces1 but there seems to be no record of any bronze found in ,rome1 near the original sites of the obelisks4 ,what bronze there is was on the one ,roman obelisk that had not been thrown down 7the ,vatican obelisk74 ,the original site of this obelisk1 in the centre of the old circus of ,caligula and ,nero1 was close to the old ,church of ,st4 ,peter1 and it was furthermore protected1 according to ,lanciani1 by the chapel at its base1 called the ,chapel of the ,crucifixion4 ,when1 in #aehf1 ,fontana removed this obelisk to its present position in the centre of the modern ,piazza of modern ,st4 ,peter's1 he re-erected it upon its original classic ,roman crabs1 hiding them by the purely decorative ,sixtine lions of ,prospero ,bresciano1 as they had been hidden in earlier times by the bronze lions mentioned by ,plutarch1 and gone since the sack of ,rome in #aebg4 ,the obelisk in ,constantinople1 referred to above1 is still standing on its four brass 8dice40 ,i ,this story is told in another form4 ,in it ,cardinal ,farnese employs the same ruse to save the life of the young ,duke of ,parma4 ,j ,suetonius1 ,bk4 ,i4 8,and he 7,csar7 mounted the ,capitol by torchlight with forty elephants bearing lamps on his right and on his left40 ,k ,the 8,memoirs of ,madame d',arblay0 relate a touching incident in the life of this exiled ,stuart4 ,daddy ,crump1 ,fanny ,burney's old gossip1 while sojourning in ,rome attended a carnival ball at a certain palace1 where he saw many notables1 among them ,king ,james ,,iii1 as he was always called in ,rome1 and his two young sons--,prince ,charles ,edward and ,henry1 ,duke of ,york4 ,there were numbers of ,english among the guests1 and1 characteristically1 they did not mingle with the other nationalities1 but grouped themselves together in a solid mass at one end of the ballroom4 ,suddenly1 while all were watching the dancers1 ,king ,james1 taking advantage of his mask and official incognito1 crossed the room and placed himself in the front rank of his fellow countrymen4 ,the moment was psychic1 but the 8loyal subjects of the ,house of ,hanover0 8took not the slightest notice of him0 while he stood as his forebears had stood--an ,english king among his own people4 ,daddy ,crump relates with smug satisfaction that the 8,english never moved an eyelid0 during those few minutes when their hereditary sovereign assuaged the passionate homesickness of his exile heart with a brief and tragic make-believe4 ,l ,see ,appendix4 ,m ,compare the sensations produced by this fountain and those given by the 8,rhapsodie ,hongroise40 ,,chronological ,,index ,,of ,,aqueducts ,,mentioned1 ,,ancient ,,and ,,modern ,,ancient ,,date ,,of ,,aqueduct ,,construction ,,page ,appia #cab ,b4 ,c4 #ch1 #bgj4 ,anio ,vetus #bgb-bfi ,b4 ,c4 #ch4 ,marcia #add-adj ,b4 ,c4 #ch1 #abe1 #bff4 ,alsietina 7,under the #bgj1 #bgc4 ,emperor ,augustus7 ,virgo #ai ,b4 ,c4 #ch1 #hf1 #aji1 #adh1 #baf1 #bbi-bcb1 #bce1 #bcg1 #bgj1 #bga4 ,claudia #ch-eb ,a4 ,d4 x1 #bca4 ,anio ,novus #ch-eb ,a4 ,d4 x4 ,traiana #aji ,a4 ,d4 #ad1 #bb1 #bca1 #bgj1 #bga4 ,alexandrina #bbf ,a4 ,d4 #adi1 #baf4 ,,modern ,acqua ,damasiana 7,under ,pope ,damasus7 #h4 ,acqua ,vergine di ,trevi #aegj ,a4 ,d4 #ad1 #ch1 #ij1 #ig1 #ih1 #ajg1 #aji1 #abh1 #ada1 #aii1 #bjj1 #baf1 #bai1 #bcj1 #bcb1 #bcf1 #bdb1 #bgf4 ,acqua ,felice #aehg ,a4 ,d4 #bb1 #ch1 #ci1 #dd1 #abd1 #abe1 #abh1 #adg1 #adi1 #aeb1 #aeh1 #afi1 #agb1 #agh1 #bei1 #bga1 #bgb1 #bhi1 #bij4 ,acqua ,paola #afaa ,a4 ,d4 #e1 #f1 #ba1 #bb1 #cf1 #cg1 #ch1 #gh1 #ada1 #bga1 #bgb1 #bgf4 ,acqua ,marcia ,pia #ahgj ,a4 ,d4 #ch-dj1 #bjj1 #bff4 ,,chronological ,,index ,,of ,,popes ,,mentioned ,,pope ,,date ,,page ,damasus #cff-chd #g1 #h4 ,symmachus #dih-ead #aa-ad4 ,hadrian ,i #ggb-gie #ci1 #eg4 ,celestine ,,ii #aadc-aadd #ac4 ,honorius ,,iii #abaf-abbg #ac4 ,eugenius ,,iv #adca-addg #aih4 ,nicholas ,v #addg-adee #bca1 #bcb4 ,sixtus ,,iv #adga-adhd #ad1 #bc1 #bd1 #bh1 #ca1 #eg1 #hd1 #bcb1 #beb4 ,innocent ,,viii #adhd-adib #ad1 #ae1 #bga4 ,alexander ,,vi #adib-aejc #ad1 #af1 #bd1 #bg1 #bi-cb1 #ec1 #gg1 #agc1 #bec4 ,julius ,,ii #aejc-aeac #bc1 #bi1 #cb1 #fi1 #bec1 #bfc4 ,leo ,x #aeac-aebb #bd1 #cb1 #fi1 #aci1 #aea4 ,adrian ,,vi #aebb-aebc #fi4 ,clement ,,vii #aebc-aecd #fi1 #gj1 #ge1 #aaj4 ,paul ,,iii #aecd-aeej #cb1 #de1 #df1 #eb1 #eh1 #fc-gi1 #aji-aab1 #ahh1 #aih1 #baa1 #bga4 ,julius ,,iii #aeej-aeee #hc-ajd1 #aji1 #ade1 #adh1 #bgh4 ,marcellus ,,ii #aeee #ajb4 ,paul ,,iv #aeee-aeei #aab4 ,pius ,,iv #aeei-aeff #hf1 #hh1 #hi1 #ajb1 #aji1 #aaa1 #aab1 #abj1 #abd1 #adf1 #baf4 ,pius ,v #aeff-aegb #hf1 #ajb1 #aji1 #abj1 #abf1 #acb1 #bcb4 ,gregory ,,xiii #aegb-aehe #ad1 #eb1 #hf1 #hi1 #ajb1 #ajh1 #aji1 #aab-aad1 #abf1 #abi1 #aca1 #aci1 #baf1 #bhh4 ,sixtus ,v #aehe-aeij #ag1 #bb1 #bc1 #bh1 #cg1 #ci1 #dd1 #eb1 #hi1 #ajb1 #ajc1 #ajh1 #aji1 #aac1 #aai-acb1 #aci1 #adf-aeb1 #aee-afe1 #agd1 #bbd1 #bcb1 #bdb1 #bea1 #bga1 #bgb1 #bgd1 #bge1 #bha1 #bhh-bif4 ,urban ,,vii #aeij #aef4 ,gregory ,,xiv #aeij-aeia #aef4 ,innocent ,,ix #aeia-aeib #aef4 ,clement ,,viii #aeib-afje #ajc1 #aef1 #afc1 #bgh1 #bha1 #bhb1 #bij4 ,leo ,,xi #afje #ajc1 #agb1 #bgh1 #bha4 ,paul ,v #afje-afba #c-ah1 #bb-cb1 #ff1 #ajc1 #ade1 #adf1 #adh1 #aeg1 #ahg-ahi1 #baa1 #bbb1 #bcb1 #bgj-bhd4 ,urban ,,viii #afbc-afdd #bd1 #ff1 #agb1 #agf1 #aii-bja1 #baa1 #bbb1 #bbd1 #bce1 #bfb1 #bhc4 ,innocent ,x #afdd-afee #eb1 #bai-bbb1 #bbd4 ,alexander ,,vii #afee-affg #bjb4 ,clement ,x #afgj-afgf #d4 ,alexander ,,viii #afhi-afia #bgc-bge4 ,clement ,,xii #agcj-agdj #eb1 #ee1 #bce1 #bcg4 ,benedict ,,xiv #agdj-ageh #ij1 #bce4 ,clement ,,xiii #ageh-agfi #bbe1 #bce4 ,clement ,,xiv #agfi-agge #ajc1 #ajd4 ,pius ,,vi #agge-ahjj #ajc1 #ajd1 #bda1 #bfb1 #bfd1 #bhi1 #bic1 #big1 #bih4 ,pius ,,vii #ahjj-ahbc #bda1 #bfb1 #bfd1 #bfe1 #bhi1 #bij1 #bic1 #bih-cjj4 ,leo ,,xii #ahbc-ahbi #aji1 #aae4 ,gregory ,,xvi #ahca-ahdf #adg1 #big4 ,pius ,,ix #ahdf-ahgh #ce-dj1 #bbe1 #bii1 #cjj4 ,,alphabetical ,,index ,,of ,,architects1 ,,sculptors1 ,,painters1 ,,and ,,engravers ,,mentioned ,,name ,,date ,,page ,alberti1 ,leon ,battista #adjd-adgb #bcb4 ,amannati1 ,bartolommeo #aeaa-aehf #hd1 #hg1 #hh1 #id1 #ie1 #ig1 #ajj1 #aja1 #abg1 #ade-adh4 ,amici1 ,luigi #ahac-ahig #cf1 #bai4 ,antinori fl4 ca4 #ahjj #bhi4 ,bandinelli1 ,baccio #adhg-aeei #ed4 ,baronino fl4 ca4 #aeej #ajj4 ,barozzi1 ,giacomo1 da ,vignola #aejg-aegc #hd1 #hg1 #id1 #ajj1 #aja1 #aab1 #beb4 ,berettina1 ,pietro da ,cortona #aeif-affi #abj4 ,bernini1 ,giovanni ,lorenzo #aeih-afhj #e1 #bg1 #gg1 #ajh1 #ace1 #aga1 #aha1 #ahe1 #ahf1 #aid1 #aii1 #bjg1 #bjh1 #baa1 #bai-bbe1 #bce1 #bej1 #beb4 ,bernini1 ,pietro #aefb-afbi #aii1 #bjj4 ,betti1 ,bernardino di ,pinturicchio #aded-aeac #gg4 ,bitta1 della ,zappal #ahjg- #cf1 #bbj4 ,bonanni fl4 ca4 #aegj #ag4 ,brazza1 ,count 7the elder7 fl4 ca4 #ahcj #bei4 ,bresciano1 ,prospero fl4 ca4 #aehe #adg1 #afb4 ,buonarroti1 ,michelangelo #adgd-aefd #bc1 #dd-df1 #di1 #eb1 #ed1 #eg-ei1 #fi1 #gc1 #gg1 #hd1 #id1 #aja1 #aji1 #aeg1 #bcf1 #beb1 #bga4 ,canova1 ,antonio #ageg-ahbb #aid4 ,cavalieri1 ,tommaso de fl4 ca4 #aejj #eb4 ,cellini1 ,benvenuto #aejj-aegj #ajj1 #aaj4 ,cruyl #afdj 787 #afe4 ,falda1 ,giovanni ,battista #afdh-afia #ajh1 #aad1 #afe1 #aii1 #bjj1 #bgd4 ,fontana1 ,carlo #afcd-agad #d1 #beb4 ,fontana1 ,domenico #aedc-afjg #bb1 #bc1 #bh1 #cg1 #ch1 #ed1 #hg1 #aai1 #abj1 #abe-abh1 #aca1 #ace1 #ade-aej1 #aee-afe1 #aga1 #bdb1 #bdi1 #bea1 #bgb1 #bge1 #bhh1 #bhi1 #bic4 ,fontana1 ,giovanni #aedj-afda #bb1 #ace1 #bgb1 #bge1 #bgg4 ,gele1 ,claude ,lorraine #afjj-afhb #agf4 ,landini1 ,taddeo -#aeid #aca1 #acf4 ,lazzari ,donato1 ,bramante da ,urbino #addd-aead #af1 #bc1 #bg1 #bh1 #cj1 #bfc4 ,letarouilly #agie-ahfe #if1 #ahf4 ,ligorio1 ,pirro #adic-aegc #de1 #hh4 ,lippi1 ,annibale fl4 ca4 #aeej #aga4 ,maderno1 ,carlo #aeef-afbi #d1 #f1 #ae1 #ba1 #bc1 #cb1 #cg1 #ace1 #aih1 #aii1 #beb1 #bgb1 #bge4 ,maggi #aeff-afbj787 #aee1 #afe1 #bgd4 ,millotti #afe4 ,mari1 ,gianantonio fl4 ca4 #afdh #bai4 ,picconi1 ,antonio da ,sangallo #adhb-aedf #fi4 ,pintelli1 ,baccio #adbj-adhj #beb4 ,piranesi1 ,giovanni ,battista #agjg-aggh #di1 #ic1 #abd1 #adf1 #aeh1 #bbj1 #bdb1 #bgd4 ,porta1 ,giacomo della #aeda-afjd #fi1 #ajg1 #aji1 #aab1 #ach1 #baf1 #bai1 #bbj4 ,porta1 ,giovanni ,battista della #aeci-aeid #adf4 ,porta1 ,guglielmo della -#aegg #gg1 #ace4 ,poussin1 ,nicholas #aegd-affe #agf4 ,rainaldi1 ,carlo #afaa-afia #eb1 #fe1 #bai1 #beb4 ,rainaldi1 ,girolamo #aegj-afee #eb1 #fe4 ,salvi1 ,niccolo #afii-agea #bce4 ,sanctis1 ,francesco de fl4 ca4 #agbe #bjb4 ,sanzio1 ,raphael da ,urbino #adhc-aebj #bc1 #bd1 #bg1 #bh1 #aci1 #adj4 ,specchi1 ,alessandro #affe-agjf #bjb4 ,stern1 ,raphael #agij-ahba #if1 #ajc1 #bij4 ,stocchi fl4 ca4 #ahbe #aji4 ,tenerani1 ,pietro #aghi-ahfi #cf4 ,vacca1 ,flaminio #aecj-aeif #adf4 ,valadier1 ,giuseppe #agfb-ahci #bae1 #bda-bee1 #bfb1 #bfd1 #bfe4 ,vansantio1 ,antonio -#agaj787 #ff1 #ahf4 ,vasari1 ,giorgio #adic-aegc #dd1 #ed1 #eh1 #id1 #aja1 #afd1 #bcb4 ,vespignani1 ,virginio #ahjh-ahhb #cg4 ,watteau1 ,antoine #afhd-agba #ahf4 ,transcriber's ,notes ,punctuation1 hyphenation1 and spelling were made consistent when a predominant preference was found in the original book2 otherwise they were not changed4 ,simple typographical errors were corrected2 unbalanced quotation marks were remedied when the change was obvious1 and otherwise left unbalanced4 ,illustrations in this e,book have been positioned between paragraphs and outside quotations4 ,in versions of this e,book that support hyperlinks1 the page references in the ,list of ,illustrations lead to the corresponding illustrations4 ,footnotes1 originally at the bottoms of the pages that referenced them1 have been collected1 sequentially renumbered1 and placed near the end of the book1 just before the index4 ,the indices were not checked for proper alphabetization or correct page references4 ,the ,errata listed at the beginning of the book have been corrected in this e,book4