The South of France-East Half Part 40

[Map: Pisa]

[Headnote: LEANING TOWER.]

The _Campanile_ or leaning tower is a cylindrical edifice built of square blocks of compact marble, and consisting of a well-designed solid bas.e.m.e.nt, 159 ft. in circ.u.mference, 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.

[Headnote: BAPTISTERY--CEMETERY.]

The Baptistery is a circular building, 361 feet in circ.u.mference, 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 t.i.tular 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. 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 monument of the oculist Andrea Vacca by Thorwaldsen. To the right commence frescoes ill.u.s.trating incidents in the life of St. Ranieri, the patron saint of Pisa, by Andrea da Firenzi, 1377. Those beyond the second door ill.u.s.trate the temptations and miracles of hermits in the Theban wilderness, by the Lorenzetti. Between Nos. 39 and 40, h.e.l.l. 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 ill.u.s.trating the Crucifixion, Resurrection, and Ascension. On the north wall the most interesting frescoes are by Puccio Orvieto, 14th cent., ill.u.s.trative 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 s.p.a.ce 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. [Headnote: 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).

[Map: Leghorn]

[Headnote: LEGHORN. STEAMERS FOR CORSICA.]

Between Pisa and Leghorn there are trains nearly every hour, distance 11 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, 1 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 Via Vittorio Emanuele, which, commencing at the head of the harbour from the Piazza dei Cantieri, traverses the princ.i.p.al 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. Steam-boats every week for Bastia in Corsica, for Porto Torres in Sardinia, and for Ma.r.s.eilles and Genoa.

+Pisa to Florence by Lucca and Pistoja.+

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

miles from PISA miles to 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.

{15}{47} +LUCCA+ (pop. 22,000). Each portmanteau taken from the station to the cab, 6 sous; bag, 2 sous. Cabs await pa.s.sengers, 1 fr.; portmanteau, 4 sous.

_Sights._--A walk on the ramparts, 3 miles in circ.u.mference, 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.

[Headnote: PALAZZO DUCALE--PICTURE-GALLERY.]

_Hotels:_ Universo, between the Duomo and the Piazza Napoleone, a first cla.s.s-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 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 Caesar, Pompey, and Cra.s.sus, and which attracted to the town half the senate and n.o.bility 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 princ.i.p.al sights. 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 fres...o...b.. 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 s.p.a.ce 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. [Headnote: CATHEDRAL.] 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 facade, 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. 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 gla.s.s, 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 Pa.s.signano; second, Adoration of the Magi, P. Zucchero; third, Last Supper, Tintoretto; fourth, Crucifixion, Pa.s.signano; 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 rec.u.mbent 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. [Headnote: 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 a.s.sistance 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 facade composed of tiers of variously shaped columns. Continuing in the same direction towards the ramparts, we reach +S. Frediano+, of the 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 a.s.sumption 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, G.o.d surrounded by Angels, Saints, and Prophets. 3 m. from Lucca is the Villa di Marlia, in the midst of beautiful grounds.

+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, pa.s.sing 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 Bernabo. A short way westward, overlooking the valley of the Lima, is the Bagno Docceba.s.se, 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, 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 1 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 Docceba.s.se, 85 Fahr., and the hottest the Bagno Caldo, 133 Fahr. The princ.i.p.al 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 princ.i.p.al 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 mult.i.tudes of points of various heights, commanding charming views. Season, May to October.

[Headnote: PISTOJA. CATHEDRAL--BAPTISTERY--PAL. MUNIc.i.p.aLE--S. ANDREA.]

miles from PISA miles to FLORENCE

{40}{21} +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 a.s.sembly, accompanied by six other doctors, while below he is represented in his cla.s.s-room lecturing to nine students. The altar of the chapel, to the right of the high altar, is of solid silver. It is generally covered, but by applying at the sacristy a man will uncover it for 2 fr. It remained unfinished for more than 150 years (1314-1466), and is said to be the finest piece of silversmith's work of that time in Italy, and that 416 lbs. of silver were employed in its execution. Below the chancel is a crypt. Fronting the Duomo is the _Baptistery_, begun 1339 (by C. di Nese), an elegant octagonal structure, also in alternate layers of black and white marble, each corner terminating in a pinnacle.

The font is quadrangular, of panelled marbles, and constructed in the 13th cent. Outside, near the door, is a beautiful stone pulpit.

Adjoining is the Palazzo del Podesta (now the seat of the Tribunale Civile), constructed in 1367, and restored in 1864. The vaults and soffits of the ma.s.sive arches are covered with the armorial bearings of the former mayors of the town; while, to the left of the entrance, are still the stone-seats and tables where they sat in judgment. Opposite is the Palazzo Munic.i.p.ale (14th cent.), and a little way down the street, the Ospedale del Ceppo (13th cent.), with a coloured terra-cotta frieze.

Near the two hotels is the church of _S. Maria dell' Umilta_, built in 1509 by Ventura Vitoni. In the vestibule are large frescoes by Vasari.

Near it is _S. Andrea_ (12th cent.), with quaint reliefs over the entrance door, and in the interior a precious marble pulpit, sculptured by Giovanni da Pisa, 1298-1301. The beadle, for a trifle, illuminates this piece of elaborate sculpture, when it is seen to still greater advantage. Between the two last churches is _S. Filippo da Neri_, with such a quant.i.ty of frescoes, representing angels and saints in glory, that even the visitor on entering feels himself among clouds also. In the Piazza Prato is S. Francesco, with some good frescoes and altar pieces. In the centre of the nave is the tomb of an Englishman, Thomas de Weston, Doctor Legum, 1408. The word pistol is said to be derived from the name of this town, as they have been manufactured here from a very early date. Catiline lost his life in a battle fought near Pistoia, B.C. 62, and the precise spot where he is said to have fallen is marked by a tower.

Pa.s.sengers from Pisa to Florence have generally to change carriages at Pistoja.

11 m. from Florence and 50 m. from Pisa is Prato, pop. 13,100.

_Hotels:_ Giardinetto, Contrucci, surrounded by ancient walls, and defended by a castle built by the Ghibelines. The interior and exterior of the Cathedral are faced with white and green marble in bands. The nave has columns of serpentine. The elevated choir has good frescoes by Filippo Lippi, and in a chapel are others by Agnolo Gaddi (1365).

[Headnote: FLORENCE. HOTELS AND PENSIONS.]

61 m. from Pisa by Lucca, or 49 m. by Empoli, is Florence, 357 m. from Turin, 82 m. from Bologna, 134 m. from Piacenza, 196 m. from Rome, and 60 m. from Leghorn.

+FLORENCE+, on the Arno, pop. 169,000. _Hotels and Apartments:_ On the right or north side of the Arno, the Grand Hotel Royal de la Paix; de la Ville; Grand Hotel d'Italie; Was.h.i.+ngton; Grand Hotel Nueva York; Gran Bretagna; del Arno; and just behind the Paix, the Russie. All these hotels have a south exposure, and are greatly run after in winter.

Charge from 10 to 16 frs. per day, according to the room. The following charge from 9 to 13 frs., and are situated in the new streets a little way back from the Arno, and near the Cascine or Park of Florence (north-west side of plan):--Hotel and Pension Corona d'Italia, Via Montebello; Hotel and Pension Iles Britanniques in No. 42; and Hotel and Pension Venise in No. 33 Via della Scala. In the Iles Britanniques are also furnished apartments at from 250 frs. to 400 frs. per month. Hotel and Pension Couronne d'Angleterre, Via Solferino; Hotel and Pension Anglo-Americain, Via Garibaldi; and the Universo in the Corso Vitt.

Emmanuele. In the busy parts of the town, and charging rather less than the above, the Hotel Milan No. 12 Via Cerretani; Hotel and Pension Angleterre, Via Panzani; and at No. 21 of same street, Hotel Bonciani, with front also to the Piazza S. Maria Novella. Near the bridge La Santa Trinita, and in the Via Tornabuoni are the Europe and Nord. In the Via Porta Rossa the Hotel Porta Rossa; in the Via della Spada the Ville de Paris; in the Via Condotta, La Luna; in the Piazza S. Maria Novella (near the station) Hotel Roma; Minerva; Bonciani, with furnished apartments; and by the side of the station, La Posta and Rebecchino. In the Piazza Maria Novella there are omnibuses for Sesto Fiorentino and a large cab-stand. Conveniently situated for visiting the sights, and not expensive (from 7 to 9 frs. per day), are the H. d'Espagne above the Restaurant Etruria and the Etoile d'Italie in the V. Calzaioli. Pension Suisse, Via Tornabuoni; Le Phnix, Via dei Martelli; Lion Blanc (in which also single rooms are let), Via Vigna Nuova; Cavour, Via del Proconsolo; Commerce, Piazza di S. Maria Novella; Hotel and Pension Rudolfo, Via della Scala. Furnished apartments all over the town. Just outside the Porta Romana, in the Viale Petrarcha, furnished apartments cost from 250 to 400 frs. the month. The most expensive as well as the most fas.h.i.+onable are those situated on the right bank of the Arno; but in the streets a little way back from the Arno apartments can be had for less. It is of very great importance in winter to have bedrooms with a south exposure. Those with a north exposure feel cold even on a sunny day. People who take furnished rooms can dine at very moderate rates in restaurants, such as the Toscana or the Etruria, both in the Via Calzaioli. Best money-changers and restaurants in the Via Calzaioli, between the Piazza della Signoria and del Duomo. Fioravanti and Co., 5 Via Cerretani, change circular notes as well.

_Protestant Churches._--American Church, 17 Via dei Serragli; American Episcopal, 11 Piazza del Carmine; English Episcopal, 5 Via del Maglio; Scotch Church, 11 Lungarno Guicciardini.

_Cab Tariff._--The course, 1 fr.; night (between 7 P.M. to 6 A.M.), 1 fr. 30 c. Time, first half-hour, 1 f. 30 c.; every successive half-hour, 70 c. Large trunks, 50 c.; portmanteau, 25 c. Omnibuses run between the Piazza della Signoria and the old city gates. Fare, 10 c.; Sundays, 15 c.

[Headnote: HINTS AND DIRECTIONS.]

Best maps of Italy and of the environs of Florence at the office of the Topografico Militare, No. 8 Via Sapienza, near the Annunziata. Best plans of the town published by Pineider, in the Piazza della Signoria, and Bettini, No. 12 Via Tornabuoni. They also publish excellent little guides to Florence, with complete catalogues of all the pictures and statues in the various museums and churches. Pineider's is published in English likewise, and costs only a franc. They have a similar one for Rome. For the investigation and study of art in Florence, see the works, _Walks in Florence_ by Susan and Joanna Horner, 2 vols., Isbister and Co., London, and volume 3 of _Hare's Cities of Italy_.

[Map: Florence]

It is fatiguing, and unwise in those who are not students, to wander into every part of Florence to gaze upon every picture and every figure by a great master. The best are all in a few places, which, fortunately, are near each other. For oil-paintings the combined galleries of the Uffizi and Pitti are sufficient. In them the most important room is the Tribuna (p. 238), containing the concentrated excellence of both galleries in painting and antique sculpture. Besides what are in the Tribuna, Raphael has eleven pictures in the Pitti, of which the most famous is No. 266 in the Stanza dell' Educazione di Giove (see p. 244).

Michael Angelo's finest sculpture is in the new sacristy of San Lorenzo (see p. 265), but the best collection of his works is in the _National Museum_ (see p. 261). His David is in the _Accademia delle Belle Arti_ (see p. 272). In the National Museum is the best collection of sculpture by great _Italian Artists_, such as Michael Angelo, G. Bologna, Luca and Andrea della Robbia, Ghiberti; Brunelleschi, Donatello, Pisano, Benvenuto Cellini, Rossi, Mino da Fiesole, and Verrochino, chiefly in the first and sixth rooms of the first floor, and in the sixth room of the second floor. Of the churches, the most important are the Duomo or Cathedral, the Baptistery and Campanile, Santa Croce, San Lorenzo (but particularly the Sagrestia Nuova and the Cappella dei Principi, attached to St. Lorenzo), S. Maria Novella, and the Annunziata. They are open from early in the morning till mid-day, and again from three till six.

The best specimens of fresco painting are in the churches and their cloisters. Remarkable ancient frescoes in the Brancacci chapel of Del Carmine (page 252). Best painting by Cimabue, a Madonna, executed in 1240, in the Rucellai chapel of S. Maria Novella (page 268). Best frescoes by D. Ghirlandaio on the chancel or recess occupied by the high altar in S. Maria Novella (page 268). Best frescoes of A. del Sarto in the narthex of the Annunziata (page 269). Best frescoes of Giotto in the first and second chapels of S. Croce (page 260). Of the palaces the best are the Palazzo Vecchio (page 274), Palazzo Strozzi (page 275), and the Palazzo Corsini (page 275). The best view of Florence is from the top of the dome; the ascent is very easy. The pleasantest drive, with views, is to the Piazza Michel Angiolo, by the Porta Romana and the Boulevards Machiavelli, Galileo, and Michel Angiolo (page 249), studded with handsome villas.

[Headnote: PIAZZA DELLA SIGNORIA. LOGGIA DELL' ORCAGNA. NATIONAL LIBRARY.]

At Florence the Arno is crossed by six bridges. One of these, the _Ponte Vecchio_, differs from all the rest in having shops on each side. By referring to the plan it will be observed that the road to the Pitti Palace with the Boboli gardens, commences at the south end of this bridge; while, at the northern end, commences the Via Por S. Maria, leading to the +Piazza della Signoria+. From the north-west corner of the Piazza della Signoria a fine broad street, the Via Calzaioli, leads to the _Piazza del Duomo_; from the eastern corner the street called the Borgo de' Greci leads into the +Piazza Santa Croce+. It is of great importance to understand the relative position of these three squares.

The chief feature of the Piazza della Signoria is the _Palazzo Vecchio_, a fine specimen of the Florentine castles of the Middle Ages (page 274).

On either side of the main entrance are the terminal statues of Baucis and Philemon, by Bandinelli, and in front the colossal group of Hercules and Cacus, also by him. Opposite is the s.p.a.cious Gothic arcade called the +Loggia dell' Orcagna+, from the name of the architect, or dei Lanzi, from the name of the watchman who formerly guarded the building.

It was usual in the early period of the Republic to provide a s.p.a.ce near the government-house where the people could meet and take part in public affairs; and for this purpose this open gallery was built opposite the Palazzo Vecchio about the year 1376. Five steps, running along the front, lead up to the platform, covered by a vaulted roof, supported on four arches, resting on three columns terminating in beautiful capitals of the Corinthian order. Two s.h.a.ggy lions, in Cipollino marble, ornament the entrance. The lion on the left is by F. Vacca, 17th cent.; the other, on the right, as well as the six statues of Sabine priestesses, along the inner wall, beautiful in att.i.tude and drapery, are antiques, and were brought from the Villa Medici in Rome in 1788. In front, under each arch, stand three separate groups, by celebrated masters of the 16th cent. To the right is the Rape of the Sabines, by G. Bologna, in 1583. Originally this group was intended to represent Youth, Manhood, and Old Age. To the left the statue in bronze of Perseus, with the head of the sorceress Medusa, by B. Cellini. The posture is fine, and full of power and animation, but the head and body of the Medusa are represented streaming with blood with a revolting exaggeration. Also left, Judith and Holofernes in bronze, by Donatello. Behind Perseus is the Rape of Polixena, a marble group, by Pio Fedi, in 1864. In the centre is an antique group supposed to represent Ajax dragging the body of Patrocles--restored by S. Ricci. Next it is the marble group, by G. Bologna, representing Hercules slaying the Centaur. In this Piazza is also the Fountain of Neptune, by Ammanati (pupil of Bandinelli), 1571.