The South of France-East Half Part 51

{185}{105} +MODENA+, pop. 31,000. _Hotels:_ Reale; San Marco; Italia. Their omnibuses await the trains. _Cabs_--one horse, 80 c. the course, 1 fr.

50 c. the hour; 2 horses, 1 fr. the course, 1 fr. 70 c. the hour.

Modena (_Mutina_, Lat.), the capital of the former duchy of Modena, is a clean and well-built town surrounded by ramparts, some of which serve the inhabitants as promenades. The country around is flat and fertile.

A ca.n.a.l connects the town with the Panaro, a tributary of the Po, by which means water communication with the Adriatic is obtained.

The +Cathedral+, begun in 1099, is in the centre of the city. Its exterior is irregular, and enc.u.mbered with houses. The princ.i.p.al facade is small but pleasing, with a large rose window and three doorways. On the side next the Piazza Grande is a handsome porch, with columns resting on rudely-carved lions of red marble. The interior, though low, and dest.i.tute of paintings of merit, is interesting, especially for the sub-choral chapel, with a roof supported by many marble columns. At the entrance of this chapel is a group of lions, and in one corner life-size figures in coloured terra-cotta, by Begarelli, representing the Nativity. In the church notice the holy-water fonts, which look as if they were the hollowed capitals of ancient columns, and the stone pulpit with bas-reliefs. On the right side of the choir are some curious old bas-reliefs, including one of the Last Supper; and on the left side of the choir is the mausoleum of the last Duke of the house of Este in the male line, died 1803. The _Campanile_, one of the finest in Italy, 315 feet high, was erected in the 13th and 14th cents. It received the name of Ghirlandina from its vane being ornamented with a bronze garland. At the head of the Corso Vittorio Emanuele is the +Ducal Palace+, an immense pile, containing the Picture-Gallery, occupying several halls in the upper stories, with an entrance on the north side. It is open daily from 9 to 4. The collection comprises between 500 and 600 pictures, amongst which, though there are no _chefs d'uvre_, are many good ones.

The gallery once ranked high amongst Italian galleries, but towards the end of the last century 180 pictures were sold, including five Correggios, to the King of Poland (they are now at Dresden); and the Duke when expelled in 1860 took away with him a few more of the best. In two of the rooms are glazed cases full of drawings and sketches by the old masters. Amongst them is a drawing in sepia for Tintoretto's masterpiece, the Miracle of St. Mark at Venice. In a room kept locked, but which the custode will open on application, are some interesting cabinets (one designed, it is said, by B. Cellini, another of amber, a third of tortoise-sh.e.l.l); also bronzes, carving in wood and ivory, majolica, enamels, etc. Amongst other curiosities is a "Presepio," with numerous figures in coral, the metal work being of silver.

The _Library_, on the same staircase as the Pinacoteca, contains about 100,000 printed books (including 2500 quattrocentisti) and 3000 MSS.

placed in several halls, one of which is very large. Also a few Roman and Etruscan antiquities, and the series of coins and medals struck at Modena. In the suppressed convent of S. Agostino, near the gate of that name, is the Museo Lapidario. Among the articles is a block of stone obtained from the ancient Via Mutina, at a depth of 18 feet below the surface. On the other side is a collection of mediaeval tombs. In the church of St. Agostino is a terra-cotta group, by Begarelli, of the Entombment. M. Angelo spoke very highly of this artist's works.

The _Ducal Garden_ is a prettily laid out piece of ground, which is open to the public daily from the early morning to the evening.

[Headnote: BOLOGNA.]

{208}{82} +BOLOGNA+, pop. 91,000. _Hotels:_ Brun; Italia; Bologna; Aquila Nera; del Pellegrino; Tre Re; Venezia; Commercio. _Restaurants:_ Stelloni; Felsineo. Omnibuses from the hotels meet the trains. _Cabs_--one horse, the course, 75 c.; by the hour, 1 fr. 50 c. To or from the railway station, without luggage, 1 fr.

Bologna is a walled city, with twelve gates, situate on a fertile plain near the foot of the Apennine range. The Bolognese school of painting is called the Scuola Caraccesca, from its founders, Lodovico Carracci (b.

1555, d. 1619), and his two cousins Annibale (b. 1560, d. 1609) and Agostino, a man of erudition, who furnished the general plan of the pictures. Their most distinguished pupils were Guido Reni (b. 1575, d.

1642), Domenichino (b. 1581, d. 1641), Lanfranco (b. 1581, d. 1647), G.

Barbiere, called Il Guercino, from his squinting (b. 1590, d. 1666), Michel-Angiolo da Caravaggio (b. 1569, d. 1609), and Carlo Cignani (b.

1628, d. 1719); beautiful specimens of whose works are to be seen in the various churches, but especially in the picture-gallery of the "_Accademia delle Belle Arti_," situated at the north-east end of the town, near the Porta S. Donato (see plan). It occupies eight rooms of the first floor, contains 360 paintings, all bearing the names of the artists, and is open from 9 to 3. Free on Sundays. The gem is St.

Cecilia, by Raphael.

The other best works are:--12. _Guercino_.--St. William; 13, St.

Bruno; 15. St. John the Baptist; 18. St. John the Evangelist. 26.

_Bugiardini_.--Marriage of St. Catharine. 34. _Agostino Caracci_.--Last Communion of St. Jerome, one of his finest paintings; 35. a.s.sumption. 36. _Annibale Caracci_.--Virgin and Child, with Angels and Saints; 37 Virgin enthroned, with Saints. 39, 40. _Lodovico Caracci_.--a.s.sumption; 42. Saints (Bargellini portraits) adoring the Virgin and Child; 43. Transfiguration; 44. Calling of St. Matthew; 46.

St. John the Baptist; 47 to 53. Pictures by the same artist. 70. _M.

Desubleo_.--Christ appearing as a Pilgrim to St. Augustine. 75.

_Lavinia Fontana_.--St. Francis de Paul. 78. _Fr. Francia_.--Virgin and Saints (1490), extremely fine; 79. Annunciation; 80. Virgin and Saints; 81. Virgin and Saints. There are several other unnumbered pictures by this master on frames. 84. _Giacomo Francia_.--Virgin and Saints; 85. Virgin and Saints. 89, 90. _Innocenzio da Imola_ (an imitator of Raffaello).--Virgin and Saints. 122. _Nicola da Cremona_--Descent from the Cross.. 134. _Guido_.--Madonna with the Protectors of Bologna; 135. Ma.s.sacre of the Innocents; 136.

Crucifixion; 137. Samson with the a.s.s's Jawbone; 138. The Virgin of the Rosary (this is on silk, and was carried in processions); 139.

Bishop Corsini; 143. Portrait of a Carthusian. 152. _Raphael_.--ST.

CECILIA, with other Saints, listening to the Music of the Angels (the instruments of secular music lie broken on the ground). This celebrated composition, painted in 1515, is well known from copies and engravings. 175. _Elisabetta Sirani_.--St. Anthony of Padua; 176.

Madonna. 181. _L. Spada_.--Melchisedec blessing Abraham. 183.

_Tiarini_.--St. Catharine of Alexandria. 197. _Perugino_.--Virgin and Saints. 204. _Timoteo delle Vite_.--Magdalene. 206.

_Domenichino_.--Martyrdom of St. Agnes; 207. Madonna of the Rosary; 208. Martyrdom of St. Peter of Verona (the same subject as that treated by t.i.tian in a picture lately burnt at Venice). 212.

_Unknown_.--Sleeping Child. 291. _Desubleo_.--St. John the Baptist.

292. _Innocenzio da Imola_.--Virgin and Saints. 294.

_Bugiardini_.--Madonna. 360. _Aluno_ (_Nicolo da Foligno_).--Virgin and Saints (given to the Gallery by Pius IX.)

[Headnote: PICTURE-GALLERY--UNIVERSITY.]

In the same building is a collection of old arms and armour (_Oploteca_), and on the ground-floor a few good modern pictures.

A collection of original drawings is preserved in the library.

Nearly opposite the Accademia is the University, with about 430 students, directed by 59 professors, of whom, among the most famous, have been Galvani, the first that observed the phenomena of Galvanism, Laura Ba.s.si, a lady professor (d. 1778), and Giuseppe Mezzofanti (d.

1849), who spoke fluently upwards of forty-two languages. From the tower is a good view of the town. Attached to the University is a Museum of Antiquities and a Library. The Geological Museum is in a separate building. From the University, walking towards the leaning towers, we pa.s.s, in the Strada Donato or Luigi Zamboni (see plan), the oratory of St. Cecilia, the church of S. Giacomo, and (14) the Palazzo Maloezzi-Medici; and shortly after, stand below two of the peculiar kind of watch-towers used in Italy during the middle ages.

[Map: Bologna]

[Headnote: S. GIACOMO.]

_S. Giacomo Maggiore_ was built in 1267, but subsequently restored. In the 6th chapel right is a fine work by Bart. Pa.s.sarotti, the Virgin on a Throne, with Saints; in the 7th, Prospero Montana's St. Alexis; in the 8th, Innocenzo da Imola's Marriage of St. Catharine; in the 11th, three pictures by Lor Sabbatini; in the 12th, two frescoes by Pellegrino Tibaldi, the Baptism in the same chapel is by P. Fontana. At the end of the church, to the left of the altar, is the Bentivoglio chapel, with Francesco Francia's best work, a "Madonna," the lunette above by Giacomo Francia. The 5th, 7th, and 10th chapels, on the left side of the church, contain good pictures, and in the 9th is Samacchini's Presentation in the Temple, which was engraved by Agostino Caracci.

[Headnote: THE TWO TOWERS.]

In St. Cecilia are frescoes representing the legend of St. Cecilia and St. Valerian, by F. and G. Francia, Costa and Amico Aspertini. During the French occupation they were considerably damaged. At the commencement of the Strada Donato are the +Two Towers+ (28 in plan), seen from a great distance. The taller, the _Torre degli Asinelli_, commenced in 1109, is 272 feet high, with an inclination of 3 feet, and ascended by a rickety dirty staircase of 447 steps to the summit, whence there is the best view of the town. The Torre Garisenda, commenced in 1110, is 139 feet high, with an inclination of 8 feet. From the towers, the Mercato di Mezzo leads W. to the _Piazza Vittorio Emanuele_, with, on the S. side, the church of S. Petronio; on the N., the Palazzo del'

Podesta; on the E., the Pal. dei Banchi; and on the W., the Pal.

Pubblico, an immense edifice, commenced in 1290, consisting of various buildings thrown together. In front is the Fountain, by Laureti, adorned with a statue of Neptune, by Bologna.

[Headnote: S. PETRONIO.]

+S. Petronio+, commenced in 1390, but still unfinished, is of brick, and in the pointed arched Gothic style. The doorways of the facade are remarkable works; the middle one was by Jacopo della Quercia (1425). In the interior, notice on the right side the stained gla.s.s of the 4th chapel; Sansovino's statue of St. Anthony of Padua, and Treviso's grisaille pictures relating to that saint in the 9th chapel; the windows are said to be from M. Angelo's designs; in the 11th chapel, a bas-relief, an a.s.sumption, by Tribolo, with Angels at the sides, attributed to Properzia de' Rossi, a Bolognese lady (d. 1535), who was at once painter, sculptor, engraver, and musician. The campanile is over this chapel. The large fresco of the choir is by Franceschini. On the floor of the left aisle is the meridian line traced by Ca.s.sini in 1652.

In the 1st chapel, on this side, is some modern Milanese gla.s.s; in the 7th, a Madonna, by L. Costa; and in the 10th, Sa. Barba, by Tiarini. At the southern end of the church is (29 in plan) the Biblioteca Comunale, in the building called the Archiginnasio Antico, originally the University, before it was removed to its present edifice. Besides the Library, open daily from 10 to 4, it contains a valuable Museum of Antiquities. Between S. Petronio and S. Stefano are (17) the _Pal. della Mercanzia_, the Chamber of Commerce, erected in 1294; (18) the Pal Pepoli, 1344; and (9) the Casino. [Headnote: S. STEFANO.] +Santo Stefano+ is a combination of ancient churches, chapels, and courts, on the site of a temple dedicated to Isis. Enter first the Church of the Crucifix, so named from the old painting at the great altar. In the 1st chapel on the right is a picture by Muratori; in the 2d on the left St.

Elisabetta, by Gessi. Then pa.s.s through a small chapel into the circular chapel styled San Sepolchro, which contains the tomb of St. Petronius, with curious carvings, and a miraculous well, considered to have healing virtues. This building is thought to have been formerly the baptistery of the next chapel (originally, perhaps, the princ.i.p.al chapel), dedicated to St. Peter and St. Paul. From a small court, called the Atrium of Pilate, from its alleged resemblance to that at Jerusalem, we gain access to the chapel of the Trinity, which contains four marble columns said to have belonged to the temple of Isis, and some pictures by Tiarini and others. There are ancient mural paintings in the sanctuary dedicated to Our Lady of Consolation; and in the subterranean chapel of the Confession, a broken column is shown which is said to afford the measure of the Saviour's height. After visiting a cloister, where the columns show much variety of form, we have made the complete tour of this singular labyrinth of buildings, which are of great interest to the ecclesiologist. Behind Santo Stefano in the Strada Maggiore are (beginning at the leaning-towers' end, see plan), 2, S.

Bartolommeo; 23, the Pal. Zampieri; 24 is the house of the celebrated composer Rossini, built by him in 1825. On the opposite side is the church Ai Servi, and No. 13 the Pal. Hercolani, once famous for its collection of pictures. [Headnote: S. BARTOLOMMEO. PAL. ZAMPIERI.

S. DOMENICO. GUIDO'S TOMB.] _San Bartolommeo_, built in 1653, has some fine marbles and rather a gaudy dome. In 4th chapel right an "Annunciation," by Albano. The paintings behind the high altar are by Franceschini. In the left transept, an oval picture of the Madonna, by Guido. The Latin inscription on the wall relates how it was returned from London in 1859. _Palazzo Zampieri_ (admission, fr.), although deprived of most of the pictures, still retains the admirable frescoes by Agos. Annibale, and Lod. Caracci and Guercino. The church of _Ai Servi_, built 1393, has a fine interior, with thin columns. In the 2d chapel left is a "Touch-me-not," by Albano; and in the 4th, a St.

Andrew, also by him. In the 6th chapel an "Annunciation" by Inno da Imola. South from the princ.i.p.al square is (No. 1 in plan) the church of +S. Domenico+, attached to a convent where St. Dominic lived and died.

The church dates from the 12th cent., but restored in the 18th.

Interior--2d chapel right, Miracle of Ferrerio, by D. Creti. Right of south transept--the splendidly decorated chapel of _St. Dominic_, with his sarcophagus ornamented with bas-reliefs, by Nic. di Pisa. The garlands and statuettes were by Nic. di Barri (Arca), 1469. The kneeling angel on the right, and St. Petronius, over the sarcophagus, were by Michael Angelo in his youth. The base of the tomb, with its bas-reliefs ill.u.s.trating the life of the Saint, was not added until 1532, a work of Alfonso Lombardi. On the beautiful ceiling of the chapel is a fres...o...b.. Guercino, "The Transformation" of St. Dominic. The painting of the Saint burning Heretical Books (on the left wall) is by L. Spada; that of the Saint recalling a Child to Life is by Tiarini. In a chapel on the right side of the high altar is the Marriage of Saint Catharine, by Filippino Lippi. The Adoration of the Magi at the high altar is by Bart. Cesi. In the left transept should be noticed the tomb of a Pepoli (1348), and on the wall a portrait of St. Thomas Aquinas, considered here an accurate likeness, though painted 100 years after the death of the saint.

Opposite St. Dominic's chapel, and in the north transept, is the chapel of the Rosary, containing in the centre, under a slab, the grave of Guido Reni (b. 1575; d. 1642). Near him lie the remains of his favourite lady pupil, Elizabeth Sirani, who, with her master and the Caracci, executed the small paintings which adorn the frame of the reredos of the altar in this chapel.

[Headnote: S. PIETRO.]

Directly north from the Palazzo Pubblico is S. Pietro, rebuilt in 1605, containing, on the arch above the high altar, an Annunciation, the last painting by Lodovico Caracci, who died a few days after finis.h.i.+ng it.

Near S. Pietro is a small church Madonna di Galleria, with, in 1st chapel left, St. Philip Neri, by Guercino, and in the next, a fine Albani. N.E. from S. Pietro is S. Martino, 1217, restored. In the 1st chapel right, Giorlanno da Carpi's Adoration of the Magi; and in the 5th chapel on the left side is an a.s.sumption, attributed to Perugino; in the next, a St. Jerome, by L. Caracci; and in the chapel next the entrance, Madonna and Saints, by F. Francia. Old monuments in the cloisters. East from the leaning-towers is S. Vitale, consecrated in the fifth cent., and lately restored. At the 2d altar, right, is a Flight into Egypt, by Tiarini; in a large chapel on the left, Angels, with a beautiful landscape, by F. Francia; and at the first altar in the body of the chapel on the left, an Adoration of the Infant in Perugino's manner.

ENVIRONS OF BOLOGNA.

Beyond the Porta Maniola are the convent and church of the +Annunziata+.

In the 2d, 3d, and 4th chapels of the church are three pictures by L. Costa, and in the Chapel of the Sacrament a Madonna by Lippo Dalmasio. In the choir is a very fine work by Fr. Francia (1500), and in the sacristy an Entombment by Giacomo Francia.

[Headnote: MADONNA DI S. LUCA. THE CERTOSA.]

Beyond the Porta di Saragossa is the much-visited church of the +Madonna di S. Luca+, on the top of a hill commanding a beautiful view. It is approached by a portico of 640 arches, which begins just beyond the gate, and extends to the church, a distance of nearly 3 m. This portico was begun in 1672, but many years elapsed before it was finished. The church derives its name from possessing a picture reputed to have been painted by St. Luke. The best pictures have been removed from the church. Outside the same gate is the Certosa, formerly a Carthusian convent, now a cemetery. The church contains some pictures, and the chains of some Algerine slaves with the amount of ransom attached to each.

269 m. from Turin and 21 from Florence is Pistoja (see p. 231), and 291 m. from Turin is Florence (see p. 233).

+St. Pierre to Courmayeur by the Little St. Bernard.+

(74 m. N.E. See Map, page 290.)

miles from ST. PIERRE miles to COURMAYEUR

{ }{74} +ST. PIERRE D'ALBIGNY+ (see p. 289), 15 m. S.E. from Chambery, and 45 m. N.W. from Modane.