Chapter XV: Part I: Paris to Marseilles (13)

Genoa is singularly constructed around a small bay on shelving ground, rising rapidly from the water’s edge to the height of from 500 to 600 feet. The old part of the town is a labyrinth of crooked streets from 6 to 12 feet wide, and frequently so steep that steps have to be cut in them. The most remarkable of the new streets is the Via di Circonvallazione, composed of a series of lofty terraced “corsos” skirting the face of the hills, commencing at the E. end from the Piazza Manin, 330 ft. above the sea, and extending westward in a zigzag form to the railway station by the Albergo dei Poveri. They are reached from the upper ends of the Vias Palestro, Mameli, Caffaro, and Brignone di Ferrari, by ramps and long stairs. The palaces, another feature of Genoa, are large gaunt mansions, all similar in style—gates 40 feet high, with marble columns—courts paved with various coloured marbles—broad staircases, all of marble—rooms 30 feet high with arched ceilings, and adorned with gilded columns, large mirrors, crystal lustres, and mosaic floors; the roofs panelled, and the panels 214

divided by sculptured figures, and filled with finely executed paintings in oil. The best churches and palaces are in the streets extending in a continuous and slightly curved line from the railway station, at the west end, to the Piazza de Ferrari at the eastern end of Genoa.

Genoa: Palaces. Palazzo Doria.

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

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

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

Genoa: Via Milano. Adjoining the Doria palace is the Via Milano, a terraced promenade lining the western side of the harbour, as the less beautiful but more costly terrace by the Via Carlo Alberto lines the eastern front. Walking _eastward from the station_ the first large building is the Royal Palace, No. 10 Via Balbi. This palace, formerly the property of the Durazzo family, was erected after the plans of P. F. Cantone and J. A. Falcone, while the staircases and terraces, which have been so greatly admired, were by the Chevalier Charles Fontane. The accommodation is extensive, but the rooms are small, excepting the principal 215

reception hall, the theatre, and the library. The pictures are indifferent.

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

Genoa: P. Durazzo Pallavicini.

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

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

We now pass along the Via Nuovissima, and at No. 6 descend to San Siro, which was the cathedral church of Genoa till 985. The high altar is by Puget. The fresco on the roof by G. B. Carlone. The marble columns are all of one piece. Near San Siro, in the confined little square No. 6 Piazza Pellicceria, is the Palazzo Spinola, with many beautiful paintings, such as the Martyrdom of St. Barthélemy and St. Laurent by Ribera, the Four Seasons by Bassano, Virgin and Child by Guercino, a Magdalene by Guido, St. Anne and the Virgin 216

by L. Giordano, the Last Supper by G. C. Procaccini, S. Jerome by Spagnolletti, a Holy Family by Albani, the Four Evangelists by Van Dyck. In the fourth room is the gem of the collection, a Holy Family by Rubens. The frescoes are by Tavarone, G. Sebastiano, Ferrari, and Gallery.

Genoa: Palazzo Rosso.

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

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

Genoa: Palazzo Serra.

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

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

At No. 6 Via Garibaldi is the P. Doria, with a handsome portico and splendid halls containing a choice collection of paintings by 217

P. Veronese, Guercino, Murillo, Van Dyck, Domenichino, and Tintoretto. We now enter the Piazza de Ferrari, with the post office, the principal theatre, the H. Gènes, and the Accademia delle Belle Arti, where young men assemble at night to study drawing, painting, and sculpture. Important trams start from this Piazza. The Staglieno tram stops at the cemetery; the Carignano tram at the church of Carignano.

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

Genoa: S. Ambrogio. Cathedral.

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

On the other side of the Ducal Palace is the Cathedral, built in the 11th cent., but repeatedly restored. The exterior and interior are of black and white marble in alternate bands. The façade consists of three large portals resting on spiral, plain, and twisted columns. The arch of the centre porch has an immense span, bordered by bold fascicled work, while over the doorway is the Martyrdom of St. Laurence in relief. In the interior there is a strange mixture of styles. The nave is separated from the aisles by sombre coloured pillars supporting pointed arches, over which runs a series of round-headed arches. The roof of the choir has frescoes by Teverone. The marquetry of the stalls was executed in the 16th cent. The leading feature, however, in this church is _the chapel of St. John the Baptist_, in the centre of the left aisle. It was built in 1490, and ornamented with statues by G. Porta and M. Civitali, of which the best are those representing Zacharias in his official robes, Elizabeth, and Habakkuk. Under a canopy supported by four porphyry columns is the shrine by D. Terrano (1437), said to contain the ashes of John the Baptist, brought from Mirra in 218

1097. At the end of the right or south aisle is the chapel of Mary, with a Crucifixion by Van Dyck. In the sacristy is preserved a vase once famous under the name of the Sacro Catino (sacred vessel). It was found at Cæsarea, in Palestine, and tradition asserted that it had been presented by the Queen of Sheba to Solomon, and that out of it the Saviour had eaten the paschal lamb with his disciples. It was believed to be of emerald; and a law was passed in 1476, declaring that if any one applied a hard substance to the vase he should suffer death, because it was suspected that the material was only glass.

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

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

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

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

The front portion of the cemetery is rectangular, 656 ft. wide and 820 ft. long, surrounded by a double arcade of marble arches with a span of 21 ft., and 18½ ft. high. Each arch can contain seven tiers of three coffins each, the end space of each narrow cell allowing just room enough to label the date of the death and the name of the occupant. The poorest people are buried in the ordinary way, in the ground surrounded by the arches. The richest have a whole arch to themselves, where all that money can command in talented sculpture is made to 219

do service to the feelings of bereaved friends, by perpetuating the memory of those they have lost, in the choicest and most costly marbles. These lovely statues appeal more to the sympathy of the spectator than the medley contents of even a famous sculpture-gallery. Above this rise other two galleries, and behind the second on the hill side is another large piece of ground. On a level with the first upper gallery, and approached by 77 long white marble steps bounded by a massive parapet of dark greenstone from the quarries of Pegli, is the mortuary chapel, consisting of a great dome supported on 16 round columns, each of one block of black marble 32½ ft. high. In eight niches round the interior are colossal statues of Bible personages, beginning with Eve. The façade rests on six white marble columns 21 ft. high. The whole vast structure of galleries, stairs, walls, and floors is arched into cells and vaults for the dead. Genoa: Albergo dei Poveri. At the N.W. end of Genoa, above the Annunziata, is the workhouse, Albergo dei Poveri, 318 ft. above the sea, on the Via di Circonvallazione, founded in the 17th cent., and containing accommodation for 1300 poor. At the E. end of the city is a large establishment for the insane, called the Regio Manicomio.

The Riviera di Levante; or, Genoa to Pisa.

Distance 102½ miles, time 4½ hours by “direct” train. See Maps, pages 199 and 211.

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

Nervi.

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

Nervi, with the neighbouring town of Bogliasco, forms one continuous narrow street 2 m. long, hemmed in between houses and 220

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

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

Chiávari.

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

Spezia.

GENOA PISA 56½ 46 SPEZIA, pop. 11,500, 1 m. from station. Spezia, although near good scenery, has nothing attractive itself; neither does it make a suitable winter residence. It has some excellent hotels bordering the spacious corso along the beach, the best being the “Croce di Malta,” a large and handsome building, 10 to 15 frs. Then follow the H. 221

National; the Italia; and, below the arcade, the Brettagna, all first-class, but the Brettagna is the most moderate. Boats with one man, 1½ fr. per hour; with two men, 2 frs. In 1861 Spezia was made a station of the Italian navy. As a harbour it is one of the finest and largest in the world. Napoleon I. intended to have made it the Mediterranean harbour of France. The Royal Dockyard, at the southwest side of the town, occupies 150 acres; while the artillery magazines, in the bay of S. Vito, cover an area of 100 acres. On the W. side of the bay is the picturesque Porto Venere, the ancient Portus Veneris, 8 m. distant by land, 10 frs. per carriage 1½ hr., or boat 2½ hrs. The marble of Porto Venere is black, with gold-coloured veins.

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

Sarzana.

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

The Bonaparte family lived in this town till 1612, when they removed 222

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

Avenza. Carrara.

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

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

The churches present nothing remarkable; the marble of the exterior walls of the cathedral has become brown, while that of the interior is 223

nearly black. In the Accademia delle Belle Arti are some good copies of the works of great artists and a few Roman antiquities found chiefly in the mines of Fantiscritti.

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

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

Viareggio.

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

Pisa.

opp. 224 plan of Pisa

Pisa: Piazza del Duomo. Cathedral.

GENOA 105 PISA, pop. 26,300. _Hotels:_ On right bank of the Arno, in the Lung’ Arno Regio, the *Grand Hotel; *Bretagna; *Nettuno; Londra. Close to station, right hand, the *Minerva et de la Ville; Washington; 224

left hand, Commerce. Behind the H. Bretagna is the Anglican church. On the left side of the Arno, opposite the Victoria, is the Post-office. Cab-stand at the station. _Fares._—From the station to the cathedral, with from one to two passengers, 1 fr.; from three to four, 1 fr. 15 sous. The hour, 2 fr. From the station go straight up the Via Vittorio Emanuele to the Arno, where cross the bridge and walk down the river to the fifth street right, the Via Santa Maria, crossed by an arch at the commencement. The Via Santa Maria leads directly to the Piazza del Duomo, containing, in a row, the Leaning Tower, the Cathedral, and the Baptistery, and immediately behind, the Campo Santo, with frescoes considerably effaced, yet valuable as specimens of the Tuscan school of the 14th and 15th centuries. Fee for the Campo Santo 25 cents each.

The _Cathedral_, commenced in 1063 by the Greek architect Buschetto, was completed in 1092. The exterior is adorned with a range of blind arches decorated with party-coloured marble. Four open arcades, similarly constructed, rise over the western entrance, with the beautiful bronze doors of John of Bologna, as well as over those at the southern entrance by Bonano. Both doors are covered with a profusion of figures in delicately wrought iron, representing saints, prophets, and various other objects, enclosed in an elegant border of birds, foliage, fruits, and flowers. The internal length of the church is 311½ ft., and of the transepts 252 ft. The roof of the nave is 109 ft. high. A double row of columns runs up the nave, and a single row along the transepts and choir. Sixty of them are of oriental granite, and the rest (14) of fine marble, and each of one piece. The arches resting on them are semicircular, and are mostly in alternate layers of white and black marble. The roof is covered with richly gilt panelling. The altars are by Michael Angelo, and are arranged in pairs, each couple opposite each other being alike, excepting the two at the opposite ends of the transepts, which, however, are similar in design. One represents the fall by woman, and the other the reconciliation by woman in the ascension of the Virgin. Over the high altar, on the semidome, is a colossal Mosaic by G. Gaddi, in 1325. Among the best of the paintings are four of saints by A. del Sarto, near the bishops’ chairs. Here also are paintings of Moses and Aaron, St. Luke and St. John, by Beccafumi, and the Sacrifice of Abraham and the Entombment by Sodoma. Upon a pier of the right transept is a St. Agnes by A. del Sarto, and on the corresponding pier of the left transept a Madonna by Perino del Vaga. In the right 225

transept notice the altar of St. Blaise, the chapel and tomb of S. Ranieri, the great picture of the Virgin with Saints by del Vaga and Sogliani. In the left (north) transept is the chapel of the Holy Sacrament, with a beautiful silver ciborium. The windows are small, but have some fine stained glass of the 14th and 15th cents. Galileo, while a student at Pisa, discovered, by observing the oscillations of the lamp suspended in the nave, that the vibrations of a pendulum are synchronous, or recur at equal intervals whether great or small.

Pisa: Leaning Tower. Baptistery.

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

The Baptistery is a circular building, 361½ feet in circumference, surmounted by a dome 180 feet high, and constructed after the designs of Diotisalvi. It was commenced in 1153 and finished towards the end of the 14th cent. Above the third storey rises the dome, intersected by long lines of very prominent fretwork, meeting in a cornice near the top, and terminating in a small dome crowned with a statue of St. John the Baptist, the titular saint of all such edifices. In the interior eight large Sardinian granite columns and four marble piers support twelve arches, over which rises the tier of piers and arches which support the cupola, within conical, but externally hemispherical. In the centre stands an octagon marble font for the baptism of adults, with four circular compartments at opposite sides for the baptism of infants. The beautiful pulpit by Niccolo da Pisa (1260) is ornamented with bas-reliefs, and supported on seven columns. Pisa: Cemetery. Behind the Baptistery is the _Campo Santo_, founded about the year 1189 by the Archbishop Ubaldo. It is a rectangle 424 feet long by 145 broad, and surrounded by a broad gallery with a plain wall to the exterior, and 62 mullioned arches with quatrefoil tracery towards the interior. The inner side of the wall is covered with paintings in fresco, begun about the year 1300, and continued till 1670. Immediately to the left on entering is the 226

monument of the oculist Andrea Vacca by Thorwaldsen. To the right commence frescoes illustrating incidents in the life of St. Ranieri, the patron saint of Pisa, by Andrea da Firenzi, 1377. Those beyond the second door illustrate the temptations and miracles of hermits in the Theban wilderness, by the Lorenzetti. Between Nos. 39 and 40, Hell. Above 38, the Day of Judgment. Then, by Orcagna, the Power of Death,—filling those living in pleasure with horror, but those in sorrow with joy. Now follow (in the eastern side) the oldest of the three chapels, and frescoes illustrating the Crucifixion, Resurrection, and Ascension. On the north wall the most interesting frescoes are by Puccio Orvieto, 14th cent., illustrative of events in the Old Testament. On the west wall is hung part of the chain the Pisanos caused to be drawn across the mouth of the harbour, which, however, Conrad Doria broke through in 1290, burnt the fleet of Pisa, and carried off the chain to Genoa. A few years ago, according to the inscription, the Genoese returned it to Pisa. On the wall, under the chain, is the monument to Giov. Niccoli Pisano; and, a little to the right, a Madonna by that famous sculptor. The empty space within the cloisters was once the common burying-ground of the city. It is filled, to the depth of ten feet with earth brought from the Holy Land by the galleys of Pisa. Pisa: S. Maria della Spina. Among the other churches may be mentioned Santa Maria della Spina, on the bank of the Arno (a low square church)—an excellent specimen of the Moorish-Gothic introduced into Italy in the 11th cent. The churches of St. Matteo, St. Pierino, St. Michele in Borgo, St. Andrea, and St. Francisco, contain a few curious and some good paintings, with other antiquities. The church of St. Stephano is reputed to contain the bones of St. Stephen. The palaces of the Cavaliers, Lanfreducci, Seta, and Casa Mecherini, are worthy of notice.

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

Leghorn.

opp. 226 plan of Leghorn

Between Pisa and Leghorn there are trains nearly every hour, distance 11¼ miles. Leghorn (pop. 90,000). _Hotels:_ In the Piazza del Cantiere, the Nord, fronting the harbour; and close by, in the Via Vittorio Emanuele, the Bretagne; New York; France; and at No. 59 of the same street, Il Giappone. Anglican church in the Scala degli Hollandesi. Presbyterian church, No. 3 Via degli Elisi. Cabs per hour, 1½ fr. Boat from the hotel to the steamer, 2 fr. Leghorn has many handsome and well-paved streets; among the best of them is the 227

Via Vittorio Emanuele, which, commencing at the head of the harbour from the Piazza dei Cantieri, traverses the principal square, the Piazza d’Armi, with the cathedral, and extends to the Piazza Carlo Alberto. Its continuation, on the other side of the square, the Via Larderel, extends to a large building on the right hand crowned with a semi-dome. This is the grand reservoir, supplied with water from the mountains Colognone by an aqueduct 12 m long. Smollett died at Leghorn just after completing “Humphrey Clinker,” and was buried in the English cemetery. Leghorn: Steamers for Corsica. Steam-boats every week for Bastia in Corsica, for Porto Torres in Sardinia, and for Marseilles and Genoa.

Pisa to Florence by Lucca and Pistoja.

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

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

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

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

_Hotels:_ Universo, between the Duomo and the Piazza Napoleone, a first class-hotel; Croce di Malta, near the Piazza Napoleone; and the Corona, near the Piazza also, but towards the church of St. Michele. Diligence to the Baths of Lucca start from a court opposite the H. Corona. Distance, 17 miles. Fare, 3 fr. Carriage, 15 fr. Money-changer in the Piazza dell’Erba, off the P. Napoleone. Lucca is one of the most ancient cities in Italy. Originally it belonged to 228

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

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Loftiness and simplicity, verging on plainness, characterise the interior of this church, as well as those of all the others in Lucca, with the exception of San Romano, which is profusely decorated. The windows are small and filled with modern glass, excepting the three at the eastern end, which are by P. Ugolino. All the pictures are covered, excepting on Sundays and feast-days, but the custodian can always be found in the sacristy, who shows the church for a franc. Commencing at the first altar, right hand from main entrance, Nativity, by Passignano; second, Adoration of the Magi, P. Zucchero; third, Last Supper, Tintoretto; fourth, Crucifixion, Passignano; fifth, Resurrection. In south transept, west side, is the monument to Pietro da Noceto, one of the many admirable works by Matteo Civitali, to whose genius the church owes its best sculpture, which he contributed during a period of nearly thirty years from 1472. The angels on the altar in the Chapel del Sagramento, opposite the monument, as well as the whole of the chaste white marble altar in the Chapel of St. Regulus, adjoining the sacramental chapel, are by him. On the left side of the high altar is the altar to “Christo Liberatori,” by G. Bologna, and adjoining, La Cappella del Santuario, where again we find the beautiful handiwork of Civitali displayed on the altar and reliquaries on both sides. The Madonna which forms the reredos of the altar is by Fra Bartolommeo. This picture and the Madonna by Ghirlandaio (1400), in the sacristy, are the two gems in the church. Just outside the Cappella del Santuario is a recumbent figure of _Ilaria del Carretto_ by Jacopo della Quercia (1444), unfortunately slightly mutilated, yet a beautiful imitation of the repose of nature transferred to statuary. Lucca: The Tempietto. S. Giovanni. S. Frediano. In the north aisle is the Tempietto, a small octagonal chapel standing apart, in which is preserved the cedar wood crucifix, 8th or 9th cent., said to have been carved by Nicodemus with the assistance of an angel. The fresco on the left side of the main entrance into the Duomo represents him cutting it out. This cross is exhibited three times a year. The embroidery on the red curtain is an exact copy. The figure of S. Sebastian on the Tempietto, as well as the elegant pulpit opposite, are by Civitali. Opposite the cathedral is San Giovanni, founded in the 12th cent. The baldness of its great walls is partly relieved by the coloured panelled ceiling. Leaving the Piazza Napoleone by the western corner of the Palazzo Provinziale, we soon reach the Piazza and Church of San Michele, founded in the 8th cent., with a lofty façade composed of tiers of variously shaped columns. Continuing in the same direction towards the ramparts, we reach S. Frediano, of the 230

7th cent., with a large Mosaic (12th cent.) over the main entrance. Just within it, on each side, are frescoes by Ghirlandaio. To the right is an ancient circular font about 9 feet in diameter, beautifully carved in relief by Magister Robertus in 1151. The font at present used is against the wall, and is by N. Civitali, the nephew of Matteo. The second chapel on the right contains the tomb of St. Zeta, the patroness of Lucca, in a sarcophagus on the altar. Third chapel beyond this (east side) is a coronation of the Virgin by Francia, and on the opposite wall of the same chapel a curious old carving in relief, representing the assumption of the Virgin. On the opposite side of the church is a chapel covered with ancient frescoes by Aspertino, one of which represents the transporting to the church of the cross made by Nicodemus after it had been found in the sea. By the side of it is St. Augustine being baptised by St. Ambrosius at Milan; and above them, in the semicircle, an entombment. Opposite is S. Frediano (who was an Irishman) staying by prayer an encroachment of the sea, and an Adoration of the Magi. Above is St. Ambrosius instructing his disciples. On the ceiling, God surrounded by Angels, Saints, and Prophets. 3½ m. from Lucca is the Villa di Marlia, in the midst of beautiful grounds.

The Baths of Lucca.

The Baths of Lucca.

17 miles from Lucca. See Map, page 199.

The road ascends by the left bank of the river Serchio, through pleasing scenery, passing the town of Muriano, situated on the right side of the river. About 13 miles from Lucca is the curious bridge of the Maddalena, consisting of four arches, the arch next the village of Borgo being disproportionately large, and with a gradient from the bank to the centre of 60°. It is only 4 feet wide, and, although built in 1322, is the only bridge across the Serchio that withstood uninjured the great flood of 1836, when the Serchio attained in three hours a height till then unknown, and swept away with irresistible fury all the other bridges, and broke up the mounds, dikes, and embankments. The two villages (pop. 9500) which go under the name of the Baths of Lucca are _Il Serraglio_ on the left bank, and _Corsena_ on the right bank of the Lima, near its junction with the Serchio. On the hill behind Corsena are the springs and bathing establishments. By the side of the Lima is the Bagno Cardinali, close to the Casino; and about 100 feet above the Cardinali is the Bagno Bernabó. A short way westward, overlooking the valley of the Lima, is the Bagno Doccebasse, and immediately below it the Bagno dello Spedale-Demidoff, for the exclusive use of the poor. On the top of the hill, among some houses, is the Bagno Caldo, and a little to the east, standing by itself, the Bagno San Giovanni. _Hotels:_ the best are Pagnini’s Hotel and Pension, next the Casino; and the America, nearer the bridge. On the opposite side of the river, in Il Serraglio, 231

are the New York, and the Corona, plainer houses. A mile up the river by the right bank, along a beautiful road, the Strada Elisa, is another village, which is also included in the Baths of Lucca, the Bagno alla Villa, the most beautifully situated of the three. _Hotels:_ At the entrance of the village, the H. and P. Queen Victoria. At the foot of the hill on which the bathing establishment is situated, the H. and P. du Pavilion and the Anglican chapel. Near them the H. and P. du Parc. The pension price in all, both here and at Corsena, is from 7 to 11 frs. _Cabs:_ First hour, 2 fr.; afterwards 1½ fr. Numerous furnished houses to let. From 400 to 1000 fr. for six months.

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

Pistoja. Cathedral. Baptistery.

PISA FLORENCE 40½ 21½ PISTOJA (pop. 13,600). _Hotels:_ Globe et Londres; Inghilterra, both in the Piazza Cino. Cabs from the station to the hotels, 1 fr.; portmanteau, 20 c. Next the H. Inghilterra is the church of S. Giovanni, erected at the end of the 12th cent., in alternate layers of black and white marble. The sculptured pulpit, resting on lions, is supposed to be by Fra Guglielmo of Pisa, 1270. The centre of interest is in the Piazza Duomo, easily found from different parts of the town by means of the lofty Campanile, the “Torre del Podesta,” which rises above all the other buildings. By the side of it is the Duomo, a plain edifice, built in 1240. Over the central door is a Madonna, with angels, by A. della Robbia, and over the side-door frescoes by Balducci and Giovanni Christiani, 1369. To the right, on entering, is the monument to the jurist Cino (1336). In the upper tier he is represented addressing an assembly, accompanied by six other doctors, while below he is represented in his class-room lecturing to nine students. 232