Chapter XVIII: Part I: Paris to Marseilles (16)

By referring to the plan, it will be observed that near to the Annunziata are the Academy of Fine Arts and the Church of S. Marco (standing from S.W. to N.E.) We shall commence with _San Marco_, erected in 1290, and enlarged in 1427 by Michelozzi. Interior.—Over central door a “Crucifixion” by Giotto. First altar right, Thomas Aquinas before the Cross by S. di Tito, and an Annunciation by P. Cavallini (covered). Second altar, Madonna and Saints, Fra. Bartolommeo. Third, Madonna. Here a small door opens into the sacristy built by Michelozzi, with statue of Christ by Novelli, and of S. Antonino by Montorsoli. To the left of the high altar is the Chapel of the Sacrament, with paintings by Tito, Empoli, Poccetti, and Passignano. In the left transept is the chapel of S. Antonino, with frescoes by Passignano in his best style, and a painting by Bronzino. Between the second and third altars on this the left side of the church, are the graves of the scholar Pico della Mirandola, d. 1494; the poet Girolano Benivieni, d. 1542; and of Poliziano, d. 1494, tutor to the sons of Lorenzo the Magnificent. To the right of the main entrance is the Convent, now the _Picture-Gallery_, of St. Mark. Open from 10 to 3. Fee, 1 fr. Sundays free. During the 15th and 16th cent. this convent had for its superiors the good Bishop Antonino (d. 1459), Fra. Angelico Fiesole (d. 1455), Fra. Girolamo Savonarola, the great preacher and martyr (1498), and Fra. Bartolommeo della Porta (d. 1517), the best collection of whose works is in this convent. Among the very fine frescoes are—On the door of the church, left hand wall, “St. Peter, martyr, with his hand on his mouth,” B. Angelico. On the end or S.E. wall, “Crucifixion,” with St. Dominic, B. Angelico. The door in the wall opposite the church opens into the refectory, with a fresco representing Angels bringing food to St. Dominic, by Sogliani (d. 1544), pupil of L. Credi. Above is a “Crucifixion” by Fra. Bartolommeo. The door in 271

the south corner of the east wall opens into the chapter-house, with a large fresco of the Crucifixion by B. Angelico. A very famous work. The crucifix on the left is by B. Montelupo, and the other by his son. The door in the middle of the east wall gives access to the picture-gallery in the upper storey. At the foot of this stair is a grand picture, a Last Supper (Cenacolo) by Ghirlandaio, who has dressed the company in the costume of the brotherhood. From this ascend to the first floor to what were the cells or rooms of the monks, ranged on each side of a narrow passage ornamented with paintings in fresco. At the head of the stair is a very beautiful Annunciation by Fra. Angelico, and also by him, on the opposite wall, a St. Dominic embracing the Cross. Opposite the Crucifixion is the best of the corridors. The cells of the right corridor are ornamented with frescoes, principally by Fra. Benedetto, and those of the left principally by his more famous brother, Fra. Angelico. Next the staircase we have the library. Second room, banners used for Dante’s festival in 1865. Next, two frescoes by Benedetto. In the last two rooms, one a little higher than the other, Cosmo de’ Medici (Pater Patriæ) used frequently to reside. His portrait is by Pontormo, “The Jesus of Nazareth” is by Fra. Bartolommeo, and the beautiful fresco by Angelico. In the cell opposite is a Crucifixion by Angelico. In the third room, painted on wood by Angelico, are an “Adoration” and an “Annunciation.” In the fourth, also by him, other two famous pictures on wood, the _Madonna della Stella_ and the _Coronation of Mary_. Turning to the right we find all the cells (as far as that of Savonarola), with paintings by Fra. Benedetto or some pupil of Angelico. In the middle of this corridor is the beautiful Madonna enthroned, an admirable work of B. Angelico. At the end, in a kind of chapel, are two Madonnas on the wall by Fra. Bartolomeo: a Virgin in _terra invetriata_, by L. della Robbia; the bust of Savonarola, full of expression, modelled by Bastianini; and a sketch of the bust of Benivieni by Bastianini. In the two little cells at the side, in which dwelt Savonarola, are preserved some manuscripts, a crucifix, and other objects which belonged to him; as also his portrait painted by Fra. Bartolommeo, and a view of the Piazza della Signoria, with the burning of Savonarola and his companions. Proceeding along the corridor, in which there are no cells on the right for some distance, we come to more frescoes by Benedetto, the best being a “Coronation” in the third cell.

Academy of the Fine Arts.

At the south-west corner of the Piazza San Marco, at No. 34 Via Ricasoli, is the entrance to the Academy of Fine Arts. Open from 9 till 3. Fee, 1 fr. Sundays, free. The principal door is by Paoletti. 272

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

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

Florence: Mosaics. Galleria dei Lavori in Pietre Dure.

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

The Palaces of Florence.

The palaces of Florence are great square edifices of a grand and gloomy aspect, built of dark blue stones (pietra forte) measuring from 3 to 4 feet. The bases, to the height of from 20 to 30 feet, consist of coarsely chiselled rubble work, which lessens the baldness, and contributes character and effect to the from 200 to 300 feet of plain wall. At intervals are strong bronze banner-rings and torch-sockets, while at each corner is a curiously-shaped lamp of wrought-iron. Near the main entrance there is generally a niche, with an opening called a “cantina,” just large enough to allow a quart bottle to pass through, whence various articles of food are transmitted into the house. Those that sell by retail the oil and wine from their estates have painted over this niche “Vino é Olio.” The empty bottle, with the money, having been passed through, it reappears shortly after full. The windows of the first range are generally 10 feet from the ground, and are grated and barred like those of a prison. Under the eaves runs a deep cornice with bold projecting soffits. The roofs of the palaces, as well as those of the smallest houses, are of a low pitch, and covered with tiles of two different forms—a flat tile with ledges on the side, and a tile nearly semi-cylindrical and tapering upwards, which thus covers the interstice between the ledges of the flat tiles. The entrance to the palaces is by a high arched massive gateway, giving access to a court surrounded by 274

an arcade or loggia, whence massive stone staircases lead up to the highest storeys. The lofty ceilings of the principal rooms are decorated, and the beams though displayed, are carved, painted, and gilded, and contribute to the grandeur of the whole. The floors are of thin bricks, either laid flat or edgeways in the herring-bone or _spina di pesce_ fashion. As in Genoa, several of the palaces contain collections of works of art open to the public on certain days. Florence: Palazzo Vecchio. Of these the best are—first, the Palazzo Vecchio, in the Piazza della Signoria, erected in 1218 by Arnolfo di Lapo. It is surmounted by a noble antique tower 305 feet high, commanding an excellent view of Florence. The entrance is through a superb but gloomy court, surrounded by an arcade on massive columns, by Michelozzi, substituted for those of Arnoldo in 1434. They are 8 feet in circumference, and of admirable proportions. In the centre is a neat little fountain by Andrea Verocchio, intended originally for the Villa Careggi. Having traversed this court, ascend first stair left hand, and keep turning to the left the length of the first storey, where take first door right, which opens into the great hall or council chamber, 170 feet long by 77 broad, built in 1495, but altered by Vasari in 1540, who also added the frescoes on the walls and oil-painting on the ceiling illustrative of events in the history of Florence. Now ascend to the second storey, where enter the ante-room to the left, the Sala de’ Gigli, with a grand but injured fresco by Ghirlandaio in 1482. The lintel of the door in this room opening into the next, the Sala d’Udienza, is by Benedetto da Majano. On one of the leaves of the door is a linear drawing of Dante, and on the other one of Petrarch. The Sala d’Udienza is painted in fresco by Salviati, illustrative of Roman history. It communicates with the Cappella S. Bernardo, beautifully painted in imitation of mosaic by R. Ghirlandaio. Near the chapel of St. Bernard (sometimes approached by the four rooms of Eleanora de Toledo, painted by Stradan of Bruges, and at other times by a narrow passage), is a small chapel beautifully painted by Bronzino, and an adjoining chamber painted by Poccetti.

Florence: Dante’s House.

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

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Florence. Palazzo Strozzi, Corsini, Riccardi.

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

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

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

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Park of Florence. Villa Careggi. Palazzo Torrigiani.

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

Fiesole.

At the east side of the town, by the Via Alfieri or Pinti, is the Protestant cemetery, between the Boulevards Eugenio and Amedeo, the latter leading northwards to the Piazza Cavour with the Porta S. Gallo. From this Porta commences the road to the Etrurian city of Faesula, the modern _Fiesole_, 3 miles from Florence, and about 600 feet above it, on the summit of a ridge composed of a dark-coloured sandstone. Rail to Fiesole. Carriage there and back, 8 to 10 fr. From the Porta S. Gallo it is an easy walk of about 2½ miles. See the excellent map of the environs (Dintorni) of Florence, published by the “Istituto Topografico Militare,” 1 fr. Beyond the Porta S. Gallo take the road leading up the left or east bank of the Mugnone for about 1 mile, as far as the Villa Palmieri, where, in 1348, Boccaccio wrote his Decameron. From this the road ascends between walls about 1 mile more to the Church and Convent of S. Domenico, in which Beato Angelico was one of the monks. The church contains an Annunciation by Empoli; a Baptism of Christ by Credi; a St. Francis by Cigoli; and in the choir a Virgin with Saints by B. Angelico. Near S. Domenico is the Villa Landore, which was occupied for many years by Walter Savage Landor. The road striking off to the left or towards the Mugnone, leads to the venerable abbey of La Badia di Fiesole, rebuilt in 1462 by Brunelleschi. The road from St. Domenico to Fiesole is rather steep, and passes, at about two-thirds of the way, the beautiful old mansion with terraced gardens called the Villa Mozzi or Spence, once a favourite residence of Lorenzo il Magnifico, and the place in which the Pazzi conspiracy was formed in 1478. A short way beyond, the road enters the Piazza of _Fiesole_ (pop. 11,500. _Inns:_ Locanda 277

Firenze; Trattoria l’Aurora), famous for views and stone-quarries. One side of the Piazza is occupied by the Cathedral, dedicated to St. Romulus, commenced in 1028, and in form resembling S Miniato. To the right of the high altar is the mausoleum of Bishop Salutati, and a marble tabernacle by Mino da Fiesole in 1465. The frescoes on the ceiling of the chancel are by Ferrucci; and the statue of St. Romulus in a sitting posture by Luca della Robbia or his nephew. In a garden behind the church are the remains of a Roman theatre. The road passing this garden leads to the ruins of the ancient walls, formed of huge uncemented blocks, not parallel, but of different sizes, and some of them indented into each other. Fronting the Cathedral is the commencement of a little stony road leading up to the terrace of a Franciscan convent, commanding a glorious view, and to the church of S. Alessandro, with columns of Cipollino marble.

S. Salvi—Vencigliato—Settignano.

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

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

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

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

To Vallombrosa. Take rail to Pontassieve, 13 miles east from Florence, pop. 11,000. _Inn:_ Italia; where hire coach for Pelago, 278

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

Vallombrosa.

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

Camaldoli. Sacro Eremo. Alvernia.

The abbey of _Camaldoli_, founded by S. Romualdo, a Calabrian anchorite, in 1046, is situated on the torrent Giogana, in a valley surrounded by high mountains. About 2 miles above the monastery, on a hill to the north, by a zig-zag path through the forest, is Il Sacro Eremo, the hermitage of the convent. The church is neat, and possesses an Annunciation in relief by Robbia. From the culminating point of the ridge, the Prato al Soglio, is one of the finest views in this part of Italy. 279

About 14 miles from Camaldoli, on Mons Alvernus, a lofty rock towering above the neighbouring eminences, and split into numberless pinnacles of fantastic forms, full of grottoes and galleries hollowed out by nature, is situated the convent of _Alvernia_, founded by St. Francis in 1213, and inhabited by about 110 monks. From the church a covered gallery leads to the cave with the chapel of the Stemmate, in which St. Francis is said to have received, imprinted on his body, marks similar to those produced on Jesus Christ by the crucifixion. From Camaldoli and from Alvernia return to Bibbiena, where the diligence may be taken to Arezzo, pop. 12,000, whence rail either to Rome, 141 miles south, or to Florence, 54 miles north-west. The drive from Pontassieve to Florence, by the Arno, is very beautiful.

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

(Paragraph shown as printed.)

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

Busalla. Novi.

Genoa to Turin by Alessandria and Asti.

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

Genoa.—The train after traversing the first tunnel emerges at the busy populous suburb of Sampierdarena, 1¼ m. W. from Genoa and 2½ m. E. from Sestri-Ponente. The rail now turns northward and ascends the valley of the impetuous torrent of the Polcevera, traversing six tunnels. Having passed Rivarolo, Bolzaneto, and Pontedecimo, the train arrives at Busalla, 14¼ m. N. from Genoa and 89¼ m. S. from Turin. Busalla is situated on the culminating part of the line (1192 ft.), on the crest which divides the basin of the Adriatic from the Gulf of Genoa. Here also the gradients of the line are highest, being about 1 in 28½ or 35 in 1000. The longest tunnel on the line, the Galleria dei Giovi, 3390 yards, is just before arriving at Busalla. It perforates calcareous schists, and is ventilated by 14 shafts. The scenery, which has been hitherto very picturesque, becomes tame after traversing the last tunnel at Arquata, 26 m. N. from Genoa, in the narrow valley of the Scrivia. 33½ m. N. from Genoa, and 70 m. S. from Turin, is Novi, H. La Sirena, a town of 11,000 inhabitants, situated among hills; where, in August 15, 1799, a great battle took 280

place between the French under Joubert and the Austrians and Russians under Suwarrow, when the former were defeated and their general killed. Novi is 60 m. S.W. from Milan by Tortana, Voghera, and Pavia.

Alessandria.

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

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

Asti.

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

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

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

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

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

General Index

ITINERARY (pages 281–end)

PARIS to TURIN 281

PARIS to MODANE 281

Aix-les-Bains to Geneva by Annecy 286

Modane to Turin 291

Bussoleno to Susa 291

Turin to Torre-Pellice by Pinerolo 305

Torre-Pellice to Mont-Dauphin by the Col de la Croix 306

Perosa to Mont-Dauphin by the Col d’Abriés 307

Perosa to Cesanne by the Col de Sestrières 307

Saluzzo to Mont Dauphin by the Col de la Traversette 308

Cuneo to Barcelonnette (_see_ Barcelonnette to Cuneo) 341

TURIN to FLORENCE by Piacenza, Parma, Modena and Bologna 309

St. Pierre d’Albigny to Courmayeur by the Little Saint Bernard 320

PARIS to MODANE by Lyons, Voiron and Grenoble. This is the route to take to visit the Grande Chartreuse and the picturesque valleys about the formidable group of the Ecrin mountains 322

Grenoble to Sassenage 327

Grenoble to Briançon by Bourg d’Oisans and the Col de Lautaret. A grand mountain road 328

Bourg d’Oisans to La Berarde, at the base of the Ecrin group, by Vosc and St. Christophe 329

Briançon to Mt. Pelvoux by La Bessée and the Val Louise 333, 345

Briançon to Oulx by Mt. Genèvre and Cesanne 333

Grenoble to Corps by La Mure (map, p. 27). From Corps another diligence proceeds to Gap (p. 340). From Corps the pilgrimage is made to N. D. de la Salette 333

Goncelin to Allevard-les-Bains 336

MARSEILLES to GRENOBLE by Gardanne, Aix, St. Auban, Sisteron, Serres, Veynes, Aspres, Clelles and Claix (map, p. 27) 338

St. Auban to Digne 339

Digne to Barcelonnette by La Javie and Seyne (map, p. 304) 339

Digne to Barcelonnette by Draix, Colmars and Allos 339

VEYNES to MONT DAUPHIN-GUILLESTRE station, 51 miles N.E. by rail. Both of these towns are at the French end of several of the important passes between France and Italy 340

Gap to Barcelonnette 341

Barcelonnette to Cuneo (map, p. 27) 341

Gap to Grenoble by Corps (map, p. 304) 342

Mont-Dauphin to Saluzzo (map, p. 304) 344

Paris to Lyons by Saint Etienne (map, p. 27) 346

Paris to Lyons by Tarare (map, p. 27) 348

Lyons to Clermont-Ferrand by Montbrison (map, p. 27) 349

Paris to Marseilles by Clermont-Ferrand and Nîmes (see map on fly-leaf) 351

Moulins to the Baths of Bourbon-l’Archambault by Souvigny and Saint Menoux (map, p. 1) 356

Moulins to the Baths of Bourbon-Lancy by Dompierre and Gilly. Beyond Gilly is Paray-le-Monial (p. 27, map p. 1) 357

St. Germain-des-Fossés to Vichy 359

Clermont-Ferrand to Brive by Laqueuille 376

Laqueuille to the Baths of Mont-Dore and Bourboule 377

Mont-Dore to Issoire by the Baths of St. Nectaire 385

A diligence runs between St. Nectaire and the Coude railway station.

MAPS AND PLANS (pages 281–end)

page

Bologna, Plan of 316

Mont Cenis railway, Plan of 291

This plan shows the railway from St. Pierre-d’Albigny to Turin by Modane and Susa. Rail from St. Pierre to Albertville; whence coach-road to Courmayeur by Moutiers, Bourg-St. Maurice, Seez and the Little St. Bernard. Coach road from Albertville to Annecy on Lake Annecy.

Mont-Dore and Bourboule, Map of environs 378

The French and Italian Waldensian valleys, with the mountain-passes between them 304

Turin, Plan of 293

Vichy, Plan of 359

281

Paris to Turin and the Italian Riviera.

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

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

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