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+ margin-right: 2%; + margin-top: 1em; + margin-bottom: 1em; + padding: .5em; +} + +.gesperrt {letter-spacing: 0.1em; margin-right: -0.1em;} +.gesperrt1 {letter-spacing: 0.15em; margin-right: -0.15em;} +.wspace {word-spacing: .3em;} + +.pagenum br {display: none; visibility: hidden;} +.narrow {max-width: 24em; margin-left: auto; margin-right: auto;} +p.head2 { + margin-top: 1em; margin-bottom: 1em; + text-align: center; + text-indent: 0; + letter-spacing: 0.15em; + font-size: larger; +} + + /* ]]> */ </style> +</head> + +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75707 ***</div> + +<div class="transnote section"> +<p class="center larger">Transcriber’s Note</p> + +<p>Larger versions of most illustrations may be seen by right-clicking them +and selecting an option to view them separately, or by double-tapping and/or +stretching them.</p> + +<p><a href="#Transcribers_Notes">Additional notes</a> will be found near the end of this ebook.</p> +<div> </div> +</div> + +<div class="section"> +<figure id="coversmall" class="figcenter port" style="max-width: 25em;"> + <img src="images/coversmall.jpg" width="500" height="800" alt=""> +</figure> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="section"> +<h1>FOUNTAINS OF PAPAL ROME</h1> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="section center vspace wspace"> +<p class="xxlarge"> +FOUNTAINS<br> +OF PAPAL ROME</p> + +<p class="p2 large">BY<br> +MRS. CHARLES MAC VEAGH</p> + +<p class="p2">ILLUSTRATIONS DRAWN<br> +AND ENGRAVED ON WOOD BY<br> +RUDOLPH RUZICKA</p> + +<p class="p2 large">NEW YORK<br> +<span class="gesperrt">CHARLES SCRIBNER’S SONS</span><br> +<span class="smaller">1915</span> +</p> +<hr class="chap x-ebookmaker-drop"> +</div> + +<div class="section p4 center"> +<p class="small"> +<span class="smcap">Copyright, 1915, by</span><br> +<span class="larger">CHARLES SCRIBNER’S SONS</span><br> +<br> +Published October, 1915 +</p> + +<figure id="i_1" class="figcenter port" style="max-width: 7em;"> + <img src="images/i_001.jpg" width="247" height="272" alt=""> +</figure> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="section center p4 vspace wspace"> +<p class="allsmcap larger"> +TO THE MEMORY OF<br> +A FATHER AND DAUGHTER +</p> +<hr class="chap x-ebookmaker-drop"> +<div> </div> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_vii">vii</span></p> + +<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> +</div> + +<table id="toc"> +<tr> + <td class="tdl"><span class="smcap">St. Peter’s</span></td> + <td class="tdr"><a href="#toclink_1">1</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Scossa Cavalli</span></td> + <td class="tdr"><a href="#toclink_19">19</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Piazza Pia</span></td> + <td class="tdr"><a href="#toclink_33">33</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Campidoglio</span></td> + <td class="tdr"><a href="#toclink_41">41</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Farnese</span></td> + <td class="tdr"><a href="#toclink_61">61</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Villa Giulia</span></td> + <td class="tdr"><a href="#toclink_81">81</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Colonna</span></td> + <td class="tdr"><a href="#toclink_105">105</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Quattro Fontane</span></td> + <td class="tdr"><a href="#toclink_117">117</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Tartarughe</span></td> + <td class="tdr"><a href="#toclink_133">133</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Fontana del Mosè</span></td> + <td class="tdr"><a href="#toclink_143">143</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">The Lateran</span></td> + <td class="tdr"><a href="#toclink_153">153</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Trinità de’ Monti</span></td> + <td class="tdr"><a href="#toclink_167">167</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Villa Borghese, now Villa Umberto Primo</span></td> + <td class="tdr"><a href="#toclink_179">179</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">La Barcaccia</span></td> + <td class="tdr"><a href="#toclink_195">195</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Triton</span></td> + <td class="tdr"><a href="#toclink_205">205</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Navona</span></td> + <td class="tdr"><a href="#toclink_213">213</a><span class="pagenum" id="Page_viii">viii</span></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Trevi</span></td> + <td class="tdr"><a href="#toclink_227">227</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Piazza del Popolo</span></td> + <td class="tdr"><a href="#toclink_239">239</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Pincian</span></td> + <td class="tdr"><a href="#toclink_257">257</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Fontana Paola</span></td> + <td class="tdr"><a href="#toclink_267">267</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Monte Cavallo</span></td> + <td class="tdr"><a href="#toclink_285">285</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Appendix</span></td> + <td class="tdr"><a href="#toclink_303">303</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Chronological Index of Aqueducts Mentioned, Ancient and Modern</span></td> + <td class="tdr"><a href="#toclink_307">307</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Chronological Index of Popes Mentioned</span></td> + <td class="tdr"><a href="#toclink_308">308</a></td> +</tr> +<tr> + <td class="tdl"><span class="smcap">Alphabetical Index of Architects, Sculptors, Painters, and Engravers Mentioned</span></td> + <td class="tdr"><a href="#toclink_310">310</a></td> +</tr> +</table> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_ix">ix</span></p> + +<h2 class="nobreak" id="LIST_OF_FULL-PAGE_ILLUSTRATIONS">LIST OF FULL-PAGE ILLUSTRATIONS</h2> +</div> + +<table id="loi"> +<tr> + <td class="tdl">View of Fountains and Obelisk of St. Peter’s from beneath Bernini’s Colonnade</td> + <td class="tdr"><a href="#ip_9">9</a></td> +</tr> +<tr> + <td class="tdl">Upper Basin of the Fountain in the Piazza Scossa Cavalli</td> + <td class="tdr"><a href="#ip_25">25</a></td> +</tr> +<tr> + <td class="tdl">View of the Piazza del Campidoglio from the Left Side of the Cordonata</td> + <td class="tdr"><a href="#ip_47">47</a></td> +</tr> +<tr> + <td class="tdl">One of the Fountains in the Piazza Farnese</td> + <td class="tdr"><a href="#ip_71">71</a></td> +</tr> +<tr> + <td class="tdl">Fountain of the Virgins</td> + <td class="tdr"><a href="#ip_91">91</a></td> +</tr> +<tr> + <td class="tdl">Fountain of the Tartarughe</td> + <td class="tdr"><a href="#ip_137">137</a></td> +</tr> +<tr> + <td class="tdl">The Fountain of the Sea-Horses</td> + <td class="tdr"><a href="#ip_183">183</a></td> +</tr> +<tr> + <td class="tdl">The Fountain of the Amorini</td> + <td class="tdr"><a href="#ip_191">191</a></td> +</tr> +<tr> + <td class="tdl">The Fountain of the Triton</td> + <td class="tdr"><a href="#ip_209">209</a></td> +</tr> +<tr> + <td class="tdl">The Fountain of the Four Rivers</td> + <td class="tdr"><a href="#ip_217">217</a></td> +</tr> +<tr> + <td class="tdl">Figure of “Neptune” in the Fountain of Trevi</td> + <td class="tdr"><a href="#ip_233">233</a></td> +</tr> +<tr> + <td class="tdl">Piazza del Popolo from the West</td> + <td class="tdr"><a href="#ip_247">247</a></td> +</tr> +<tr> + <td class="tdl">Mostra of the “Fontanone”</td> + <td class="tdr"><a href="#ip_279">279</a></td> +</tr> +<tr> + <td class="tdl">The Fountain of Monte Cavallo</td> + <td class="tdr"><a href="#ip_291">291</a></td> +</tr> +</table> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter narrow"> +<p><span class="pagenum" id="Page_x">x</span></p> + +<h2 class="nobreak" id="ERRATA">ERRATA</h2> + +<p>Page 170, line 18, for London read Westminster.</p> + +<p>Page 221, line 25, for Leo X read Innocent X.</p> + +<p>Page 232, line 22, for Tre-vii read Trevie.</p> +<div> </div> +</div> + + +<div class="chapter"> +<hr class="chap x-ebookmaker-drop"> +<p><span class="pagenum" id="Page_xi">xi</span></p> + +<figure id="i_2" class="figcenter land" style="max-width: 22em;"> + <img src="images/i_002.jpg" width="849" height="459" alt=""> +</figure> + +<h2 class="nobreak" id="INTRODUCTION"><span id="toclink_xi"></span>INTRODUCTION</h2> + + +<p class="in0"><span class="firstword">Rome</span> has been called the most religious city in the +world because of the number of her churches. With +equal propriety, and perhaps with greater justice, she +might be called the cleanest city in the world because +of the number of her fountains. Pagan emperors and +Christian popes alike have found both profit and +pleasure in adding another fountain or in making or +repairing one more aqueduct to give a still greater +supply of water to the Roman populace. No other +people, with the possible exception of the Spanish +Moors, have so appreciated the value and the beauty +of abundant water.</p> + +<p>There are few squares, even in the Rome of to-day, +where, at least in the silence of the night, the sound of +splashing water may not be heard. The tiny fountain, +often fern-fringed, with its ceaseless, slender stream of +water, is the one priceless possession in hundreds of old +courtyards, where it fills a damp and lonely silence +with charm, or redeems by its indestructible quality of<span class="pagenum" id="Page_xii">xii</span> +beauty the meanness of the squalid life about it. It is +impossible to think of Rome without her fountains. +Yet, after a few weeks, the eye is hardly aware of their +presence. It is as if by their very beauty and omnipresence +they had acquired the divine attributes of sunlight; +and it requires the silence, as with the sunlight it +requires the cloud, to rouse our consciousness to their +existence. They take their place among the elemental +causes of happiness, since the pain we feel at their loss is +the only adequate measure of the pleasure they give us.</p> + +<p>It is difficult for the man of to-day to picture to himself +the abundance and splendor of the fountains in +imperial Rome. Some idea of their character may be +obtained from the description gathered from various +sources of Nero’s fountain on the Cælian. The mingled +waters of the Claudian and the Anio Novus aqueducts +were brought thither over the Neronian arches. +A wall fifty feet in height, faced with rare marbles and +decorated by hemicycles and statues, formed the background +of the first cascade. At the foot of this wall a +huge basin received the stream, which then fell into +another basin ten feet below the first, and thence flowed +into the great artificial lake, described by Suetonius as +like unto a sea, which filled all that space now occupied +by the Coliseum. Of great magnificence also was the +fountain of Severus Alexander on the Esquiline which +served to introduce the Acqua Alexandrina, the eleventh +and last water-supply of imperial Rome. A<span class="pagenum" id="Page_xiii">xiii</span> +coin of the period gives a representation of this fountain, +and in it can be traced a certain resemblance to +the Fontana Paola which stands at the present day on +the Janiculum, and which in its size and quantity of +water reproduces faintly the fountains of the past.</p> + +<p>That fine phrase, “la nostalgie de la civilisation,” +nowhere finds a more perfect illustration than in the +attitude of the Western world toward Rome. Some +homing instinct of the human heart has for centuries +carried thither men of every nation and of every sort of +belief or unbelief; and the conviction that it will bring +them thither in the future as in the past is implied in +that other name by which we know her. She is the +Eternal City. Every one can feel but no one can explain +the charm which she has over the spirits of men. Here +the psychic forces of the world’s great past are stored +in imperishable memories. Here each individual finds +spiritual influences which seem to have been waiting +through the ages for his own peculiar appropriation. +King Theodoric, in the sixth century, spoke not only +for himself but for all succeeding generations of Northmen +when he said that Rome was indifferent to none +because foreign to none. It seems as if the feeling +for Rome were an instinct congenital with our appetites +and our passions. It requires no justification and +it admits of no substitute. It is dateless and universal. +The Gothic king of the past finds a spiritual brother +in the schoolboy of to-day who caught his mother’s arm<span class="pagenum" id="Page_xiv">xiv</span> +on the Terrace at Frascati to say, with an uncontrollable +tremor in his voice: “See there; that little spot +over there! That is Rome, and she was once the whole +world!” King and schoolboy might have met familiarly +in some sunny portico of the classic city. Both +were members of the great freemasonry of the lovers of +Rome, which stretches its network far and wide over +our civilization.</p> + +<p>In this company there are not a few who find themselves +in Rome, yet not able to see Rome—to see it, +that is, as the historians, artists, archæologists, and +their own minds call upon them to see it. Their right +to tread the Roman streets depends upon their obedience +to some law compelling an existence lived entirely +in the open air and in the broad sunshine. To +such the gates of Paradise seem closed. To be forbidden +the galleries and churches and catacombs and the hidden +recesses of the old ruins appears an intolerable fate. +Yet even to these, who have made the great acceptance +and are living upon the half-loaf of life—even to these, +Rome is kind. Little by little, in easy periods, they +can get back into the days of the Renaissance, of the +Counter-Reformation, of the Napoleonic Era, and of +the great Risorgimento. This can be done under the +conditions of open air and sunshine; for it is in such +surroundings that we find the fountains, and the fountains +of Rome are in themselves title-pages to Roman +history.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_1">1</span></p> +<hr class="chap x-ebookmaker-drop"> +<p><span class="pagenum" id="Page_3">3</span></p> +<h2 class="nobreak gesperrt1" id="ST_PETERS"><span id="toclink_1"></span>ST. PETER’S</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_3" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_003.jpg" width="1261" height="1016" alt=""> +</figure> + +<p class="head2">ST. PETER’S</p> + +<p class="in0"><span class="firstword">“Fountains</span> are among the most successful monuments +of the late Renaissance,” and those which stand +on either side of the great Square of St. Peter’s show +that Symonds’s statement should be enlarged so as to +include the century which followed that period. Mr. +John Evelyn, the accomplished English traveller of the +seventeenth century, saw the fountain of Paul V soon +after its completion and describes it in his diary as the +“goodliest I ever saw”. Since his day the twin fountains +both of Trafalgar Square and of the Place de la +Concorde have been erected, but Evelyn could still +give the superlative praise to the great Roman model. +Although the two fountains in the Square of St. Peter’s<span class="pagenum" id="Page_4">4</span> +are exactly alike they are not of precisely the same +date. The conception of the design belongs to Carlo +Maderno, who executed the fountain on the right of +the approach to the basilica for Pope Paul V (Borghese, +1605–1621), while the fountain to the left was copied +from this for Pope Clement X (Altieri, 1670–1676), +some sixty years later. Clement’s courtiers had observed +that whenever His Holiness walked in the direction +of Paul V’s great fountain his eyes continually +turned toward it. At length Clement ordered his architect, +Carlo Fontana, nephew of Carlo Maderno, to +make an exact copy of Maderno’s work and to erect +it on the south side of the obelisk. The double fountain +not only enhances the magnificence of the entire scene, +but so changes it by introducing the additional element +of balance that Clement X’s order for the second fountain +was in reality an order for a new composition. The +coat of arms cut upon the octagonal support of the +upper basins and half hidden and obliterated by the +falling water is, on the right-hand fountain, that of the +Borghese family (the crowned eagle above the dragon); +and on the left-hand fountain, that of the Altieri family, +an inverted pyramid of six stars. The latter fountain +looks as if it were the older, for, as it is situated in +the southeast corner of the wide piazza, it is exposed to +the full sweep of the Tramontana, or north wind, which +has fretted and worn in no small degree the surface of +the travertine. It may have been the more sheltered +position of the northeast corner which determined the +location of Paul V’s fountain, the earlier of the two.<span class="pagenum" id="Page_5">5</span> +In the spring the Altieri fountain is the more beautiful +because at that time that portion of the Colonnade +which forms its background reveals vistas of foliage, +while the moss web woven about the crown of the shaft +is of a more brilliant green and the lower basin is full of +the same aquatic growth swaying with the motion of +the water.</p> + +<p>The Acqua Paola, which feeds these fountains, comes, +in the last instance, from the summit of the Janiculum, +and therefore their central jets are flung upward to a +height of sixty-four feet, far above the balustrade +crowning Bernini’s lofty colonnades, which form the +background of the piazza. This height exceeds by +from twenty-four to thirty-four feet the height of +the English and French fountains; and whereas in +the fountains of London and Paris the supply and +force of the water varies with the season of the year +and the time of day (the Trafalgar Square fountains +in summer play thirteen hours out of the twenty-four +and in winter only seven), the abundance and +power of the water in these great Roman fountains +is unfailing and unchanging. At midnight, at high +noon, in summer, in winter, they are always flowing, +and the splash and wash of the water makes them akin +to the cascades of Nature.</p> + +<p>This perpetual flow has been a characteristic of the +Roman fountains since the days of the Emperors. +Frontinus, writing in the reign of Trajan, says that all +the great fountains were constructed with two receiving-tanks, +each from a separate aqueduct, so that no<span class="pagenum" id="Page_6">6</span> +accident or emergency should diminish or stop the +supply of water. The later popes were also careful to +preserve this uninterrupted flow, and since the close of +the Cinque Cento their fountains have played unceasingly. +The lowest basins of both fountains (twenty-six +feet in diameter) are of travertine with a rim of Carrara +marble. The middle basins (fifteen feet in diameter) are +of granite. That in the right-hand fountain is of red +Oriental granite, and that in the left-hand fountain of +gray granite. The inverted basins at the summit, on +which the water falls, are of travertine, as are also the +massive shafts, which, however, Maderno adorned +with a slight moulding of Carrara marble just above +the water-line in the lowest basins. The entire structures +have been so transformed in color by three hundred +years’ deposit of the Acqua Paola that they have +the appearance of bronze. The water in each fountain +rises in a crowded mass of separate jets from the summit +of the central and single shaft, and falls at first on +an inverted basin covered by deep carving, the richness +of which gains in beauty from the green web woven +about its curves and angles by the fall of the water. +This upper carving seems to be a part of the fantastic +action of the wind-tossed spray. The lower basins which +receive the water are severely plain, the design following +Nature’s scheme of development, from a fretted +and turbulent source to the broad surfaces of the full +stream. But the architectural values of these fountains +are incalculably affected by the wonderful play of the +water. It leaps upward as if to meet the sun; it falls<span class="pagenum" id="Page_7">7</span> +back in tumult and foam; it drenches all about with +its far-flung spray and wasteful overflow. It is the very +triumph of vitality and joy.</p> + +<p>The fountains of St. Peter’s might be said to bear toward +the vast piazza of which they are a part the same +relation as that of the eye to the human countenance: +without them the noble spaces would seem cold and inanimate. +This gleaming, tossing water endlessly at play +with the wind and the sun, instinct with a power and a +beauty not of man’s making—this it is which gives to +the world-famous scene the touch of life.</p> + +<p>Pope Paul V has not only the honor of having erected +the first of these two modern fountains, but he has also +that of having himself discovered the original manuscript +of a poem in which mention is made of the first +fountain connected with the Church of St. Peter. This +poem dates from the fourth century and was written by +Pope Damasus (366–384). This pontiff was, like the +Emperor Hadrian, a Spaniard; and, like Hadrian, he +was not only a ruler of men, but gifted with many and +varied talents. He was an archæologist, a civil engineer, +theologian, and poet. He presided over that Ecumenical +Council by which the second great heresy threatening +the church was condemned, as the first had been +at the Council of Nicæa.</p> + +<p>St. Jerome, after years of friendship, became secretary +to the then care-worn and ailing pontiff, among +whose many labors had been the restoration of the +Catacomb of St. Calixtus, and other tombs of the early +Christians and martyrs, some of which he marked with<span class="pagenum" id="Page_8">8</span> +metrical inscriptions of his own composition. It must +have been while engaged upon this pious work of reconstruction +in the Vatican Hill that he came upon +those springs that, for lack of a proper channel, had +damaged the tombs upon the hillside and were threatening +to undermine his great basilica (the first Church +of St. Peter) within less than fifty years of its erection +by Constantine. He drained the ground in the vicinity, +building a small aqueduct, “neatly in the old Roman +style of masonry,” to lead these unshepherded waters +to definite localities where they could be a benefit and +not a danger to their surroundings. The water thus collected +is called the Acqua Damasiana, and to this day +the private apartments of the Pope are supplied from +this source. The feeding springs of this water are located +at Sant’ Antonio, to the west of the church, and +the aqueduct of Pope Damasus lies at a depth of +ninety-eight feet. Pope Damasus himself describes this +in the poem which was discovered in 1607, more than +twelve hundred years later, by Pope Paul V.</p> + +<p>Pope Damasus says: “The Hill” (Vatican Hill) +“was abundant in springs, and the water found +its way to the very graves of the saints. Pope +Damasus determined to check the evil. He caused +a large portion of the Vatican Hill to be cut away, +and by excavating channels and boring <i lang="la">cuniculi</i> he +drained the springs so as to make the basilica dry +and also to provide it with a steady fountain of +excellent water.” Of this steady fountain there is +no description, and therefore the fountain of Pope<span class="pagenum" id="Page_11">11</span> +Symmachus (498–514) becomes the first fountain recorded +in the history of St. Peter’s.</p> + +<figure id="ip_9" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_009.jpg" width="1280" height="1970" alt=""> + <figcaption class="caption">View of fountains and obelisk of + St. Peter’s from beneath Bernini’s Colonnade. + </figcaption> +</figure> + +<p>Pope Symmachus was a Corsican. He evidently had +a passion for building every kind of structure connected +with water as a cleanser and as a beautifier of man’s +civic life. His fountain, built at a time when civilization +and art in Rome were at a low ebb, was a +quaint and exquisite structure, composed of a square +tabernacle supported by eight columns of red porphyry +with a dome of gilt bronze. Peacocks, dolphins, and +flowers, also of gilt bronze, were placed on the four +architraves, from which jets of water flowed into the +basin below. The border of the basin was made of ancient +marble bas-reliefs, representing panoplies, griffins, +and other graceful devices. On the top of the +structure were semicircular bronze ornaments worked +“à jour,” that is, in open relief, without background, +and crowned by the monogram of Christ. In the centre +of the tabernacle and under the dome stood a bronze +pine-cone. This fountain stood, not in the Piazza of St. +Peter’s, but in the atrium, or the square portico, which +stood in front and on the right hand of the old basilica.</p> + +<p>The history of the construction and destruction of +this beautiful fountain of the dark ages is an excellent +example of the artistic and architectural methods of +those times. Arts and crafts had already sunk to so low +a depth that there were no longer any men in Rome +capable of casting or carving statues like those of +former days, and marble had ceased to be imported +into the city. Consequently all monuments or other<span class="pagenum" id="Page_12">12</span> +artistic structures were made up of figures in marble or +bronze, panels, columns, friezes, and similar decorations, +stolen from the productions of the great days of +the Empire. The Arch of Constantine, erected in 315, +is composed to such an extent of columns and sculpture +from a Triumphal Arch of Trajan that it was surnamed +“Æsop’s Crow”; and the Column of Phocas +(608), the last triumphal monument to be erected in imperial +Rome, consists of a shaft and capital surmounted +by a bronze figure, all taken from earlier as well as different +structures. Pope Symmachus was only following +the established methods when, to ornament his porphyry +columns (themselves probably part of some +classic temple), he took four of the golden peacocks +which had been originally cast for a decoration to the +railing of the walk surrounding the Tomb of Hadrian, +and, furthermore, placed as the centrepiece a great +pine-cone taken from the Baths of Agrippa. These +pine-cones were a customary feature of the classic +fountain, as the scales of the cone present natural and +graceful outlets for the falling water. Symmachus’s +fountain was one of the beauties of Rome in the days +when the great Gothic King Theodoric ruled and loved +the city. Three hundred years later it captivated the +fancy of Charlemagne, crowned Emperor in St. Peter’s +on Christmas Day, 800; and the fountain afterward +erected before his great cathedral at Aix is ornamented +with a huge pine-cone like the one which he and his +Franks had seen in the exquisite fountain of St. +Peter’s.</p> + +<p><span class="pagenum" id="Page_13">13</span></p> + +<p>Three other fountains were placed before the church +as the years went by. They are described by Pope Celestinus +II (1143–1144), while he was Canon of St. +Peter’s, and are set down in his “Ordo Romanus,” or +Itinerary, or Guide. They were situated, not in the +atrium, where stood the fountain of Symmachus, but +below, in that small square or <i lang="it">cortile</i> at the foot of the +steps of St. Peter’s. One fountain was of porphyry and +two of white marble. They would seem to have disappeared +quite early. The fountain of Symmachus was +described in 1190 by Censius Camerarius, afterward +Pope Honorius III, and it stood through more than +eleven centuries of the confused and turbulent history +of the city. It survived the siege and capture of Rome +by Vitiges in 537. It came unscathed through the sack +of the city by the Saracens in 886, and that of the Normans +in 1084; and stranger still, it was not wrecked by +the terrible Lanzknechts of the Constable de Bourbon +in 1527. Only when the ages of violence and pillage +were passed, did this historic fountain of the early +church succumb to a fate similar to that of the Pagan +monuments, out of which it had itself been formed. +When in 1607 the work on the new Church of St. Peter, +which was begun in 1506 at the rear of the old sanctuary +and brought forward through the century, had +reached the atrium, this “gem of the art of the dark +ages” was deliberately demolished by Pope Paul V, +who melted the gilded bronze to make the figure of the +Virgin now surmounting the Column of Santa Maria +Maggiore. Perhaps the metal thus obtained was more<span class="pagenum" id="Page_14">14</span> +than he needed; possibly some artistic or antiquarian +compunction visited the pontiff—for two of the peacocks +and the great bronze cone were spared. They +found their way to the Vatican Gardens, and now they +stand in the Giardino della Pigna waiting for the next +turn of Fortune’s wheel.</p> + +<p>Yet another fountain was once associated with the +basilica of St. Peter. It was erected in the old square +while the fountain of Symmachus still stood in the +atrium to the right of the main entrance to the +church. About the year 1492, Innocent VIII (Giovanni +Battista Cibo) gathered the waters from springs +on the Vatican Hill and from the practically ruined +Aqueduct of Trajan into this fountain, which was +finished by his successor, Alexander VI (Borgia). The +design was greatly admired in its day. It consisted +of golden bulls, from whose mouths the water fell +into a granite basin, and the bull was the emblem of +the Borgia family. During the crowded years of the +famous Cinque Cento, or until the pontificate of +Gregory XIII, this fountain of Innocent VIII, and +the old fountain of Trevi (restored by Sixtus IV) +supplied Rome with what the present day would call +its pure drinking water. They contained the only +water brought into the city from distant springs, for +mediæval Rome had lost all but two of her great +aqueducts, and these were constantly falling into +disuse; and all the pontiffs, painters, poets, and architects, +as well as the populace of that dramatic period +drank the doubtful water of wells and of the Tiber.</p> + +<p><span class="pagenum" id="Page_15">15</span></p> + +<p>This fountain of Innocent VIII was destroyed when +the modern Piazza of St. Peter’s replaced the very +much smaller one of earlier days. Probably the golden +bulls were melted down into other shapes, and the great +red granite basin was used by Carlo Maderno for the +upper basin of the magnificent new fountain which he +designed and executed at that period for Paul V, and +which is the northern one of the two fountains of the +present day in the Piazza of St. Peter’s.</p> + +<p>Standing between the fountains of St. Peter’s is an +obelisk, the surpassing interest of whose history adds +not a little to the importance of the fountains themselves, +and indeed of the entire square. It is, according +to Lanciani, undoubtedly the obelisk at the foot of +which St. Peter was crucified. Formerly the place of +his martyrdom was located on the Janiculum Hill, on +the spot where San Pietro in Montorio was built by +Ferdinand of Aragon and Isabella of Castile to commemorate +the event. Lately this location of the site of +St. Peter’s crucifixion has been discredited, but it is +easy to see how that mistake occurred.</p> + +<p>Caligula had brought the obelisk from Heliopolis +some time during the four short years of his reign and +placed it in the circus he began to build in those gardens +of his mother, the noble Agrippina the elder, +which lay along the northern side of the plain between +the Janiculum and Mons Vaticanus. There it stood on +the centre of the <i lang="la">spina</i>, the long, straight line stretching +down the middle of the arena from the two opposite +goals at either end. Caligula was assassinated before<span class="pagenum" id="Page_16">16</span> +he could finish the circus and it was completed +some thirteen years later by Nero, under whom it became +the scene of those atrocities against the Christians +which have rendered his reign infamous. St. Peter +was crucified one year before the death of Nero. His +cross was raised on the <i lang="la">spina</i> of the circus at an exact +distance between the two goals—<i lang="la">metas</i>—built at either +end of the amphitheatre, and therefore, at the foot of +the obelisk which stood on that spot.</p> + +<p>Christian tradition handed down the description of +the place “between the two goals” (inter duas metas). +Now <i lang="la">meta</i> was a name afterward given to tombs of +pyramidal shape, two of which existed in mediæval +Rome—one, that of Caius Cestius, still standing next +to the present Protestant Cemetery, and the other in +the Borgo Vecchio, destroyed later by Alexander VI. +A straight line drawn from one of these tombs to the +other has its centre in a point on the Janiculum, and +therefore this spot was thought to be the exact location +of St. Peter’s martyrdom. Even to-day visitors to +the exquisite Tempietto of Bramante, erected in the +cloister of the Church of San Pietro in Montorio, are +shown below its pavement the very stone in which the +cross of St. Peter was fixed. The legend of this location +for the crucifixion of St. Peter grew up during the Middle +Ages, a period in which all knowledge of the authentic +site was entirely lost. Modern archæology has +recently succeeded in locating this position and its +topography can now be easily understood.</p> + +<p>When the Emperor Constantine, after his conversion<span class="pagenum" id="Page_17">17</span> +to Christianity, determined to build a basilica in honor +of St. Peter, he planned to erect the edifice so that its +centre should rise directly over the tomb of St. Peter, +who, according to historical documents, was buried not +far from the scene of his martyrdom. To do this, he +found himself obliged to build so near the Circus of +Caligula and Nero that the southern wall of his edifice +corresponded exactly to the northern wall of the Circus. +He therefore used this wall of the Circus as the +southern foundation wall of his church. This naturally +brought the southern side of the old St. Peter’s within +a very short distance of the <i lang="la">spina</i> of the Circus, on +which stood the obelisk, with a chapel before it called +the Chapel of the Crucifixion. The Chapel disappeared +seven or eight centuries ago, but not before its true +significance had been quite forgotten, and men supposed +the name to refer not to the crucifixion of St. +Peter but to the Crucifixion of Our Lord. An old engraving +by Bonanni, antedating the reign of Sixtus V, +shows the old Church of St. Peter on its southern +side, with the obelisk, still tipped by its Pagan ball, +standing in close proximity. When the plan for the new +Church of St. Peter was accepted it was seen that the +southern side of the great edifice would extend so far +beyond the limits of the original church that it must +entirely cover the spot on which the obelisk was standing; +and as the connection of the obelisk with the martyrdom +of St. Peter had long since been forgotten, Pope Sixtus V +conceived the idea of moving the obelisk to a +more conspicuous and important position.</p> + +<p><span class="pagenum" id="Page_18">18</span></p> + +<p>Thus it came about that the obelisk now forms the +central feature in the piazza before the Cathedral of +Christendom; while the place of St. Peter’s crucifixion, +that site of transcendent interest to all Christians, remains +unidentified, buried beneath the masses of masonry +composing the Baptistery on the southern side of +the vast structure which bears St. Peter’s name.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_19">19</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_21">21</span></p> +<h2 class="nobreak gesperrt1" id="SCOSSA_CAVALLI"><span id="toclink_19"></span>SCOSSA CAVALLI</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_21" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_021.jpg" width="1262" height="748" alt=""> +</figure> + +<p class="head2">SCOSSA CAVALLI</p> + +<p class="in0"><span class="firstword">This</span> work of Carlo Maderno belongs to that group of +fountains which owe their origin to the introduction +into Rome of the Acqua Paola. The lower basin stands +about three feet above the level of the pavement. It is +oblong in shape, the oval broken at both ends by graceful +variations in the curve. The secondary basin is +much smaller, round and quite shallow. From its centre +rises a richly carved cup much resembling a Corinthian +capital, this cup being the apex of the central +shaft, upon which rests the second basin, and the main +stream of water spouts upward from its leaflike convolutions. +The proportions of the fountain are excellent. +It is neither too low nor too high, and the lower +basin is large enough to catch and retain the water +which pours over the rim of the upper basin, so that it +does not wash over as does the water in Maderno’s +much more magnificent fountain in the Square of St.<span class="pagenum" id="Page_22">22</span> +Peter’s. The central shaft of the Scossa Cavalli fountain +has a Doric massiveness which gives a background +of strength to the whole design and makes all the more +delicate the play of the four slender jets of water, about +five feet in height, which, rising at equal intervals from +the lower basin, form an arch around the upper basin +into whose shallow water they fling their spray. The +crowned eagle and griffin of the Borghese are still to be +discerned on the half-obliterated carving of the central +shaft. The kind of travertine out of which this fountain +is made is so susceptible to erosion, and has become so +blackened by the deposit of the water, that the whole +structure appears far older than it is. In reality it has +stood here little more than three hundred years, as the +Acqua Paola was not brought to Rome until the time +of Pope Paul V. This splendor-loving pontiff determined, +on his accession in 1605, to emulate and, if +possible, surpass Pope Sixtus V, whose brilliant pontificate +antedated his own by less than a score of years. +Sixtus V had built the first great aqueduct of modern +Rome. Paul V determined to build the second. Sixtus +V had christened after himself the water which he had +brought to Rome, and Paul V gave his name to the +stream which, partly by using the all but ruined Aqueduct +of Trajan, he had brought from Bracciano and +its hills. Domenico Fontana had built for Sixtus V, as +the chief outlet for the Acqua Felice, the fine Fountain +of the Moses on the Viminal Hill. Giovanni Fontana, +brother of Domenico, should design for the Acqua +Paola on the opposite slope of the Janiculum a yet more<span class="pagenum" id="Page_23">23</span> +glorious fountain which should dispense five times the +amount of water given out by the fountain of Sixtus V. +All this was done, and from the heights of the Janiculum +the great stream descended in various channels, +and was widely spread over the Trastevere or that portion +of the city lying on the western side of the Tiber. +One channel found another fine outlet in the fountain +which Carlo Maderno, nephew of Fontana, also built +for Paul V on the northern side of the Square of St. +Peter’s. From thence the water was conducted down +the Via Alessandrina (now the Borgo Nuovo) to this +small piazza of the Scossa Cavalli where Maderno constructed +for it this second and very properly less splendid +fountain. Thus it will be seen that the water as +well as the architectural part of this fountain belongs +to the beginning of the seventeenth century; but the +interest attaching to the buildings surrounding the +square in which it stands dates back farther than +that, dates back in fact to the crowded days of the +High Renaissance, when this prosaic little piazza was +a centre of ardent and vivid life.</p> + +<p>The long, plain, yet dignified building to the south, +now called the Ora Penitenzieri, was built by Cardinal +Domenico della Rovere, who was one of the nephews of +Pope Sixtus IV and brother to Pope Julius II, the +friend and patron of Michelangelo. To the west, and +on the corner made by the square and the street of the +Borgo Nuovo, stands the house built by Bramante, +and purchased by Raphael. The atelier of the “divine +painter” is the corner room on the second floor.<span class="pagenum" id="Page_24">24</span> +Against the wall behind those gloomy windows stood +his last picture, “The Transfiguration,” unfinished; +and on a bed placed at the foot of that picture, Raphael +died.</p> + +<p>Another death agony is connected with the history +of the square, for in the gardens behind the palace to +the north, now called Palazzo Giraud-Torlonia, was +held that fatal supper where the Borgias, father and +son, fell victims to the poison which they had prepared +for the cardinal who was their host and the owner of +the palace. Even the legends of classic Rome seem +somewhat colorless compared with the memories which +haunt this dull little square. Nothing could be more +prosaic than its present-day appearance. It is truly +“empty, swept, and garnished,” but the devils which +have gone out of it have seldom had their equal; its +memories belong to a more splendid and to a more +shameful past than is the heritage of any other city of +our modern world.</p> + +<p>In 1492, when Columbus had discovered the Western +Hemisphere and Copernicus was revolutionizing +the mediæval view of the universe, Rome was still +emerging from the shadow under which she had lain +while the popes resided at Avignon. In 1471 Sixtus IV +began to restore and embellish the city, and with him +the Holy See entered upon that long period of secularization +which reached its acme of infamy, of magnificence, +and of territorial possessions in the respective +pontificates of the Borgia, Medici, and Barberini popes. +Each of these pontiffs left his mark on some particular<span class="pagenum" id="Page_27">27</span> +quarter of the city; and although in the years following +the times of Alexander VI efforts were made to obliterate +the memory of the Borgias, the Borgo Nuovo remains +forever bound up with their history.</p> + +<figure id="ip_25" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_025.jpg" width="1278" height="1950" alt=""> + <figcaption class="caption">Upper basin of the fountain in the + Piazza Scossa Cavalli. + </figcaption> +</figure> + +<p>Throughout the Middle Ages the only thoroughfare +from the Bridge of St. Angelo to the Square of St. +Peter’s was the Borgo Vecchio. It was a narrow and +tortuous street and quite inadequate to the traffic +and processions and pilgrimages which continually +passed between its rows of crowded old houses.</p> + +<p>Alexander VI formed the new Borgo by cutting a +street through the orchards, gardens, and slums of this +quarter, and by granting special privileges to the property +owners who, within a specified time would build +on it houses not less than forty feet high. The Pope was +greatly interested in his new street and christened it for +himself, the Via Alessandrina. He was fortunate in having +in Rome at that time Bramante of Urbino, who was +just launched on that career of popular favor which +was only to be surpassed in length of days or in exaggerated +estimation by the career of Bernini a century +later.</p> + +<p>A sure way to please the Pope was to employ some +great architect and to erect a noble house upon the new +thoroughfare. Raphael, who was amusing himself with +architecture, is said to have worked with Bramante in +the construction of the palace afterward owned by him, +next door to the palace owned by the Queen of Cyprus,<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">A</a><span class="pagenum" id="Page_28">28</span> +and the great room on the <i lang="it">piano nobile</i>, the beautiful +wooden ceiling of which had been designed by Bramante, +was a stately studio. The room is now divided +into two apartments; but it is easy in imagination to +sweep away the modern alterations and to see this +most beautiful, gracious, and best-loved of all Italian +artists at work here among his pupils, or receiving +with an exquisite sweetness and modesty the greatest +princes of the Church and State.</p> + +<p>Rome was at this period the finest marble quarry in +the world. It was still a century before the time of Sixtus +V and Domenico Fontana; the Farnese had not +yet built their great palace from the spoils of the Baths +of Caracalla and other noble ruins; the last sack of +Rome was still thirty years in the future; and very +little building of any importance had been carried on +through the long period of the popes’ absence in Avignon. +Bramante found the richest marbles ready to his +hand, and he built the façade of the Palazzo Giraud-Torlonia +out of materials taken from the Basilica Giulia +and the Temple of Janus. However, already in +Sixtus IV’s time the rage had begun for the destruction +of old monuments, and in order to build the Via +Alessandrina, the Pope had demolished a Pagan tomb +which had once been a landmark in the Borgo. During +the Middle Ages it was called the Tomb of Romulus, +and Raphael has painted it in his “Vision of +Constantine.” It was of pyramidal form, like the +tomb called the Pyramid of Cestius, which is still +standing near the Protestant Cemetery on the road<span class="pagenum" id="Page_29">29</span> +to St. Paul’s Beyond the Walls. Doubtless, its massive +blocks went into the construction of the new palaces +surrounding the little square, which now took the +place of the old tomb as the central point in that +quarter of the city. In this square the two chief palaces +are connected with two of the greatest of the Pope’s +cardinals, each of whom had found it to his advantage +to hold a post in foreign lands.</p> + +<p>The fiery and forceful Giulio della Rovere, who gave +his name to the palace built by his brother Domenico +and now known as the Penitenzieri, had been the chief +rival of Rodrigo Borgia in the papal election of 1492, +and, thereafter, the open enemy of Alexander VI. It is +possible he might never have become that Pope’s successor +had he not put himself under the protection of +Charles VIII of France. On the other hand, Cardinal +Adriano Corneto, who built the palace now the Giraud-Torlonia, +stood high in the Pope’s good graces. Alexander +made him collector of the papal revenues in England, +where he was already known as the papal peacemaker +between Henry VII and the ill-starred James IV +of Scotland. There he made a valuable friend in no less +a personage than King Henry VII himself. The Tudor +King was not lavish of his money, but, for some reason, +he gave large sums to Cardinal Corneto as a personal +gift.</p> + +<p>England proved a safe and agreeable asylum for the +accomplished cardinal, and when he was finally recalled +he must have returned to Rome with some misgivings. +He found the Curia, as well as the city, living under<span class="pagenum" id="Page_30">30</span> +that spell of terror which the Borgias, father and son, +had woven about them. Strange stories, horrible suspicions, +and mysterious crimes were the order of the +day; and the cardinal, returning from his bishopric +of Bath and Wells and the frankness and simplicity of +the English court, must have found the change little +to his liking. Very probably it was to secure the Pope’s +friendship that he engaged the services of Bramante +and began to build a magnificent palace on the Pope’s +new thoroughfare. But while Alexander VI loved splendor, +he also coveted money. The new palace was slow +in building, and before it was completed, the Pope +could see that all the gold which the cardinal had collected +in England had not gone into the papal coffers. +In short, he comprehended the fact that his Cardinal +Adriano Corneto was a very rich man; and in the +summer of 1503 he sent him a message that His Holiness +and the Duke of Valentino (Cesare Borgia) would +honor him by taking supper with him on the night of +August 12. It is easy to understand the consternation +with which the message was received, the look of frozen +horror on the cardinal’s face as he already saw himself +dying in sudden convulsions or fading slowly away +with a fatal and mysterious malady. No time was to +be lost, and a large share of the cardinal’s English +gold bought over the Pope’s majordomo to his side. +Possibly some of the deadly work had already begun +before the bargain was struck. Possibly the majordomo +thought it best to appear to have obeyed the Pope’s +orders, even at the risk of a little torture to the cardinal,<span class="pagenum" id="Page_31">31</span> +for although Cardinal Corneto survived that fatal +supper, it was said that the skin fell from him in strips. +The Pope died within ten days, the monstrous appearance +of the corpse terrifying all who beheld it. Only +Cesare Borgia’s almost superhuman vitality saved him +from a like fate.</p> + +<p>Years after, when he had been shut out forever from +Rome, Cesare told his friend and admirer Machiavelli +that the results of this supper in the gardens of the cardinal’s +palace had frustrated all his plans. Cesare had +fully determined that his father’s successor should not +humiliate and despoil him as his father had despoiled +and humiliated the nephews of his predecessor, Pope +Sixtus IV. He had made every arrangement to make +himself master of Rome as soon as his father should +die. He had, so he told the author of “Il Principe,” +foreseen and provided for every possible difficulty. The +one thing he had not been able to foresee was that he +himself should be too ill to leave his bed.</p> + +<p>The Borgias passed away from Rome. Cardinal della +Rovere was made Pope, and men set about to obliterate +all memories of that brood whose crimes had made +Rome a stench in the nostrils of Christendom. Gradually, +but effectively, the work was accomplished. Alexander +VI’s tomb was built without any monument. +The Fountain of the Gilded Bulls, the emblem of the +Borgias, which stood before St. Peter’s was destroyed. +The Borgia apartments in the Vatican were walled +up, and remained so for centuries. The nude figure +of the beautiful Giulia Farnese on the tomb of her<span class="pagenum" id="Page_32">32</span> +brother Pope Paul III in St. Peter’s was covered +with painted metal draperies. Even the Via Alessandrina +became the Borgo Nuovo.</p> + +<p>Cardinal Adriano Corneto lived through the pontificate +of Pope Julius II and into that of Pope +Leo X; but the fame of his riches did at last work +his undoing. Leo X, who needed money as much as +Alexander VI, insisted that the cardinal was privy to a +conspiracy against his life. Corneto was deprived of +his cardinalate, even degraded from the priesthood, +and was obliged to make his escape from Rome. He +died in obscurity, leaving his beautiful palace, still +unfinished, to his benefactor King Henry VII, who +made it the residence of the English ambassador.</p> + +<p>A century later, when Maderno built the fountain +of the Scossa Cavalli for Pope Paul V, Cardinal Corneto’s +palace had again passed into the hands of the +Romans, where it has remained. The Reformation had +swept over England, and there was no longer an English +ambassador to the Papal See.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_33">33</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_35">35</span></p> +<h2 class="nobreak gesperrt1" id="PIAZZA_PIA"><span id="toclink_33"></span>PIAZZA PIA</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_35" class="figcenter port" style="max-width: 17em;"> + <img src="images/i_035.jpg" width="677" height="1089" alt=""> +</figure> + +<p class="head2">PIAZZA PIA</p> + +<p class="in0"><span class="firstword">No</span> one can walk the Roman streets without perceiving, +and almost at once, that here time is of no importance. +It is, in fact, an absolutely negligible quantity. +Buildings and monuments dating from widely diverse +periods stand side by side, and it is in no wise incongruous +from the Roman standpoint to find at the head +of the Borgo (the ancient Leonine city) one of the very +latest fountains of papal Rome. It is a charming little +creation, quite consciously harking back to the great +days of the papacy and rebuking by its sober, yet imaginative +sculpture those geometrical designs or extravagant +ebullitions of fancy—the fountains of the present<span class="pagenum" id="Page_36">36</span> +régime. It stands in the Piazza Pia, against that +narrow façade which blunts the point of the long angle +or wedge-shaped block of buildings lying between the +Borgo Vecchio and the Borgo Nuovo. Its Fontanesque +mostra is composed of two beautiful white Carrara columns +with Corinthian capitals supporting a pediment +and entablature on which is an inscription to the effect +that the fountain was erected by Pius IX in the sixteenth +year of his pontificate, which would make it the +year 1862. The sculptural part of the fountain bears a +certain resemblance to the work of Luigi Amici and +Bitta Zappalà, the artists who not many years later +executed the modern figures in the side fountains of +the Piazza Navona.</p> + +<p>The Piazza Pia fountain might also be ascribed to +Tenerani, a distinguished sculptor of Pius IX’s pontificate, +who, in his devotion to the Pope, did not disdain +to design some of the triumphal devices with +which Rome welcomed back Pio Nono after Gaeta. +But Tenerani’s bust is among the “Silent Company +of the Pincio,” and if the little fountain were +indeed his work, the fact would be known. As it +is, the sculptor’s name seems, for the present, at +least, to have been forgotten in the confusion attendant +upon the transformation of papal into Italian +Rome.</p> + +<p>The fountain originally held Paola water, and the +charming little vase and dolphins composed of white +Carrara have become through the deposits of this water +so black that the beauty of the fountain is distinctly<span class="pagenum" id="Page_37">37</span> +marred. This fountain takes the place of an earlier one +executed by Carlo Maderno and called the Mask of the +Borgo. The design was a large mask from which water +flowed into a pilgrim shell over which perched the +Borghese eagle, while two lions’ heads on either side +spouted additional streams. As this first fountain was +in travertine it had in all probability succumbed to the +disastrous effects of the Paola water, which seems to +disintegrate as well as to discolor some varieties of that +stone.</p> + +<p>There is in the Piazza Mastai another fountain +erected by Pius IX. And he also instituted several +washing troughs in the Trastevere among the poor, +for whom he had always a sincere and profound sympathy. +Those who would render justice to this last +“Papa Re” should drive up the magnificent approach +to the Quirinal Palace. This modern driveway and masonry +were erected, as can be seen from the tablet on +the sustaining wall of the terrace, for Pius IX by his +great architect and engineer Virginio Vespignani. They +give the finishing touch of magnificence to the Piazza +of the Quirinal, originally laid out on its present grade +and in its fine proportions by Domenico Fontana for +Sixtus V (some two hundred and eighty years earlier). +This approach to the Quirinal and the great buttress +walls of the Coliseum might easily be enough to prove +Pius IX’s care for the city; but, as with those of his +predecessors who had the welfare of their people most +at heart, his chief claim upon the memory of the Romans +lies in the interest which he took in the city’s<span class="pagenum" id="Page_38">38</span> +water supply. Pius IX gave his permission to an English +company to introduce into Rome the rediscovered +springs of the Marcian water. These springs had been +first brought to Rome by the Marcian aqueduct in the +years 144–140 B. C. This aqueduct was the first of the +true high-level aqueducts, and covered its path of +fifty-eight miles on great arches which brought it to +Rome at the Porta Maggiore one hundred and ninety-five +feet above sea-level. The two aqueducts which antedated +it—the Appian and the Anio Vetus—ran most +of the distance underground, the Anio Vetus appearing +above ground for only eleven hundred feet, while the +Appian (the first of all the Roman aqueducts) was carried +overground on low arches for three hundred feet, +and actually entered the city fifty feet below the surface +of the earth. The springs of the Marcia are now +called the Second and Third Serena and are situated in +the Valley of the Anio above Tivoli, on the north side +of the stream, near Agosta. The original Marcian aqueduct +had been destroyed by Fontana when he was +collecting material to build the Acquedotto Felice. A +portion, however, of the ancient masonry remains, and +although to-day the Marcian water comes to Rome +chiefly through modern iron pipes, some parts of its +passage lead through the old stone channels. The water +now enters Rome through the Porta Pia at an altitude +of two hundred feet; thus it ranks next to the Paola, +which is two hundred and three feet above the sea-level. +The Marcia ranks next to the Virgo in abundance, +and at present supplies most of the dwelling<span class="pagenum" id="Page_39">39</span> +houses in Rome. Its history is embodied in its full +name, Acqua Marcia Pia.</p> + +<p>Pius IX made his last public appearance as sovereign +pontiff when this water was introduced into +Rome. This occurred on September 18, 1870, just two +days before the famous “Venti Settembre,” when +the Italian troops entered Rome through a breach in the +Porta Pia. The fountain which was destined to be the +last fountain of papal Rome stood in the Piazza delle +Terme,—not where the present one stands, but off to +one side, for the city was still papal Rome and the great +Villa Negroni (formerly Montalto) of Pope Sixtus V +then covered the site now occupied by the present railway +station. Within the gardens of that villa many of +the original Acqua Felice fountains were still flowing, +and one latter-day inhabitant of the villa tells how, as +a child, she often looked down at night from her nursery +windows upon an old fountain about which stood a +circle of little Campagna foxes drinking from its cypress-guarded +waters. The Pope drove to the inauguration +of his Marcia Pia amid a vast concourse of people +who strewed flowers and shouted: “King, King!” +There were, however, few distinguished people at the +ceremony. He drank a cup of the water, praised its purity +and freshness and thanked the magistrates for giving +it his name. It was the last public act of his sovereign +pontificate, and derives both significance and +dignity from that long list of popes who, since the time +of Hadrian I had constituted themselves guardians +and builders of Roman aqueducts.</p> + +<p><span class="pagenum" id="Page_40">40</span></p> + +<p>The fountain which Pius IX thus inaugurated has +been swept away to make room for the present bronze +affair. But the Acqua Marcia Pia now flows in the +Pope’s pretty fountain of Piazza Pia, so that here in +the Borgo, the ancient “Porch of St. Peter’s,” we find +the last water and, with the exception of the fountain +in the Piazza Mastai, the last fountain, of papal Rome.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_41">41</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_43">43</span></p> +<h2 class="nobreak gesperrt1" id="CAMPIDOGLIO"><span id="toclink_41"></span>CAMPIDOGLIO</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_43" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_043.jpg" width="1259" height="987" alt=""> +</figure> + +<p class="head2">CAMPIDOGLIO</p> + +<p class="in0"><span class="firstword">The</span> three fountains of the Campidoglio have one +fundamental characteristic in common—that of being +a part of Rome from a period of great antiquity. Like +those families who “were there when the Conqueror +came,” the sculptures which adorn these fountains +have been in Rome since Christian Rome began. All +the statues have occupied their present positions a +comparatively short time, and have passed through +many vicissitudes before reaching the places they now +hold. In fact, each fountain of the Campidoglio is a +fountain with a past. The sculptural part of each is a +survival of some artistic design or idea antedating to +a remote period the time of its conversion into the +fountain of to-day.</p> + +<p><span class="pagenum" id="Page_44">44</span></p> + +<p>The general view of the Campidoglio comprises the +stairway called “La Cordonata,” the piazza at its summit +crowned by the Palace of the Senators, with the +Museum of the Capitol to the left and the Palace of +the Conservatori on the right; and it is so impressive +in its architectural majesty that the fountain which is +a part of it all keeps its true place in the great composition, +and is recognized only as a note in the general +harmony of proportion, design, and decoration. This +is, of course, as it should be—as Michelangelo meant it +to be when, some three hundred and seventy-five years +ago, the vision of the Campidoglio as it now stands unfolded +itself in his brain. Not that every detail of the +magnificent reality is as he planned it. The fatality +which followed him, spoiling or changing nearly all his +great designs, has been at work here; and it is the +fountain which has suffered.</p> + +<p>This fountain, which is a part of the approach to the +Senate House, was to have as its central statue a figure +of Jove. Vasari, who is quite carried away with +Master Michelangelo’s beautiful design, describes the +fountain as if it were already done,—Jove in the centre +and the two river-gods on either side. But Michelangelo +and the enthusiastic Vasari had been dead for +years when Sixtus V brought the Acqua Felice to the +Campidoglio and finally erected the fountain. He +placed in the noble niche where a colossal and majestic +Jupiter should have stood, the antique statue of a +Minerva done over to represent Rome. The white +marble head and arms of this statue are modern restorations, +but the porphyry torso was found at Cori,<span class="pagenum" id="Page_45">45</span> +and its air of undeniable antiquity is all that saves this +curiously inadequate figure from utter insignificance. +It is too small for the niche it occupies, and is so out of +proportion to its surroundings and on so different a +plane of artistic treatment that it would quite spoil any +creation less triumphantly dominant than is this whole +staircase and façade.</p> + +<p>The two river-gods which also adorn this fountain +are very old. Together with Marforio, now to be found +in the Museum of the Capitol, they have the distinction +of never having been buried since the downfall of +Rome. Once they stood before “that most magnificent +of all Roman temples”—Aurelian’s Temple of the +Sun. Later they belonged to the Mediæval Museum of +Statues, a collection kept in or near the old papal palace +of the Lateran, where they had been called Bacchus +and Saturn. The Nile, who should have been unmistakable +because of his emblem of the Sphinx, has now +his proper designation; but the other statue has a curious +history. It was originally the River Tigris, a river +familiar to the Romans since the wars with Mithradates. +When, under Paul III, Michelangelo placed +these statues in their present position, some influential +person suggested that the Tigris, no longer of any interest +to the Romans, should be changed into the +Tiber. The emblem of the Tigris—a tiger—was then +altered to represent the Roman Wolf, and the Twins +were added. Pirro Ligorio tells the story, and goes on +to say that the fingers of one of the Twins were originally +a part of the Tiger’s fur.</p> + +<p>The erection of the bronze equestrian statue of Marcus<span class="pagenum" id="Page_46">46</span> +Aurelius in the centre of the piazza was the first +step in the design of the Campidoglio of to-day, for +Michelangelo’s admiration of the statue had been +shared by Paul III, and the Pope brought it hither in +1538 when the embellishment of Rome, originally +begun in honor of the visit in 1534 of Charles V, had +become with both Pope and citizens a great and permanent +interest. This statue also had been a part of +that Mediæval Museum in the Lateran which was +probably one of the places to visit when Charlemagne +came to Rome to be crowned in old St. Peter’s on +Christmas Day, 800. The façade of the Senate House, +which forms the background to the piazza and its statues, +is built in great part of travertine, so the structural +part of the fountain is of the same material. This +consists of a huge niche, sixteen and a half feet in +height, sunk into the foundation of the terrace before +the main entrance to the Senate House. On either side +of the niche is a pair of Doric pilasters, which support +the floor of the terrace and its beautiful balustrade. A +great stairway, down which the balustrade continues, +connects this entrance of the Senate House with the +piazza below; and the foundation of these steps, forming +triangular wings to the niche, serves as a background +to the river-gods. These figures lie one on either +side of the semicircular basins containing the water. +The simplicity of the design partakes of the inevitable. +Considering it from any point of view, it is not only +impossible to think of anything better, it is impossible +to think of anything else. If it is not the work of Michelangelo,<span class="pagenum" id="Page_49">49</span><span class="pagenum" id="Page_48">48</span> +there must have been two Michelangelos +in 1538!</p> + +<figure id="ip_47" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_047.jpg" width="1278" height="1952" alt=""> + <figcaption class="caption">View of the Piazza del Campidoglio from + the left side of the Cordonata. + </figcaption> +</figure> + +<p>In Piranesi’s engraving of the Campidoglio a fine +balustrade like the one on the stairway surrounds the +fountain. It follows the contour of the lower basin and +stands at some three or four feet distant from it. This +balustrade, which has disappeared, enhanced distinctly +the beauty of the fountain, bringing it more into harmony +with the entire composition.</p> + +<p>The river-god is one of the earliest sculptural personifications +of natural phenomena. In these days +comparatively little heed is paid to the smaller water-ways, +so the modern spirit fails to see the significance +of these conventionalized figures. To the ancients, however, +the statues personified that physical object upon +which all civilized life depended—a great stream of +unfailing water. The rivers of Greece were small, while +the Roman Empire contained some of the largest in +the world; but the ideas they represented were the +same. The river, small or great, made the city. The +river gave food and drink to the inhabitants, connected +them with the outside world, brought trade, +turned the mills, defended the city from invasion, carried +away pestilence, cleansed, purified, and supported +all the works of men; and therefore Father Tiber and +his brothers were to be worshipped and to be honored, +and statues were to be set up to them in public places, +so that men should remember what they owed to their +river. The river is always personified as a benign and +majestic figure in the full strength of mature manhood,<span class="pagenum" id="Page_50">50</span> +with long and abundant hair and beard. The lower +limbs are draped, so that the mystery of partial concealment +hangs about him. On one arm he bears a horn +of plenty; while with the other he reclines upon some +support, which is usually the characteristic emblem of +the particular stream which he represents.</p> + +<p>Power, abundance, and calm strength are the qualities +of a great river; and these qualities the ancients +most adequately expressed in their own peculiar +medium, which was sculpture. Men of to-day put +their ideas into music, or more explicitly into prose +or verse, and there are still those who appreciate the +significance of the river. Washington Irving’s epithet +of the “lordly Hudson” proves the hold that great +river had over his perception and imagination; and +not any statue of a river-god can give the conception +of a river which is to be found in Arnold’s “Sohrab +and Rustum”:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent4">“But the majestic river floated on,</div> + <div class="verse indent0">Out of the mist and hum of that low land,</div> + <div class="verse indent0">Into the frosty starlight, and there moved,</div> + <div class="verse indent0">Rejoicing, through the hush’d Chorasmian waste,</div> + <div class="verse indent0">Under the solitary moon;—he flow’d</div> + <div class="verse indent0">Right for the polar star, past Orgunjè,</div> + <div class="verse indent0">Brimming, and bright, and large; then sands begin</div> + <div class="verse indent0">To hem his watery march, and dam his streams,</div> + <div class="verse indent0">And split his currents; that for many a league</div> + <div class="verse indent0">The shorn and parcell’d Oxus strains along</div> + <div class="verse indent0">Through beds of sand and matted rushy isles—</div> + <div class="verse indent0">Oxus, forgetting the bright speed he had</div> + <div class="verse indent0">In his high mountain-cradle in Pamere,</div> + <div class="verse indent0">A foil’d circuitous wanderer—till at last</div><span class="pagenum" id="Page_51">51</span> + <div class="verse indent0">The long’d-for dash of waves is heard, and wide</div> + <div class="verse indent0">His luminous home of waters opens, bright</div> + <div class="verse indent0">And tranquil, from whose floor the new-bathed stars</div> + <div class="verse indent0">Emerge, and shine upon the Aral Sea.”</div> + </div> +</div> +</div> + +<figure id="ip_51" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_051.jpg" width="1266" height="607" alt=""> +</figure> + +<h3>MARFORIO</h3> + +<p>The nearest approach which the Romans have left +us to such grandeur as this is to be found in their statue +called Marforio. The north wing of the Campidoglio +group is known as the Museum of the Capitol, and it +is in the entrance court of this edifice that Marforio is +now to be seen. If this most majestic of all river-gods +ever represented any particular river, the name of that +river was forgotten centuries ago. His title of Marforio +was given him long since, because he once poured the +water into a fountain which stood in a small square +to the left of the Senate House, where Augustus had +erected the Martis Forum. There he seems to have +remained throughout the darkest days of Rome’s decadence, +surviving every vicissitude, and always respected +by the half-barbarous Romans of that time.<span class="pagenum" id="Page_52">52</span> +Gregory XIII (Boncompagni, 1572–1585) is responsible +for removing Marforio from this classic position and +for separating him at that time from the huge granite +basin into which flowed the water from the urn on +which he is leaning. Thenceforth the basin has a history +of its own, while Marforio’s odyssey (he wandered for +some time after leaving his old home) finally brought +him to the Campidoglio. Sixtus V then placed him on +the left side of the piazza, facing the south wing. This +south wing, known as the Palazzo dei Conservatori, +was the first of the present group of buildings to be +erected, Tommaso de’ Cavalieri—a Roman gentleman +and one of Michelangelo’s few intimates—having had +charge of its construction in Michelangelo’s lifetime. +The north wing, or the Museum of the Capitol, was +not done until the architect Rainaldi erected it for +Innocent X (Pamphili), twelve pontificates after the +reign of Paul III. During a period of one hundred +and sixty years Marforio remained where Sixtus +had placed him, and then Clement XII (Corsini) installed +him in the court of the Capitoline Museum, +and again he was given a fountain to feed and +protect.</p> + +<p>Marforio’s career after he had been parted from his +basin was a curious one. Bored, perhaps, by the lonely +magnificence of his new surroundings, he fell into evil +ways. He became the partner of Pasquino! Pasquino, +the mutilated torso from an old Greek group of statuary, +stands at the farthest corner of the Braschi Palace +(now the Ministero dell’ Interno). He had first been set<span class="pagenum" id="Page_53">53</span> +up there in the reign of Alexander VI; and from that +time he had become the medium for the popular and +anonymous criticisms of the government. His name of +Pasquino was taken from a witty tailor or barber who +lived near the Palazzo Orsini and whose sallies against +those in authority greatly delighted the Roman people. +It became the custom to affix anonymous couplets or +epigrams to the old torso, which thus obtained the +name of Pasquino, and the epigrams came to be known +as pasquinades; and from the days of the Borgias to +the time of Napoleon, and even later, most of the current +witticisms or scathing reflections upon public +events or notable personages were ascribed to Pasquino. +When Marforio took up his abode in the Piazza +of the Campidoglio, he became to the Romans the partner +of Pasquino. According to a modern authority, +Marforio never originated the sally. His function was +to put the question which elicited the witty retort, or +to reply in kind to Pasquino’s interrogatories. With +Marforio’s incarceration in the court of the Museum +the long dialogue came to an end; and a century later +the passing of papal Rome brought Pasquino’s career +to its final close. Modern freedom of the press leaves +no place for Pasquino; and it may be said of him that, +Marforio being gone,</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“... of sheer regret</div> + <div class="verse indent0">He died soon after.”</div> + </div> +</div> +</div> + +<p>This is not strictly true, for, although the statues +themselves no longer have a part in the game, it still +goes on. One of the most popular of the Roman<span class="pagenum" id="Page_54">54</span> +newspapers still publishes questions and repartee by +Marforio and Pasquino.</p> + +<p>It is only necessary to study for a short time the various +river-gods in Rome, such as those of the Tiber +and the Nile, here at the Capitol, or Fontana’s statue +in the Quattro Fontane, or the modern work in the +western fountain of the Piazza del Popolo, and then to +return to Marforio, to appreciate the immense artistic +superiority of the latter. Marforio is truly a river-god, +a personification of all or any of the earth’s rivers. The +ancient and forgotten sculptor has given to the ponderous +stone a fluid quality which is really wonderful. To +make the hair and beard merge into the god’s breast +and shoulders would have been simple both in conception +and execution, but only a genius could have secured +to the massive and supine figure that appearance +of being outstretched in powerful yet melting length +along the surface of things. Artists of the Renaissance +from Rome and from beyond the Alps always speak of +the <i lang="it">gran simulacro a giacere</i>, an expression difficult to +anglicize, but which is an attempt to describe this singular +quality of a static position instinct with continuous +and onward flowing movement. Finally, the god’s +face is full of genuine power and benignity and is the +adequate consummation of the sculptor’s ideal. It is no +wonder that Marforio has become a type. Vasari, for +instance, speaks of young Baccio Bandinelli making “a +Marforio” out of snow, as not long before the youthful +Michelangelo had made a faun from the same perishable +material.</p> + +<p><span class="pagenum" id="Page_55">55</span></p> + +<p>For a thousand years—and we do not know for how +much longer—Marforio has been a part of the city’s +life. He has survived the Norman pillage in 1084, as +well as the great sack of Rome in 1527. As a kindly +god, dispensing water to rich and poor, he has had his +part in all the triumphs and disasters, and has shared +the ups and downs of life not only with the city but +with her children. Roman and barbarian, patrician and +plebeian, slave and citizen, Pagan and Christian—all +have drunk from his fountain. What has he not seen, +and not heard! It was an unerring instinct for the fitness +of things which made him Pasquino’s gossip, and +his present honorable but unnatural seclusion from the +city’s busy streets and squares is commonly attributed +not to Pope Clement XII’s lack of imagination but, on +the contrary, to his recognition of Marforio’s malicious +influence over the popular mind. A tablet has been set +up in the house which is built over the site where history +finds him, Number 49, Via Marforio. In short, +Marforio belongs to that curious class of inanimate +things which have developed a personality; injury to +him would arouse fierce popular resentment; and were +he to be destroyed, the Romans would feel that they +had lost not a work of art but a personal friend.</p> + +<h3>THE LION</h3> + +<p>The third fountain in the trio of the Campidoglio is +to be found in the upper garden of the Palazzo dei Conservatori—the +building to the right hand in the ascent +of the Cordonata. It can hardly be called a fountain,<span class="pagenum" id="Page_56">56</span> +since it is merely a large basin of water surrounding +some rockwork on which stands an old bit of sculpture +of a character manifestly inappropriate to the sentiment +of a fountain. It represents a lion tearing out the +vitals of a horse which it has sprung upon and borne +to the ground. This much-restored fragment is of real +importance from an artistic standpoint, while as a +Roman antiquity it has extraordinary interest. The +marble bears distinct traces of having been subjected +to the action of water, and, as a matter of fact, it was +found more than a thousand years ago in the bed of +the River Almo. Nothing is known of its history previous +to that discovery.</p> + +<figure id="ip_56" class="figcenter land" style="max-width: 18em;"> + <img src="images/i_056.jpg" width="719" height="457" alt=""> +</figure> + +<p>The Almo is a little brook in the Campagna not far +from Rome, rising in the hills between the Via Appia +and Via Latina and emptying into the Tiber. Its modern +name is Acquataccio. The Almo was connected +with the ancient worship of the goddess Cybele, whose +sacred image was ceremonially washed in it each year +on the 27th of March by the priests. This religious +ceremony, doubtless, preserved the channel of the<span class="pagenum" id="Page_57">57</span> +stream so that it would have been quite possible to +hide successfully a great piece of statuary in its depths +or in some reedy pool along its banks. River-beds were +not uncommon hiding-places for treasures during the +Dark Ages which followed the breaking-up of the +Roman Empire, and it is quite possible that this group +may have been so hidden by its owner whose great +villa, situated near the stream, was threatened with +pillage or destruction by some barbarian incursion. +The high value evidently placed upon it by its original +possessor was also given to it by its discoverers. It +belonged to that remote museum of antiquities kept in +or near the Lateran Palace during the Middle Ages +and dating back at least to the days when Charlemagne +first visited Rome, in 781, bringing with him his little +son Pepin, aged four, to be anointed King of Italy +by Pope Hadrian I. This museum contained also the +equestrian statue of Marcus Aurelius, now standing in +the centre of the piazza of the Campidoglio, together +with the two river-gods, placed later on by Michelangelo +where they now lie—one on either side of the central +fountain of the Campidoglio; and other marbles and +bronzes of great value. Most of these art treasures were +removed from the Lateran to the Capitol when Pope +Sixtus IV (Riario, 1471–1484) founded the Capitoline +Museum; but long before that time the Lion, as it was +always called (the original portion of the horse being +merely the body), had been taken from its academic +seclusion and set in the midst of things. During three +centuries of the turbulent life of mediæval Rome, it<span class="pagenum" id="Page_58">58</span> +stood to the left hand and at the foot of the long flight +of steps which, previous to Michelangelo’s time, led up +from the Piazza of the Ara Cœli to the Capitol. All +about it was held the public market; the city officials, +found guilty of misdemeanors, were made to do penance +sitting astride the Lion’s back with their hands +tied behind them and their faces smeared with honey—the +Roman version of the pillory! The ferocity of +the Lion was thought to typify the punishment of +crime, and the public executions were held before this +old fragment. Here, on August 31, 1354, the famous +soldier of fortune, Fra Monreale, was beheaded by +order of Cola di Rienzi. On October 8 of the same +year, Rienzi himself was caught as he was escaping in +disguise from the burning palace of the Capitol, and +here he stood, during the last hour of his life, leaning +against the Lion, turning his head this way and that +in vain quest of succor, while the mob which was so +soon to tear him to pieces held back in a strange awe, +and a silence reigned over everything! That was the +greatest of all the tragedies—though there were so +many of them—connected with the Lion.</p> + +<p>The old bit of sculpture continued to hold its sinister +place in Roman life, until the pontificate of Paul III +(Farnese, 1534–1549). At that time Master Michelangelo +(to use Vasari’s phraseology), working for the Pope, +remodelled the Capitol and decorated it with many +old statues. The group of the horse and lion was then +completely, though poorly, restored, and placed in the +court of the Palazzo dei Conservatori—this being the<span class="pagenum" id="Page_59">59</span> +first of the three buildings of the Capitol to be built +after Michelangelo’s designs. At the same time the +place for the public executions was transferred from +the piazza of the Ara Cœli to the Piazza di Ponte Sant’ +Angelo.</p> + +<p>The Lion was placed in its present position in 1903, +and Rome of the twentieth century is responsible for +the extraordinary taste which converted into a fountain +this old fragment, highly interesting as an antiquity +but repulsive in itself, and associated chiefly with +the bloodiest and least attractive pages in Roman +annals.</p> + +<p>It is impossible to leave the Campidoglio without a +heightened appreciation of the might of the constructive +imagination. Only that faculty, developed to its +highest power as in Michelangelo, could have produced +this magnificent harmony out of the incongruous mass +of classic and mediæval survivals with which he had +to deal.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_61">61</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_63">63</span></p> +<h2 class="nobreak gesperrt1" id="FARNESE"><span id="toclink_61"></span>FARNESE</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_63" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_063.jpg" width="1259" height="990" alt=""> +</figure> + +<p class="head2">FARNESE</p> + +<p class="in0"><span class="firstword">“At</span> the entrance to this palace stand two rare and +vast fountains made of granite stone and brought from +the Baths of Titus.” Thus wrote John Evelyn in November, +1644. The description holds to this day, although +the modern sight-seer will substitute Caracalla +for Titus.</p> + +<p>The fountains were erected by the Farnese family to +add the final touch of distinction to their new palace. +They owe their unique combination of original classic +features and seventeenth-century taste to the genius +and opportunities of Paul III and his grandson, Cardinal +Alessandro Farnese II, and to a still later descendant +Cardinal Odoardo Farnese. The Pope and the<span class="pagenum" id="Page_64">64</span> +earlier cardinal, men of wide culture and enormous +wealth, were the first to excavate and exploit the Baths +of Caracalla. The treasures they there found might well +have been the loot of some fabulous city, and yet the +pearls and gold and rubies brought some twenty years +later by Francis Drake to his royal mistress were of +small significance compared to the works of art found +in those great baths—baths which had been the most +sumptuous pleasure-house of imperial Rome. It is the +glory of Italy that she knew this at the time. Her great +churchmen reverently exhumed those masterpieces of +Greek and Roman art and made of them the Farnese +Collection—according to a well-known authority the +rarest collection ever got together by private individuals, +and forming to-day the chief interest in the +Museum at Naples.</p> + +<p>When the Pope, Paul III (Farnese), began the erection +of the great new palace which was to bear his name +and fitly domicile the princely family he was founding, +he, and his descendants after him, used for its decoration +the rare marbles and minor artistic trophies from +the baths. No doubt, it seemed to them a happy inspiration +to turn these gigantic granite tubs into a pair of +fountains; for these notable fountains are, in the last +analysis, simply huge bathtubs, rendered imposing by +their size, and magnificent by the material out of which +they are made. They are seventeen feet long and about +three feet deep, and are absolutely devoid of decoration +except for the lion’s head carved in relief, low +down in the middle of each side—and this is merely an<span class="pagenum" id="Page_65">65</span> +ornamental outlet for the water, quite as necessary to +the original purpose for which these tubs were made as +are the handles carved high up on either side under the +curved rim, simulating metal rings through which the +bronze staves had been inserted whenever it was found +necessary to move the tubs. Carlo and Girolamo Rainaldi, +who, in 1612, adapted for Cardinal Odoardo Farnese +this furniture of the past to seventeenth-century +decorative purposes, could think of no more original +design than that of the well-known Italian fountain of +their own day. They placed each of the tubs in a large, +elegantly curved basin similar to those in the Piazza +Navona standing some two feet above the pavement. +In the middle of each tub they erected a sumptuous +Italian vase, its large, swelling stem, richly carved, upholding +an elaborate shallow bowl, oblong in shape, +out of which rises as the fountain’s final consummation +a highly conventional fleur-de-lis, the emblem of the +Farnese family. This is overwrought with fine stone +traceries, and sends upward from its centre convolution +a single slender stream of water. Additional jets, +of no artistic value, rise one on either side in each of +the lower basins. This modern work is all in travertine.</p> + +<p>The combination of the severely classic lines of the +baths with the Gothic carving and mediæval emblem +of the fleur-de-lis is not good. It is disastrous to the +design as a composition and makes these fountains +archæological curiosities rather than artistic creations. +Still, the Farnese fountains impose by their qualities<span class="pagenum" id="Page_66">66</span> +of size and strength, and once seen can never be forgotten.</p> + +<p>The pleasure derived from the sight of a pair of +fountains is not merely double the pleasure that is felt +at the sight of one. The two objects, though exactly +similar, create by their mutual relation an entirely new +set of æsthetic emotions. The feeling for balance and +composition is aroused, and this particular pleasure is +produced in no small degree by these two fountains. +Twin fountains are an unusual feature. There are few +of them in the world; and in Rome, whose fountains +are perhaps still unnumbered, there are but five—the +fountains of St. Peter’s, the side fountains of the Piazza +del Popolo, the two end fountains of the Piazza Navona, +Vansantio’s fountains in the Villa Borghese, and +these of the Piazza Farnese.</p> + +<p>Mr. John Evelyn also describes in his journal the +custom of his day for the Roman gentry to take their +airing in the Piazza Farnese, driving or walking before +the palace and about the fountains, whose water gave +to all the architectural magnificence that touch of +freshness and charm essential to the Roman idea of a +pleasure-ground. That Evelyn was taken to the Farnese +Palace the very first day of his sojourn in Rome +is significant. The Roman of 1644 evidently considered +this palace and its precincts to be Rome’s chief attraction; +and this proves that in spite of the efforts of Paul +V (Borghese), who had died some twenty years previously +(1621), and of Urban VIII (Barberini), then just +passing away, the Farnese pontiff, Paul III, dead for a<span class="pagenum" id="Page_67">67</span> +century past, had succeeded in giving and preserving +to his family an importance and magnificence hardly to +be emulated and impossible to surpass. The bronze and +marble tomb of Paul III is in St. Peter’s, to the left of +the tribune. It contains the dust of as worldly a person, +to quote Ranke, as ever Pope had been. Yet if his actions +cannot be said to “smell sweet and blossom in the +dust,” his memory survives in the annals of Rome, +fragrant with the love and pride of his people. He was +an old, old man when he died in 1549. He had been +fifteen years Pope and forty years a cardinal. The date +of his birth carries the mind back to the years before +Columbus. His education, conducted by Pomponeus +Lætus, had begun in the full tide of the High Renaissance. +In his early twenties he became a member of the +household of Lorenzo the Magnificent, at whose table +and in whose gardens he had met the most brilliant +men of his time and had heard talk that embraced all +that was then known or surmised of art and learning. +For Constantinople had fallen to the Turk only a generation +before that time, and what had survived of +Greek culture, fleeing across the seas to Italy, had +found its chief shelter and patronage in the household +of the great Medici. While in Florence, young Farnese +must have heard Savonarola preach; but no trace of +the great Dominican’s influence is to be found throughout +his long life. The classic spirit enthralled his intellect, +and the splendor of the Medici prince captured +his imagination. In later years his careful Latinity, his +splendid and liberal manner, and his gay and witty<span class="pagenum" id="Page_68">68</span> +conversation, together with his patronage of artists +and his passion for the antique, proved how profoundly +he had been influenced by the experiences of his early +youth. Placed thus in the very heart of a movement +which freed the individual from all limitations save +those of his own personality and opened the world before +him, he early made up his mind to become Pope +and to raise his own family, as the Medici had done, +to the rank of princes. The ambition was perhaps +common, but the ability with which he pursued these +aims for upward of sixty years was not common, and +their complete achievement was little short of the +marvellous. It took him forty years to reach St. Peter’s +chair, and he occupied it only fifteen; but before he +died one of his grandsons had married a daughter of +Charles V, the Emperor of Austria; another was betrothed +to the daughter of the King of France; and +two more were cardinals and multimillionaires. Later +on, his descendants married into the royal houses of +Portugal and Spain, and the Farnese family passed +out of existence only by being merged by marriage +into the royal house of the Neapolitan Bourbons. One +grandson, Cardinal Alessandro Farnese II, was the +chief art patron of his time, and this in an age when +there were many such men; and one great-grandson +was that Duke of Parma whose fame as a great captain +is written in what were, until the second decade +of the twentieth century, the bloodiest annals of the +Netherlands. To provide a suitable setting for this +princely family, the Pope, some five years before his<span class="pagenum" id="Page_69">69</span> +death, began this Farnese Palace. Antonio da San +Gallo, the younger, Giacomo della Porta, and Michelangelo +designed its façades and cornice. The great +structure was completed long after the Pope’s death +by Alessandro Farnese II. It was recognized at once +to be the most sumptuous of the Roman palaces. It +stands upon the site of the old Palazzo Ferriz, which +was at one time the residence of the Spanish ambassador, +and had passed into the possession of the Augustine +monks of the Piazza del Popolo. The old +Ferriz Palace had been on the Tiber bank, for it was +not until Julius II’s time that the <i lang="it">Strada</i>, or Via +Giulia, was cut through, thus separating the palace +from the river. Where these fountains now stand as +the ornaments of a spacious piazza, there was at that +time nothing but a collection of hovels extending as far +as the Campo de’ Fiori. The far-sighted young cardinal—the +Farnese were thrifty, for all their magnificence—bought +the old palace from the monks, and lived there +in ever-increasing splendor under the successive pontificates +of Julius II, Leo X, and Adrian VI.</p> + +<p>Finally, under Clement VII, the great sack of the +city caused him to fly to the Castle of St. Angelo. As in +the Massacre of St. Bartholomew, forty-seven years +later, only those Huguenot gentlemen survived who +were kept in the King’s closet, so during the horrors of +the sack only those cardinals escaped outrage who were +sheltered with the Pope in the Castle of St. Angelo. +Farnese by this time ranked next to the Pope in importance, +and he was, of course, among these. From the<span class="pagenum" id="Page_70">70</span> +Castle he witnessed, with the terrified Clement, the +devastation inflicted upon the latter’s exquisite pleasure-house +on Monte Mario, an act of wanton vandalism +committed by the Colonna to spite the Pope. Some +ten years later Cardinal Farnese bought this wrecked +palace, restored it, and presented it to his daughter-in-law, +Margaret of Austria, who rested there on her triumphal +wedding procession into Rome. It is called after +her to this day the Villa Madama.</p> + +<p>In 1540, when the old Palazzo Ferriz was destroyed +to make room for the Palazzo Farnese, the workmen +came as usual upon traces of earlier times. Modern +archæologists have discovered that the mosaic pavement +under the right wing of the palace was a part of +the flooring of the Barracks of the “Red Squadron of +Charioteers.” It has been generally supposed that the +new palace was built of stone from the Coliseum, but +its materials came from numerous and varied sources. +The great travertine blocks were quarried at Tivoli; +and Paul III obtained permission to demolish and use +for his building the partly ruined battlemented monastery +of St. Lorenzo Outside the Walls. After this quarry +was exhausted, his nephews obtained the ruins of +Porto, the Baths of Caracalla, and what was still more +important the remains of the greatest temple of imperial +Rome—Aurelian’s Temple of the Sun, which, at +that date still towered one hundred feet above the +Colonna gardens.</p> + +<figure id="ip_71" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_071.jpg" width="1282" height="1967" alt=""> + <figcaption class="caption">One of the fountains in the Piazza Farnese. + </figcaption> +</figure> + +<p>Contemporary artists sketched these various structures +as the masons destroyed them, so that students<span class="pagenum" id="Page_73">73</span> +of the present day can form some idea of their classic +grandeur, and can judge for themselves the value of the +Farnese Palace on the one hand and on the other that +of the imperial baths and temple, and the mediæval +monastery, out of which it is built.</p> + +<p>The great new palace made necessary the great new +square in front of it; but years before this the Pope +had begun that regeneration of Rome for which he is +so gratefully remembered.</p> + +<p>The entry into Rome of Charles V, on the 5th of +April, 1534, first aroused the Romans to the deplorable +condition of their city, and, under the Pope’s enlightened +guidance, the preparations for the imperial visitor +took the form of permanent and far-reaching municipal +improvements, which improvements were carried on +throughout the entire period of Paul III’s pontificate. +The enlarging of such great thoroughfares as the Babuino +and Condotti date from this time, as does also +the modern Corso, this last finally superseding the Via +Giulia as the fashionable resort. Paul III preferred the +old Palazzo di Venezia at its foot to any other residence, +and he connected it with the Campidoglio by +the great viaduct, lately destroyed; while for him +Michelangelo designed the Campanile of the Senate +House. A great Roman of the present day asserts that +the fifteen years of Paul III’s pontificate comprise one +of the happiest periods in the city’s life.</p> + +<p>When Margaret of Austria rode through the Porta +del Popolo, “two hours before sunset, dressed in white +satin embroidered in pearls and gold,” it was not<span class="pagenum" id="Page_74">74</span> +merely a curious crowd who met and welcomed her. +That concourse of citizens represented the self-respect +of the Romans, risen from the abasement of a decade, +and eager to prove to the daughter of the world’s +greatest sovereign their worthiness to be her subjects. +They could not know that Margaret felt contempt for +her youthful husband, nor that in the long duel between +Paul III and the Emperor of Austria she stood +not for Rome but for Austria, saying once when her +assistance was sought that she had rather cut off her +children’s heads than ask her father to do anything +that displeased him! These were matters for the Farnese +to deal with. So far as Rome was concerned, with +the entry of the Emperor’s daughter, its place among +the cities of the world became once more important and +imposing.</p> + +<p>Charles V might despise the upstart Farnese as +Francis I had laughed at Cesare Borgia, but the self-made +Italians of the Renaissance—churchmen, merchants, +and condottieri, were forces which hereditary +monarchy could not do without. Spain had the riches +of the New World; France and England were breeding +the manhood of Europe; but Italy held the keys to the +past—to the culture for which men’s souls longed. The +time was not yet—in 1540—although it was close at +hand, when Italy’s deliberate choice of evil rather than +good finally made her, by weakening and corrupting +her, a captive to Spain. Time was not yet; and in that +last lingering glow of her greatness and freedom the old +Pope, Paul III, moves as her incarnate spirit. To a figure<span class="pagenum" id="Page_75">75</span> +slight and stately, though with stooping shoulders, +was united a shrewd and kindly countenance, with a +massive nose and flowing beard, mobile lips and piercing +eyes. His voice was modulated, and his manner +gracious and noble. This outer man held guard over a +mind so crafty and tenacious, so secretive and resourceful, +that to the Venetian ambassador—ever the most +astute observer—he remained a fascinating and baffling +enigma; while for Cardinal Mendoza and the Emperor +he was an antagonist whom, for all their secret +Austrian contempt and bitter hatred, they could not +afford to ignore.</p> + +<p>It was remarked that the Pope never wished to hear +or to speak of his predecessor. He felt that the election +of Clement VII had robbed him of fourteen years of +the papacy. Posterity may well share his prejudice, for +it seems safe to assume that, had Paul III been Pope in +1527, Bourbon’s soldiers would never have got within +sight of the city walls; there would have been, in fact, +no sack of Rome. The Pope felt with all the force of his +Italian nature the danger to Italy from the side of +Spain. Better patriot than priest, he had made secret +treaties with the Protestants as a weapon against the +Spaniard; and while no one realized more keenly than +he the necessity of reforms in the Church, yet he +dreaded them lest they might in any way weaken the +strength of the papacy. His singular ability to unite +the fortunes of his family with profitable political undertakings +runs throughout his long life; but this nepotism, +which no pope ever carried further, and for<span class="pagenum" id="Page_76">76</span> +which he has been unsparingly censured by historians, +represents the kindliest strain in his nature. It was the +human side; and it was the direct cause of his death. +In a dispute over retaining the Duchy of Parma in his +family, the Pope’s grandson, Octavius, opposed the old +pontiff. Paul felt this ingratitude deeply, and spoke +openly about it to the Venetian ambassador. The day +after All Saints’ Day, 1549, the old man repaired to his +villa on Monte Cavallo “to ease his mind,” and from +there he sent for Alessandro Farnese II. He came, this +magnificent young cardinal, handsome, courtly, the +great art patron, the lover of scholars and poets, the +finest flower of the Farnese, a grandson and namesake +of whom Paul III was justly proud. The cardinal was +the Pope’s darling, and from him Paul felt he could +expect support and sympathy. The interview, however, +soon became stormy. High words passed. The Pope +flew into a rage and snatched the biretta from the cardinal’s +head. He had discovered that Alessandro also +was carrying on a secret counterplot against him, and +the discovery broke the old man’s heart. Such a violent +attack of anger at the age of eighty-three brought on an +illness from which he had neither the strength nor the +wish to recover, and in a week’s time Paul III was +dead. Even after his death the Romans loved him—a +rare tribute to any pope—and all Rome went to kiss +his feet. He had been the first Roman to occupy St. +Peter’s chair in over one hundred years, and the Romans +felt his virtues and his failings to be their own. +Fifteen years before, they had carried him on their<span class="pagenum" id="Page_77">77</span> +shoulders into old St. Peter’s for his coronation, and +now they buried him there. His tomb cost twenty-four +thousand Roman crowns, and is the masterpiece of +Guglielmo della Porta. The two recumbent statues +upon it are said to be after a sketch by Michelangelo. +The connection of Michelangelo’s name with the tomb +is interesting, but of greater interest is the romantic +legend which surrounds the statue of the younger +woman. This figure, once called Truth and now known +to be Justice, is said to be the portrait of Paul III’s +sister, and this recalls the fact that the fortunes of the +princely family of the Farnese rest upon no more honorable +basis than the passion of Alexander VI (Borgia) +for this sister, the beautiful Giulia Farnese. No +one can study the statue on the tomb without understanding +how it was that this magnificent creature +seemed to the men of her time the flesh-and-blood presentment +of those Pagan goddesses whom they all, secretly +or openly, worshipped. The superb body is now +concealed by Bernini’s hideous leaden draperies, but +the carelessly waving hair and tiny ear have witchery +even in the marble, while the face possesses that solemnity +of perfect beauty found only in the masterpieces +of the Greeks. Never before or since was such a price +paid for the Red Hat! Alexander VI made the young +brother, Alessandro Farnese, aged twenty-five, a cardinal, +and Giulia Farnese went to reign in those Borgia +apartments, decorated by all the genius of Pinturicchio, +and at once the pride and disgrace of the Vatican. +The young cardinal was nicknamed the Petticoat Cardinal;<span class="pagenum" id="Page_78">78</span> +but he seems to have felt no compunction at the +transaction. With the Romans, as with the Parisians, +ridicule is the most powerful engine of destruction; +and the fact that Alessandro Farnese lived this sobriquet +down, proves, as nothing else can prove, the hold +he had upon the Roman people.</p> + +<p>Any account of Paul III would be incomplete without +some reference to his extraordinary belief in astrology. +It was quite a recognized fact that he never even +considered any scheme, public or private, before consulting +the planets. If the heavenly bodies were not in +favorable conjunction, the enterprise was given up, or +as nearly given up as was possible to so obstinate and +tenacious a mind. In his own time this singular characteristic +was felt to be incongruous and rather disgraceful; +but it is easy for the modern spirit to understand, +and even condone, the weakness. Surely, it was +not strange that such a man, with such a life, should +feel that “the stars in their courses fought” for him.</p> + +<p>The impression made upon the mind by the Farnese +fountains is not pleasing. They are certainly “rare and +vast,” but as fountains they are not a success. The +form overshadows the substance; for the single jet of +water thrown upward over the structural part of the +fountain is not adequate, and is lost in the effect produced +upon the eye by the huge tubs turned black by +the deposits of the Acqua Paola; while the water falling +back into these receptacles is caught as in a prison, the +overflow from the upper to the lower basins being not +sufficient to give an idea of a copious stream. The monster<span class="pagenum" id="Page_79">79</span> +granite baths have a sepulchral effect. They seem +more like coffins made to hold the bones of departed +heroes than like basins for receiving and distributing +living water. During more than two centuries these +fountains bore witness to the magnificence of the Farnese +family; but as that magnificence had been sought +and held for reasons as purely personal and selfish as +men have ever known, it had no real value or significance +for the world. No memories of patriotism or +ghost of romance hangs over these fountains, or over +the palace which they guard. The family and the splendor +once were, and now are not; and all the sunshine +which daily floods the spacious piazza fails to reanimate +the majestic vacancy of the façade, or to lift the +gloom from the dejected and sombre fountains.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_81">81</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_83">83</span></p> +<h2 class="nobreak gesperrt1" id="VILLA_GIULIA"><span id="toclink_81"></span>VILLA GIULIA</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_83" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_083.jpg" width="1132" height="789" alt=""> +</figure> + +<p class="head2">VILLA GIULIA</p> + +<h3>I. FONTANA PUBBLICA DI GIULIO III</h3> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“In Xanadu did Kubla Khan a stately pleasure dome decree,</div> + </div> + <div class="tb">* * * * *</div> + <div class="stanza"> + <div class="verse indent0">So twice five miles of fertile ground with walls and towers were girdled round.</div> + <div class="verse indent0">And there were gardens bright with sinuous rills, where blossomed many an incense-bearing tree,</div> + </div> + <div class="tb">* * * * *</div> + <div class="stanza"> + <div class="verse indent0">It was a miracle of rare device,</div> + <div class="verse indent0">A sunny pleasure dome with caves of ice....”</div> + </div> +</div> +</div> + +<p class="in0"><span class="firstword">The</span> Villa Giulia is the Italian version of “Kubla +Khan,” not built by “lofty rhyme,” but constructed +of actual stone and marble for a pleasure-loving pontiff +of the Cinque Cento. The desire to realize the poet’s +vision is often felt by absolute monarchs. Versailles, +San Souci, and the Hermitage show what unlimited<span class="pagenum" id="Page_84">84</span> +power, wealth, and caprice have accomplished in that +direction; but none of the northern sovereigns possessed +either the climate, soil, historical, poetic, and +pictorial setting or the artists, architects, and marvellous +art treasures which were at the command of +Pope Julius III.</p> + +<p>When this pontiff, whose election dates from 1550, +decided to build a pleasure-house upon the vineyard in +the Via Flaminia, which he had inherited from his +uncle, the elder Cardinal Monte, he bought up adjoining +property from various landowners, so that his domain +finally extended from the Tiber eastward up the Valle +Giulia and adjoining slopes of Monte Parioli. The +southern boundaries have not yet been fully determined, +but those to the north extended as far as the +Chapel of St. Andrea, a beautiful little building erected +by Vignola to commemorate Pope Julius’s (then Cardinal +Monte) deliverance from the soldiery at the time +of the sack of Rome in 1527. The Via Flaminia was at +that time the fashionable drive. It was lined by fine +villas and palaces, and Amannati alludes to it as the +“beautiful Via Flaminia.” The approach to it was +from the Piazza del Popolo, then a place of gardens, +through the fine Porta del Popolo which, begun so long +before under Pope Sixtus IV, had just been finished by +Michelangelo and Vignola. The fine avenue extended +as far as the Ponte Molle, where it crossed the Tiber, +and, after skirting the western slopes of Monte Soracte, +began its long march to the north. A little road (called +the Via del Arco Oscuro) leading up from the Tiber<span class="pagenum" id="Page_85">85</span> +crossed the Via Flaminia at right angles and climbed +up the Valle Giulia, turning abruptly toward the +northern spur of Monte Parioli. The original Monte +property lay along this little road; and it was at the +head of this thoroughfare, where it turned sharply to +the north and therefore at some distance from the Via +Flaminia and on much higher ground, that Pope Julius +decided to build his villa. Its creation quickly became +the absorbing passion of his life. The greatest architects +of the time were employed upon it and no expense +was spared. After Pope Julius’s death, the entire +place was confiscated by the Camera Apostolica for +thirty-seven thousand scudi, the estimated amount of +Pope Julius’s debts.</p> + +<p>The Monte Pope (Julius III belonged to the Roman +family of Monte) would leave the Vatican by the passage +leading to the Castle of St. Angelo, take there a +magnificent barge and be rowed up the great sweep of +the Tiber to the landing-place at the foot of the Arco +Oscuro. Here a fine flight of steps was constructed +leading up to a vaulted pergola which traversed the +fields between the Tiber and the Via Flaminia. The +pergola was a bower of verdure and terminated in a fine +building and gateway bordering the Tiber side of the +Via Flaminia. Here it was necessary to cross the great +highway in order to begin the ascent of the Arco Oscuro, +which led directly to his new villa. The highway +was dusty, and the <i lang="it">salita</i> or ascent long and steep, and +the Pope decided to create a resting-place at this point. +He had begun digging for water very early, while cultivating<span class="pagenum" id="Page_86">86</span> +his vineyard, “without ever having had the +slightest indication that water could be found there.” +Eventually he accomplished his purpose, for he succeeded +in bringing to his vineyard the leakage waters +of the Virgo Aqueduct. The “leakage” was very much +in the nature of a tap, and the proceeding was high-handed +and reprehensible to a degree. In imperial days +such tampering with the aqueducts was visited by punishment +which Frontinus considered not too severe for +so great a crime against the public welfare.</p> + +<p>Julius III’s pontificate lasted only five years; but in +the year following his death the Virgo Aqueduct had +already ceased to supply the city, and his successors, +Pius IV, Pius V, and Gregory XIII, were obliged to +begin and carry on a systematic and thorough restoration +and enlargement of the aqueduct. For Julius III +the wonderful water was only a perquisite belonging to +the “good gift of the papacy,” and he devoted his +short pontificate to its exploitation and adornment, +possibly silencing his scruples by the thought that the +construction of a public fountain on this highway justified +his manner of obtaining the water. At the two +opposite angles of the Via Flaminia and the Arco Oscuro, +where the ascent toward his villa began, he +erected two fountains, blunting the acute end of each +angle by a mostra or high façade from the base of which +issued the water. The fountain on the right-hand side +was a drinking-trough for horses, while that on the left +was one of the most beautiful and interesting fountains +in all Rome. It was the work of Bartolomeo<span class="pagenum" id="Page_87">87</span> +Amannati, possibly assisted by Vignola; and very often +must the youthful Domenico Fontana have studied it, +for the famous “Fontana Fountain” is only a modification +of this truly beautiful work of the dying Renaissance. +It is noticeable that Amannati’s fountain is not +a screen nor a gateway; its mostra stands against a +solid background with severely plain wings of the same +height flanking it at an angle on either side. This mostra +is of peperino in the Corinthian order, the columns +supporting a fine classic entablature and pediment. +The apex of the pediment was surmounted by a colossal +statue of Neptune, and the corners of it terminated +in two pedestals carrying, the one a Minerva, +and the other a Rome. Between these two figures and +the Neptune were two minor pedestals marking the +architectural termination of the great central division +of the fountain, and on these stood two small +obelisks, a feature borrowed by Fontana for his fountain +of the Moses. The arch of the central division +held between its Corinthian pillars the huge square +slab with the inscription:</p> + +<p class="center"> +JULIUS III PONT. MAX. PUBLICÆ<br> +COMMODITATI ANNO III +</p> + +<p>The niches on either side of this slab once contained +statues, one of Happiness and the other of Abundance, +a design embodied two hundred years later in the background +of the Fountain of Trevi. The basin for receiving +the water did not extend across the full width of +the mostra, but was, and is (for this still remains), a<span class="pagenum" id="Page_88">88</span> +noble white granite conca standing at the foot of the +central division under the inscription. It originally received +the water from a beautiful antique head of +Apollo. All this is described in a letter written by the +architect himself, Amannati, from Rome in 1555, and +there follows a description of the arcade behind the +fountain. This consists of three loggias with Corinthian +columns, making a semihexagonal design and carrying +a vaulted roof ornamented by pictures and exquisite +stucco work. This was where “his Holiness got repose +without incommoding the public,” which, on the +other side of the wall, refreshed itself and its beasts of +burden from the public fountain. The columns were +joined together by a balustrade, and the three-sided +colonnade held in its embrace a large fish-pond with +various <i lang="fr">jets d’eau</i>. Beyond this architectural loveliness +stretched long walks bordered with fruit-trees and espaliers, +and up these paths the Pope walked when, refreshed +after his long journey from the Vatican, and +eager to see what his workmen had concluded over +night, he finally decided to go on to the villa on the +hill. This beautiful fountain and its loggias have suffered +more than customary outrage from time, neglect, +and stupidity. There would seem to be no vile use to +which the loggias have not been put; and the superimposition +of the Casino of Pope Pius IV, which is now +recognized to be the work of Piero Ligorio, has entirely +altered the proportions and beauty of the public fountain. +The fate of Pope Julius’s creation, from the time +of his death until 1900, is poorly outlined in the various<span class="pagenum" id="Page_89">89</span> +half-obliterated escutcheons and inscriptions which +now ornament the fountain and its superstructural +Casino. As the villa and all the land about it had been +immediately sequestered by the Apostolic Chamber in +spite of the protests of Julius III’s legal heirs before a +tardy compensation was awarded them, this portion of +the Monte property was divided by Pope Pius IV between +a son of the Duke of Tuscany “who was to have +the usufruct for his lifetime” and his own two nephews, +Carlo and Federigo Borromeo. A sister of these Borromeo +brothers married a Colonna, and the property was +bestowed upon her as dowry. It remained in that family +until 1900, when it was purchased by the present +owner, Cavaliere Giuseppe Balestra, who already +owned the adjoining villa on the high ground, which +might have been a part of the original Villa Giulia, +since it corresponds to that land which Julius III +had acquired from Cardinal Poggio and Cardinal San +Vitelleschi. The Medici escutcheon may have been +placed there either by the Duke of Tuscany or by +Pius IV. The Pope was of very humble Milanese origin +and had no connection whatever with the great family +whose name he happened to have; but after he became +Pope, the Duke Cosimo I, who found it to his interest +to have the Pope on his side, permitted him to use the +escutcheon. Contrary to the decent Roman custom,<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">B</a> +the original inscription of Julius III was removed in<span class="pagenum" id="Page_90">90</span> +the first quarter of the seventeenth century, by that +one of the Colonna who inherited the property after +the death of the last descendant of the earlier branch. +He placed his own, the present, inscription in place of +it, sparing the inscription to Carlo Borromeo, either +because of Borroraeo’s connection with the Colonna +family or because of the great veneration felt by everyone +for the memory of the sainted young cardinal. It +was also at this time that the beautiful antique head of +Apollo was replaced by the Colonna escutcheon and +the sculptured trophies. The inscription on the small +tablet under the spring of the arch relates that in 1750 +Pope Benedict XIV gave to the Colonna family the +right to draw “two ounces” of water daily from the +receiving-tank of the Trevi Fountain for use in their +Roman palace as a recompense to them for their gift +to the public of the Trevi Water in this old fountain.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">C</a></p> + +<p>Those who visit the Villa Giulia in the morning +hours may see the Campagna carts on their way back +from Rome drawn up before the public fountain of +Pope Julius III, and the sleepy drivers, tired horses, +and responsible little dogs refreshing themselves with +the water.</p> + +<p><span class="pagenum" id="Page_91">91</span></p> + +<figure id="ip_91" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_091.jpg" width="1269" height="1950" alt=""> + <figcaption class="caption">Fountain of the Virgins. + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_93">93</span></p> + +<p>So far the picture created more than three hundred +and fifty years ago remains the same; fundamental customs +do not change in Rome. But on the other side of +the wall, where once sat and talked the joyous Pope +and his company, what ruin and desolation! Some day +the Italian Government will sweep the crumbling loggias +free from dust and rubbish and tear away the protecting +foliage, not redeeming but unmasking the desecration +of the centuries. To-day the dark water in the +rough garden tanks, the unpruned trees and wild +flowers, the old mule stabled under the ruined loggias +where hay is stored, the mysterious gloom of the +vaulted roof above the Corinthian capitals and everywhere +black shadows of impenetrable depth make up a +scene whose like can in all probability be found only +among the engravings of Piranesi.</p> + +<figure id="ip_93" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_093.jpg" width="1257" height="629" alt=""> +</figure> + +<h3>II. THE NYMPHÆUM OR “SECRET FOUNTAIN”</h3> + +<p>The Villa Giulia proper is designated in the old Italian +books as l’Invenzione nella Vigna Giulia, and the +literal English translation of invention not inappropriately<span class="pagenum" id="Page_94">94</span> +describes this truly marvellous creation. Amannati, +Vasari, Vignola,<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">D</a> and even the aged Michelangelo +spent themselves upon the architectural devices +by which this pleasure-house became a place of almost +fabulous beauty. Consummate knowledge of perspective +was employed in making the building, which is not +at all large, seem so, and the only defect in the entire +design is, as might have been expected, the Pope’s +fault, for Julius insisted upon working into the loggias +in the rear of the upper court of the fountain a gift of +columns, beautiful in themselves but too small for the +surrounding proportions, thus making that part of +the construction appear insignificant and inferior to +the rest. The Pope’s changing caprice wearied even the +good-natured Vasari, who has left the record that +“there was no getting the villa done”; and it was +not long before Vignola, a man of genuine and independent +genius, wearied utterly of serving such a master +and went off with the great Cardinal Farnese to +build the latter’s villa of Caprarola, where he could +work at peace and for an appreciative and sympathetic +patron.</p> + +<p>The last remains of Aurelian’s Temple of the Sun +were presented by Prince Colonna to the Pope and<span class="pagenum" id="Page_95">95</span> +went into the fabric of the villa, and a great collection +of portrait busts of the Emperors, found in the villa of +Hadrian, helped to adorn the loggias and niches. The +villa was filled with rare marbles, tables, statues, and +vases, and the marble columns of the central loggia +were so lustrous that Amannati says they mirrored +every one who entered there. As the villa is constructed +on the hillside, various levels are the natural result, +and this feature has been used with diverse and happy +effects. The various courts are all on different planes +while, with the one exception of the grand double +stairway in the central court, all the stairs are cunningly +concealed so that there is no suggestion of +physical effort as the eye passes from one plane to +another. The vaulted roofs of the long semicircular +galleries and various rooms were decorated with paintings +or with stucco work of the most exquisite perfection. +Traces of this last are still to be seen above +the niches containing the colossal river-gods, the Tiber +and the Arno (Amannati was a Florentine). The place +was truly a Palace of Art. Nothing but beauty was +permitted to enter it. Stables, offices, and kitchens +were placed outside the villa, and the one house which +stood within the villa grounds—that of the keeper or +custodian—was designed and decorated with great +care, so that, according to Amannati, the entire invention +was of such beauty that it was in itself “good +enough for any great prince.” Nothing remains of +this splendor but the bare shell, and this has been so +tampered with that it is only from old plans or from<span class="pagenum" id="Page_96">96</span> +outlines of restoration by Letarouilly and Stern that +a true conception can be obtained of the villa of +Pope Julius III. It is necessary to know, for instance, +that the front court, now a commonplace garden, was +originally a great paved cortile filled with statuary +now in the Vatican or scattered far and wide over +Italy. The loggia leading up and out of this court was +originally closed and entered by doors. The shallow, +broad stairway leading down from the right-hand +garden under the terraces was put in for the benefit +of the cavalry quartered there during a petty war of +the eighteenth century, when the horses were taken +down to drink at the Nymphæum! The present gardens +in no wise represent the beautiful formal gardens +which stretched there on either side of the various +courts, and the present walls cannot possibly enclose +that space which was once filled with orange groves +and every sort of device for fastidious delight. Somewhere +in those grounds, probably on the right hand, +there was a monticello or little hill from which could +be seen the Tiber, the Seven Hills, the “beautiful +Strada Flaminia,” the Vatican, and the vast erection +of new St. Peter’s overtopping and gradually engulfing +the old basilica, the view extending even to the sea. +Under the high ground still held in place by a great +retaining wall were grottos beautifully decorated by +stucco and painting and icy cold even in summer. In +the woods, where the Italian pastime of snaring birds +was carefully provided for, there were accommodations +for every kind of animal, and everywhere there<span class="pagenum" id="Page_97">97</span> +were fountains, marble seats, and antique garden +statuary.</p> + +<p>Louis XIV, for whom careful plans of the villa were +drawn, wisely made no attempt to copy the enchanted +palace of Italy. Versailles makes up in size for the +beauty of color, architecture, vegetation, and art treasures +here formed into one beautiful whole by Pope +Julius III. The shape of the Villa Giulia is significant. +It is a series of gardens, loggias, and courts, one enclosing +the other, each richer in ornamentation, more +ravishing in beauty than the last, until finally the +heart of the creation is reached, and the “secret fountain” +of the Acqua Vergine is discovered flowing out +of the shadow and from a hidden source into a sunlit +Nymphæum of marvellous beauty and again mysteriously +disappearing into the shadow. The Fountain of +the Virgins, as it came to be called, was felt by its +creator, Amannati, to be beyond the power of description. +Writing to a friend in Padua, soon after Pope +Julius’s death, he describes the entire villa in extraordinary +detail, noting the attitude even of many of +the statues; but when, after pages of description, he +has brought his reader to the lowest court of all, his +pen fails him and he says that unless he can paint a +picture of this court and fountain he will never be +able to give his friend “any conception of this, the +loveliest, richest, and most marvellous place in the +entire creation.” Amannati saw it in its first splendor. +The caryatides were perfect, white, and gleaming, +and perhaps beautiful. The niches round about<span class="pagenum" id="Page_98">98</span> +were filled with marble boys carrying urns upon their +shoulders from which the water was poured into the +semicircular stream at their feet. It is impossible to +tell from the description of the old pictures what, if +any, statue filled the central niche behind the virgins. +At present the niche holds a great white marble swan, +now almost hidden by fern, from whose bill the water +trickles into the black pool beneath. The pavement, +made of every conceivable kind of marble, glowed like +a jewel. The balustrade above held graceful statues +and on either side of the court just above stood a great +plane-tree, giving delicious verdure and shade. Then, +as now, the water came from large reservoirs hidden +beneath the upper terrace to the east of the fountain; +then, as now, it was carried off over gentle, rough-paved +inclines; then, as now, it fell steeply into a subterranean +cavern—the entire construction producing +waves of cool air and a ripple and murmur of water +exquisitely refreshing to both eye and ear. It is almost +necessary to forgive Pope Julius his attack upon the +aqueduct. Never before or since has the Acqua Vergine +received such poetic treatment.</p> + +<p>Nothing remains of this beauty but the water and +the masonry. Pope Julius was hardly buried before the +spoliation of his villa began. Like the Pope’s beautiful +resting-place behind the public fountain, the Nymphæum +has endured three centuries of vile usage and +neglect. Nowhere in Rome is it more necessary to use +imagination than in the Villa Giulia. The visitor should +descend into the lowest court on a day of brilliant sunshine<span class="pagenum" id="Page_99">99</span> +and, standing before the Fountain of the Virgins, +replace for himself the lost lustre of the columns, the +whiteness of the balustrades, the rich coloring of mural +paintings and stucco, and the gleam of antique statuary. +He should see the flickering shadows cast by the +great plane-trees across the marble pavement, and hear +the birds twittering or calling from the aviaries which +were in the loggia wall above the river-gods. He must +fancy the fitful music of stringed instruments, the perfume +from the orange groves drifting over the garden +walls where sat the monkeys and brilliant tropical +birds. He must feel the languid stir or deep repose of +long, indolent, luxurious summer days, and through it +all, he must be conscious of the water. Only so will he +be able to form some adequate conception of what the +“secret fountain” must have been in the days of Pope +Julius III. The highest charm of the beautiful creation +lay in its presentation of contrast translated into a medium +suitable to every sense. It was an age of contrast, +sharp and constant. No feature in the crowded Italian +life of those two centuries is so striking as this. Fame +and obloquy; triumphant health and the lazar-house; +honor and exile; the luxury of an Agostino Chigi and +the squalor of the beggar at his doors; compassion and +fiendish cruelty, young Cardinal Borromeo’s sanctity +on the one hand, and on the other unblushing licentiousness; +beauty to which all but divine honors were +paid, and hideous deformity; these lay open to the eye +on every side. There seemed to be no transition. The +“secret fountain,” with its light and shade, its rest and<span class="pagenum" id="Page_100">100</span> +motion, sound and silence, its art and nature, was the +poetic expression of life as it was known by the men +for whom it was created.</p> + +<p>The records of those days are never free from blood, +and at least one assassination is connected with the +building of this house of mirth. Baronino, an associate +of Vignola and Amannati, leaving the villa with a +friend on a certain evening, was set upon as he turned +into the Via Flaminia and stabbed to death. The angle +in the walls made by the public fountain and the fact +that it was a natural place for loiterers probably suggested +the choice of the spot. The assassin’s identity +was either never discovered or never revealed and the +crime went unpunished, for Cellini was not the only +lucky rascal. Artists especially carried their lives in +their hands, and genius was as open to violence as it +was to fame.</p> + +<p>Historians and moralists accord scant justice and +no mercy to Julius III. He is represented by them as +spending his life in senseless and indolent pleasures. +Yet he had begun his pontificate with some show of +earnestness. He had reopened the Council of Trent, +and had attempted to play a part in the diplomacy of +Europe. That after two years he wearied of these arduous +labors might have been because he had sufficient +wit to perceive that, for his time at least, the Papal +See would have to be a tool in the hands of Austria. +His devotion to the creation of his villa was perhaps +the only outlet for the activities of a nature too slight +to cope with the stern and sinister century on which<span class="pagenum" id="Page_101">101</span> +his lot had fallen. Long days spent with Vignola, +Amannati, and Vasari, and above all, with the aged +but undaunted Michelangelo himself, for whom this +Pope felt a loving veneration, must have had a zest +and stimulating quality sufficient to make the Pope’s +life in this villa something more than the sybaritic +enjoyment of mere sensuous beauty.</p> + +<p>Beyond a doubt, the construction of his villa became +an obsession with the Pope. He gradually abandoned +all other avocations and duties. It was at the villa that +he held his audiences, received ambassadors, and gave +his suppers, at which last his wit was said to be of less +fine quality than were his vintages. He even had a +medal struck, with his own head on one side and on +the other the front elevation of the Villa Giulia, with +the inscription, “Fons Virginibus.”</p> + +<p>One fatal day a pet monkey savagely attacked the +Pope. He was rescued by a lad of sixteen whom he soon +after made a cardinal. The scandal was very great. +Prelates and laymen alike felt this to be going too far. +The Pope might lay himself open to censure but not to +ridicule. Here in the midst of the beauty created by +Pope Julius, men’s eyes began to turn toward the +slightly grim, ascetic figure of Cardinal della Croce, +great Roman patrician and true saint, who, as if to give +the final note to this life of vivid contrast, moved about +in the gay papal court, reserved, austere, devoted to a +life of such sanctity that the Pope himself felt uncomfortable +in his presence.</p> + +<p>The villa was still far from finished when Julius<span class="pagenum" id="Page_102">102</span> +III’s short pontificate came to an end. The Conclave +almost unanimously chose as his successor their saintly +brother, Cardinal della Croce.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">E</a> The world had entered +upon a new phase. Northern Europe had brought the +spirit of the Reformation to the gates of Rome, and +men were ashamed of Pope Julius III, whose misfortune +it had been to live half a century too late.</p> + +<p>The Villa Giulia passed into the ownership of the +popes and remained there until it was taken over by +the state in the present government. It was eventually +finished by Popes Pius IV and Pius V, but the art +treasures were scattered far and wide. During many +pontificates it was used for the stopping place of ambassadors +and other great personages who spent the +night there before making their ceremonial entrance +into Rome. Perhaps the presence of so much water and +luxurious vegetation made the place peculiarly sensitive +to mould and decay. Even as early as 1585 it was +not considered healthful. Sixtus V, with the restless caprice +of the poor sleeper, wished to spend a night there, +but was forbidden to do so by his physician. As it was +papal property, no private individual ever had the +chance to take over the beautiful old building and gardens +and keep them in repair; and those popes whose +tastes might have led them to restore it built pleasure-houses +or palaces for themselves. Gregory XIII began +the Quirinal Palace, and not infrequently for his villegiatura +visited the magnificent villa of Mondragone at<span class="pagenum" id="Page_103">103</span> +Frascati which Cardinal Altemps had already begun to +build. Sixtus V built his Villa Montalto, the new Lateran +Palace, and finished the Quirinal Palace. Clement +VIII contented himself with the Quirinal; but his +great cardinal nephew, Peter Aldobrandini, founded +the magnificent Villa Aldobrandini at Frascati. The +Medici Leo XI devoted himself to the Villa Medici. +Paul V did indeed make a restoration, using much +stucco, which can easily be distinguished from the +beautiful work of the original period, but that Pope’s +interest was really given to the great villa which his +nephew, Cardinal Scipione Borghese, was creating out +of the old Villa Cenci.</p> + +<p>Finally, late in the eighteenth century, the papal +chair was occupied by a man of culture who felt the +charm of the old Cinque Cento villa in the Valle Giulia, +and tried to rescue it from total ruin. This was the +Ganganelli Pope, Clement XIV, the founder of the +Clementine sculpture gallery in the Vatican. Clement +XIV’s investigation of Pope Julius III’s villa showed +that the aqueducts were ruined, the walls crumbled by +water, the pavements cracked by fire, while all the +wood and iron work was broken or rusted, and the exquisite +paintings, stucco, and gilding spoiled by smoke +and damp.<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">F</a> The papal architect, Raphael Stern, +made careful and elaborate drawings from old plans, +with a view to a genuine restoration, as Pius VI (who,<span class="pagenum" id="Page_104">104</span> +in 1774, succeeded Clement XIV) carried on the work. +This Pope also felt the fascination of the marvellous, +all but ruined pleasure-house, and decided to make it +his autumn residence, but it was too late! Pope Pius +VI was carried off by the French Revolutionary forces +in 1798 and died a prisoner in the French fortress of +Valence. From that time forward, the villa fell more +and more into decay. Its pitiful condition might have +furnished material for endless sermons on the vanity of +life, and the ruin of its exquisite decorations fills all artists +and lovers of the beautiful with indignant regret. +It has been a veterinary hospital, a cavalry barracks, +a storehouse for hay—no desecration has been spared +it. At last the present government rescued what was +left of it and converted it into a museum of antiquities, +giving the last ironic touch to its fate by filling the +rooms built to minister to the joy and pride of life, +with ancient coffins and relics of the dead.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_105">105</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_107">107</span></p> +<h2 class="nobreak gesperrt1" id="COLONNA"><span id="toclink_105"></span>COLONNA</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_107" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_107.jpg" width="1258" height="707" alt=""> +</figure> + +<p class="head2">COLONNA</p> + +<p class="in0"><span class="firstword">The</span> fountain of the Piazza Colonna might be the +“Fountain of Youth,” for the freshness of its marbles +makes it seem to date from yesterday, whereas it is in +reality one of the oldest fountains of modern Rome. It +was constructed three hundred and twenty-five years +ago, and belongs to that period when the Acqua Vergine +(Trevi Water) was the only water with which to +feed a fountain. As the Acqua Vergine has not sufficient +head to rise to any great height, and as its supply +is in continuous and wide-spread use for domestic purposes, +the designs for the fountains which it furnishes +have to be low, and the sculptor or architect must rely +for his effect not upon any lavish supply of water but +upon the beauty of his materials and his own imagination. +The fountains of Giacomo della Porta show the +practical difficulties with which he had to contend, and<span class="pagenum" id="Page_108">108</span> +the felicity of his genius in overcoming the limitation. +His fountain of the “Tartarughe” is a work of art, and +as such can be admired without the aid of the water. +The two side fountains in the Piazza Navona, also his +creations, were quite lovely before Bernini decorated +one and artists of the nineteenth century the other +with fantastic sculpture. His fountain of the Piazza +Colonna has been less tampered with and, standing in +full sunlight or darkened by the vast shadow of the +Antonine Column, it remains, in its quiet beauty, a +masterpiece among the Roman fountains. It is a graceful, +hectagonal receptacle, half basin, half drinking-trough, +composed of different kinds of Porta Santa +marble. These are joined together with straps of Carrara +ornamented by lions’ heads.<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">G</a> Its waters come to +it from a vase of antique shape standing in the centre. +From the shallow bowl of this central vase the water +gushes upward to fall over the rim in a soft, unbroken, +silvery stream, and through this vestal’s veil the Carrara, +to which the waters have given a wonderful surface, +gleams in unsullied freshness and beauty. Two +tiny jets, set midway on either side between the ends +of the fountain and the vase in the centre, bring an +additional volume and add to the animation of the +pool. The vase in the centre is represented in an old +engraving by Falda as being much lower than the +present one and carved in crowded leaflike convolutions,<span class="pagenum" id="Page_109">109</span> +like the vase of the Scossa Cavalli fountain.</p> + +<p>By 1829 this bit of old travertine sculpture had become +so misshapen that the artist Stocchi, by order of +Leo XII, replaced it by the present Carrara vase, adding +at that time to either end of the trough the small +groups of shells and dolphins. These are such dainty +bits of fancy, and so frankly an afterthought, that in +their first freshness at least they could not have +marred the beauty of the original conception. Rather +must they have enhanced it, as the white doves which +are perched upon its rim make the charm of the +“Pliny’s Vase.” Giacomo della Porta is the first fountain +builder of modern Rome, and the fountains which +he did for Gregory XIII—all constructed for Trevi +Water—are still among the loveliest the city holds. +The passion for fountain building began in the second +half of the Cinque Cento. Julius III rediscovered the +immense æsthetic value of water, the Nymphæum in +his Villa Giulia being, in fact, the apotheosis of the +Acqua Vergine. Pius V’s enlarged fountain of Trevi was +a recognition of the importance of water to the city’s +welfare. This Pope and his predecessor, Pius IV, as +well as his successor, Gregory XIII, all occupied themselves +seriously with the restoration, improvement, and +upkeep of the Virgo Aqueduct. The return to the +water question is the one healthy and hopeful sign in +the city’s life during those years which lay between the +death of old Paul III and the accession of Sixtus V. +Michelangelo died within this period and his great<span class="pagenum" id="Page_110">110</span> +spirit was not more surely departed than was the age +of art and learning in which he had moved as king. +That outrage to civilization known as the “last sack +of Rome” had occurred in 1527, under Clement VII, +and Rome, in the person of her pontiff and in that of +every citizen, had suffered insult, spoliation, and dishonor.</p> + +<p>The devotion of the Romans to Clement’s successor +(the Farnese pontiff, Paul III) was in great part due +to their recognition of the fact that his pontificate represented +a sustained and gallant attempt to restore to +his people their lost prestige—that <i lang="la">figura</i> so dear to +the Roman heart. With the death of the old patrician +the deplorable condition of the city once more asserted +itself and men realized more keenly than ever +the permanent devastation wrought by the sack. Posterity +gains some faint idea of its horrors from the autobiography +of Benvenuto Cellini. It is indebted to +him for the dramatic description of the death of the +Constable de Bourbon, killed by a chance shot from +the ramparts when, in the dense fog which enveloped +the beleaguered city, he was planting the scaling ladders +against the walls. Four days earlier, and during the +march on Rome, the other commander of the besieging +army, the veteran George Freundsberg, had died of a +stroke of apoplexy brought on by the mutinous conduct +of his troops; so that, without leaders, forty thousand +of the worst soldiery of Europe were turned loose +within the city walls—turned loose to recoup themselves +for their long arrears of wages out of everything<span class="pagenum" id="Page_111">111</span> +which the taste, learning, and moral sense of civilized +man has always held most precious. History records +that the Spanish were the most cold-blooded, the Germans +the most bestial, and the Italians the most inventive +in forms of villainy. The week of unspeakable +atrocities, wanton destruction, and wholesale pillage +came to an end; but when it did, that marvellous treasure-house +of civilization—Rome of the Renaissance—had +perished, and the place thereof was to know her no +more. It was no wonder that, during the decade which +followed, Rome—what was left of her—seemed hardly +to breathe. When, during the pontificate of Paul III +she began to revive, it was plain to all men that she +was not, and could never be, the same. Life came back +to her at last, not through æsthetic but through ethical +channels.</p> + +<p>Thenceforward the popes, whether they wished it or +not, were to be serious men. As the Reformation spread +through England, the Low Countries, France and Germany, +the papacy set its house in order and prepared +to fight, not for its temporal supremacy, as in the mediæval +struggle with the Emperors, but for its spiritual +authority. It was at this point that there came to its +aid a new force, a force whose influence has never yet +been accurately measured. In 1539, just before the +close of Luther’s life, Ignatius Loyola founded the Society +of Jesus. This was in the time of Paul III. Four +pontificates later, under Pius IV, the Jesuits, as Calvin +was the first to call them, furnished the sensational +element in the second sitting of the Council of Trent;<span class="pagenum" id="Page_112">112</span> +and in 1572, when Ugo Boncompagni became Pope, +under the title of Gregory XIII, the order made its +appearance on the world’s stage as the recognized director +of the church militant. The Jesuits were the +keepers of this Pope’s conscience, and the history of his +pontificate is the first chapter in the history of Jesuit +rule. For them the Pope erected the present building +of the Collegio Romano, founded in Loyola’s time; for +them he founded the German and English colleges at +Rome, and, according to Ranke, “probably there was +not a single Jesuit school in the world which had not to +boast in one way or another of his bounty.” The chief +architects of the time were put at their disposal. Vignola +designed and built for them the vast Church of +“the Gesù”; and as he died while the work was in +progress, his distinguished pupil, Giacomo della Porta, +turned from the making of beautiful fountains and +completed the cupola and façade. The latter also built +the high altar in that church, and in its construction +showed once more that love of rare marbles which is +so distinctive a feature in the Colonna and other fountains +of his creation.</p> + +<p>Gregory XIII had begun life as a Bolognese lawyer. +He had been called to Rome by Paul III the very year +Loyola founded the Society of Jesus. He had gone to +Spain as Papal legate under Paul IV, had been created +cardinal by Pius IV, and at the age of seventy was +made Pope. His life had peculiarly fitted him to appreciate +Jesuit ideals. His belief in educational institutions, +his keen interest in geography and the remote<span class="pagenum" id="Page_113">113</span> +corners of the earth, the correctness of his private life +after his elevation, his previous worldliness, and his +secular training, all combined to make him the Jesuit +Pope. The Roman Church remembers him as the +builder of the Gregorian Chapel in St. Peter’s, the reformer +of the calendar, the reorganizer of a great body +of ecclesiastical law, and the patron of the Order of the +Jesuits. To Protestants he remains the Pope who sang +“Te Deums” for “the St. Bartholomew.”</p> + +<p>The pontificate of Gregory XIII was a deplorable +one for the Holy See and for the Romans. Conditions +of living sank to a very low level. Banditti terrorized +the States of the Church and could not be controlled +even in Rome. The great families whose estates Gregory +had confiscated to pay for his architectural and +ecclesiastical extravagances were in open revolt, and +the treasury was empty. Venice had been estranged, +and England and the Netherlands were forever lost. +Gregory XIII’s successor, Sixtus V, fell heir to this +condition of misrule and disaster. No one can be surprised +at the grim irony of the new pontiff in ordering +masses to be said for the soul of Gregory XIII!</p> + +<p>Looking at the tranquil loveliness of the Colonna +fountain—so white and shining in the sunlight—it is +difficult to picture it as a part of the turbulent life of +the period in which it was erected. Yet many a time +its waters must have restored consciousness, stanched +wounds, stifled cries for mercy or succor, and washed +away the stains of blood. It has always been a Pilgrims’ +Fountain. Long before Sixtus V with his passion for<span class="pagenum" id="Page_114">114</span> +converting the “high places” of Paganism into Christian +monuments had restored the Antonine column and +placed upon it the statue of St. Paul—long before that +time the ascent of the column had been a part of the +Roman pilgrims’ itinerary. In the Middle Ages the column +had become the property of the monks of San Silvestro, +who leased it to the highest bidder. As Rome +numbered her pilgrims by the thousands in any year, +and by the tens of thousands during the years of the +Papal Jubilee, a goodly profit was derived from the +fees paid by the pilgrims to the custodian of the column, +and the monks could therefore always count upon making +an advantageous lease. Gregory XIII, in erecting +this fountain, must have thought primarily of the comfort +and interest of the pilgrims. As the traveller of +to-day remembers the fountain of Trevi, so the pilgrim +of the sixteenth century remembered the fountain +by the side of the Column of St. Paul—the fountain +of the Piazza Colonna. Its beauty delighted the +eyes of footsore men from far-off and still barbarous +countries; while the crystalline waters which quenched +their thirst and washed away the stains of travel would +have had for these Christians from the North a symbolic +significance undreamed of by the Romans. The +vision of this shining fountain has been carried back to +many distant monasteries and remote firesides throughout +the Christian world. Its situation in the Piazza Colonna, +which is but a widening of the Corso, has kept it +in the main current of Roman life. The people use it +and cherish it; Falda has engraved it; and, in the beginning<span class="pagenum" id="Page_115">115</span> +of the nineteenth century, Pope Leo XII embellished +it with its dainty shells and dolphins, as a +father might twine flowers in the hair of some beautiful +child.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_117">117</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_119">119</span></p> +<h2 class="nobreak gesperrt1" id="QUATTRO_FONTANE"><span id="toclink_117"></span>QUATTRO FONTANE</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_119" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_119.jpg" width="1277" height="864" alt=""> +</figure> + +<p class="head2">QUATTRO FONTANE</p> + +<p class="in0"><span class="firstword">These</span> quaint old fountains, now fast fading away, +were erected during the pontificate of Sixtus V to decorate +the famous “Crossing” created by himself and +his architect Domenico Fontana when these two began +to make over Rome of the Renaissance into modern +Rome. The Crossing occurs where the Via Venti +Settembre traverses at right angles the Via Sistina. +The former leads from the Porta Pia to the Piazza of +the Quirinal, and the latter runs all the way from the +Trinità de’ Monti to Santa Maria Maggiore, changing +its name just above the Crossing to Via Quattro +Fontane, and after passing the Via Nazionale becoming +Via Agostino Depretis. The Via Venti Settembre +becomes, after leaving the Crossing on the Quirinal +side, the Via Quirinale. Sixtus V laid out the Via Sistina,<span class="pagenum" id="Page_120">120</span> +and called it for himself the Via Felice. The Via +Venti Settembre was called in his time the Via Pia, as +it led to the Porta Pia, which was erected by Pope +Pius IV.</p> + +<p>The four fountains are of travertine and represent +two rivers and two virtues. They are all by Fontana +except that one which is placed across the grille in the +wall of the Barberini Gardens. This is the work of Pietro +da Cortona. The choice both of the rivers and of +the virtues is significant. Pope Sixtus V’s early life +shows what need he had of fortitude, while fidelity +marks his attitude toward his two (and only) friends, +Pope Pius V and Domenico Fontana.</p> + +<p>The Tiber, represented by a river-god behind whom +the reeds are growing, was of course to be expected. +The Anio, also a river-god but with the emblem of the +oak-tree, may have been chosen because of Sixtus V’s +intention to bring its waters to Rome, not by an aqueduct +but in a canal, for the transportation of the travertine +and wood needed in his great enterprises. For +the Tiber also he had plans. He wished to enlarge its +bed so that he might bring up his galleys from the sea +to Rome; and he had a scheme for its separation at the +Ponte Molle and for bringing one arm of it behind the +Vatican, so as to make an island of that part of Rome +containing the papal palace, St. Peter’s and the Castle +of St. Angelo. These were among the projects which he +had not the time to carry out, for Sixtus V’s pontificate +lasted but five years. Seeing what he actually accomplished +during that short period and reading what he<span class="pagenum" id="Page_121">121</span> +still intended to do, it seems as if this Pope were not a +link in the long chain of St. Peter’s successors but one +of those “explosions of energy” which occur from time +to time in the history of men.</p> + +<figure id="ip_121" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_121.jpg" width="1274" height="870" alt=""> +</figure> + +<p>Sixtus V was not a Roman nor even by descent an +Italian. His origin was from the humblest condition in +life. The family name of Peretti (a little pear) might +have been taken by his father, an Illyrian immigrant of +Slavonic origin, to denote his occupation, which was +that of a fruit gardener. At twelve years of age this +man’s son, Felix Peretti, became a Franciscan novice; +and from that time the enthusiasm, ideals, and limitations +of the great Order of St. Francis moulded and inspired +a character formed by nature for leadership in +any position to which it might attain. To an ardent +temperament, an imperious will, and a strong intellect<span class="pagenum" id="Page_122">122</span> +was added a constructive, even fantastic, imagination +of a high order; but his lack of early culture and his +exclusively monastic training had kept him in ignorance +of all education not immediately connected with +religion and had bred in him a hostility toward classic +art almost amounting to fanaticism. Such was the +great Franciscan friar, Felix Peretti who, after first becoming +Cardinal Montalto, was elected Pope in 1585 +and took the title of Sixtus V. It may be said that, although +as head of the Roman See his abilities obtained +a far wider scope than his order could have given him, +yet from the point of view of character and ideals he +remained the Franciscan friar all his life. His brief +and splendid pontificate closed suddenly amid the last +great political and religious struggle between France +and Spain. To neither opponent had Sixtus, who could +see both sides of the conflict, given his final support; +and his suspension of judgment in a cause where the +forces of Protestantism were still represented in the +person of Henry of Navarre gave rise to suspicions, +most unjust, of his orthodoxy. The Roman people forgot +the benefits and glories of his reign and remembered +only its severity, the destruction of their antiquities, +the drain of his taxation, and his temperate policy toward +a Protestant king. The marvel of his extraordinary +rise to power had produced in the public mind fantastic +theories, and when a great storm burst over the +Palace of the Quirinal, where the Pope lay dying, it +was commonly believed that “Friar Felix” had at +last been called upon to fulfil his part of the compact<span class="pagenum" id="Page_123">123</span> +which he had made with the devil for power +and place.</p> + +<p>When this Pope ascended the chair of St. Peter he +found an exhausted treasury, a starving people, a +cramped and crowded city suffering from lack of water +and from every means of hygienic living; and added to +this there was such a condition of lawlessness in the +States of the Church as made them a byword throughout +Christendom. Within a year after his election the +last great chieftain of the banditti had been destroyed, +and the foreign ambassadors journeyed in safety to +take up their abode in the Holy City. Within three +years he had deposited in the Castle of St. Angelo great +sums of money, which were to be used, however, only +for the defense of the city, the purchase of lost papal +territory, and wars against the Turks, with which last +contingency his imagination was constantly at play. +During these years he had also reconciled the feud of +the Colonna and Orsini, had restored the disputed +privileges of the nobility in the great cities, and had +brought Venice once more into harmony with the papacy. +It was by command of this Pope, Sixtus V, that +the gardens, hills, wolds, and valleys of the States of +the Church were planted with mulberry-trees, so that +“where no corn grew the silk industry might flourish.” +It was Sixtus V who encouraged woollen manufacture +so that—to quote his own words—“the poor might +have something.” In connection with this, it is interesting +to see that he had fully intended to turn the Coliseum +into an immense woollen factory. The streets of<span class="pagenum" id="Page_124">124</span> +Rome resounded with the cheerful din of his architects +and masons; and though the nobility and populace had +reason enough to fear the entire destruction of their +ancient monuments at the hands of this Franciscan, +yet they could but admire the great triumphs of architecture +and engineering which day by day raised the +city to her lost pre-eminence and restored the pride of +the Roman people. His first great public enterprise +marked him at once as a born administrator. This was +the introduction into Rome of a new supply of water. +The work which the Pope determined should be worthy +of imperial Rome was accomplished in spite of every +obstacle and at a cost of two hundred and fifty-five +thousand three hundred and forty-one scudi. By it he +all but doubled the population of his city and reclaimed +that great tract of land comprising the Viminal, Quirinal, +and Esquiline Hills. This quarter had been a desert +during eleven centuries; and yet, in the days of the +Empire, it was the garden of Rome.</p> + +<p>Piranesi’s engravings give some idea of the savage +wildness of the uninhabited parts of Rome; and the ragged +and uncouth figures with which he peoples his ruins +are, no doubt, a faithful representation of the squalor of +the wretched tribe of outlaws who dwelt among them. +This state of things had resulted from one cause—lack +of water. The aqueducts which supplied these hills had +been the first to perish at the hands of the barbarians, +and desolation had followed inevitably upon their destruction. +Pius IV had dreamed of restoring this great +portion of the city; but Pius IV, like his immediate<span class="pagenum" id="Page_125">125</span> +predecessors, had lacked the means of doing this. Sixtus +V brought to the task the required money, public +tranquillity, and imagination. He found in the erstwhile +mason’s apprentice from Como, Domenico Fontana, +the engineer and architect for such undertakings. +The old Marcian Aqueduct furnished the materials for +the Acquedotto Felice, and the water was brought all +the way from Zagarolla in the Agra Colonna, near +Frascati, twenty miles distant from Rome, to the +Pope’s vineyard outside the Porta Maggiore, and +thence to the Church of Santa Susanna. The splendid +stream carried over these arches was thus distributed +throughout the desolation and sterility of the Viminal, +Esquiline, and Quirinal Hills. With this water at his +command, Sixtus V began laying out what might be +called to-day Sixtine Rome—the Rome which lies between +the terraces of the Trinità de’ Monti and that +portion of the Aurelian wall pierced by the six gates—Porta +Pinciana, Porta Salaria, Porta Pia, Porta San +Lorenzo, Porta Maggiore, and Porta San Giovanni. It +was an enormous space to cover, and the frescoes in the +Vatican Library show how desolate and how wild it +was. The two great basilicas of the Lateran and Santa +Maria Maggiore, the Coliseum, and the Septizonium +(for very good reasons not included in the picture), the +Baths of Diocletian, the Neronian arches, the Villa +Montalto with its rows of famous cypresses, and in +one panel the Moses fountain and the Porta Pia—these +constitute the main features of the wild landscape +with its hilly background and its foreground<span class="pagenum" id="Page_126">126</span> +of rough, bare earth and shaggy vegetation. The Pope +offered special privileges to all who would build on +these hills, and he himself began the work by levelling +the ground about the Church of the Trinità de’ +Monti and building the fine flights of steps which +lead up on both sides to the church. Half-way between +this church and the basilica of Santa Maria +Maggiore he created the Crossing; and for rest and +refreshment, as well as for beauty, he placed here +these four fountains. This half-way point in the long +ascent from the Trinità de’ Monti to the basilica of +Santa Maria Maggiore was well known to Sixtus V. +Many a time had he, as Friar Felix Peretti, climbed +that lonely hillside and felt for himself the solitude and +thirst of the desolate vicinity. Later on, when he had +become Cardinal Montalto, he had passed that way in +such state as a poor cardinal could command. Here +Fontana had first built him a modest dwelling, and +here he began to construct the Villa Montalto, which, +as Fontana labored over it, became at length so +beautiful that it, together with the chapel he was also +building in Santa Maria Maggiore, cost Montalto the +allowance given by the Camera Apostolica to poor +cardinals, since the Pope judged no man to be poor +who could build so magnificently. Gregory XIII’s +inference and consequent action may have been natural, +but was not on that account just. The enduring +antipathy between Ugo Boncompagni and Felix +Peretti dated from that Spanish mission on which +they had been sent together by Pius V; and when<span class="pagenum" id="Page_127">127</span> +Boncompagni had become Pope and had, therefore, +Cardinal Montalto in his power, it befitted him to +make a thorough investigation of any matter concerning +his old antagonist before taking action. As +a matter of fact, the villa, though costing in the end +thirty thousand scudi, could not have been so extravagant +in the beginning. The characters of Cardinal +Montalto and Fontana, as well as their accounts, prove +how certainly the owner and architect could get the +best possible returns for their money. These two men +formed at that time one of the notable friendships of +history. Fontana supplied out of his savings the funds +for continuing the chapel; and Montalto, as Sixtus V, +proved his gratitude and appreciation. Their confidence +in each other was as complete as was their recognition +of each other’s ability. Sixtus gave Fontana +the work of taking down and re-erecting the obelisk of +the Vatican—and this, in spite of Fontana’s youth (he +was forty-two years old and judged by his contemporaries +to be too young for such responsibility) as well as +the reputation of Amannati and other competitors. +Furthermore, when the obelisk was finally lowered to +its present position amid the prayers of the vast concourse +of people, Sixtus was not even present. The +French ambassador was to have his audience at that +hour, and the state of Europe was the Pope’s chief concern. +As Sixtus passed along the street to the Vatican, +revolving the affairs of Philip II and Elizabeth of +England, of Mary Stuart and Henry of Navarre, +and the “Unspeakable Turk,” the guns of St. Angelo<span class="pagenum" id="Page_128">128</span> +apprised him that the obelisk was in place. That had +been Fontana’s business and he had trusted it to +him. Nevertheless, the old pontiff shed tears of satisfaction.</p> + +<p>The Villa Montalto was eventually finished by the +Pope’s nephew, Cardinal Montalto II, and later on it +was known as the Villa Negroni. Engravings of the +seventeenth and eighteenth centuries show that it contained +an endless variety of fountains; among them +Fontana’s great fish-pond was truly magnificent. All of +these had been made possible by the Acqua Felice. +Sixtus V preferred the Quirinal to any other residence. +Perhaps the Villa Montalto may have become distasteful +to him by reason of the crime which was immortalized +by Webster’s tragedy of “Vittoria Accoramboni +or the White Devil.” Cinque Cento Italy was the Italy +of the Elizabethan dramatists, and in this tragedy, the +blackest of their Italian productions, many of the chief +characters were drawn from actual life. The Cardinal +Monticelso of the written tragedy had been the actual +Cardinal Montalto, and Vittoria Accoramboni and her +husband had been his nephew and his nephew’s wife. +Francesco Peretti was the cardinal’s favorite nephew, +and the ever-perplexing question of the formation of a +cardinal’s household had been solved for Montalto by +domiciling Francesco and Vittoria in the Villa Montalto. +Vittoria had great beauty, and her ambition and +audacity were boundless. She aspired to something +higher than the handsome nephew of a parsimonious +and conspicuously infirm old cardinal. She captivated<span class="pagenum" id="Page_129">129</span> +the head of the Orsini, the Duke of Bracciano, and +gave him to understand that she would marry him +after he had made away with his wife and her husband. +The Duchess of Bracciano was the sister of the +powerful Grand Duke of Tuscany. Nevertheless, Bracciano +strangled her with his own hands while pretending +to kiss her. Young Peretti was then called away +from the Villa Montalto one night on the pretext that +his dearest friend had need of him, decoyed into the +desolate spaces on Monte Cavallo, and stabbed to +death. The cardinal, his uncle, buried him without a +cry either for justice or vengeance. He waited. But +Gregory XIII forbade forever the union of Vittoria and +the duke. More the Pope could hardly dare do against +the greatest of his subjects. Vittoria and Bracciano +went through a mock ceremony and retired to the +duke’s great fortress castle of Bracciano, not far from +Rome, where they waited for the Pope’s death. When +this occurred, they returned to the city in order to +have the marriage performed during that interim which +must elapse between the death of one pope and the +election of another. Vittoria became the legal Duchess +of Bracciano; but her former husband’s uncle, the +feeble old Cardinal Montalto, was elected Pope, and +the two great criminals fled from a certain and terrible +retribution. Venice at that time was the refuge for all +the terror-stricken, and the duke’s kinsman, Ludovico +Orsini, lived there as a successful general. Bracciano +died there seven months later; and six weeks afterward +Ludovico Orsini murdered both Vittoria and her young<span class="pagenum" id="Page_130">130</span> +brother Flaminio in Padua, whither they had gone to +live on the duke’s great legacy. Vittoria’s possession of +Bracciano’s fortune, and the outraged pride of the Orsini +occasioned by her marriage, for she was of humble +origin, prompted Ludovico’s crime. But all three of +these actors in the tragedy were guests of Venice, and +Ludovico Orsini had in very truth reckoned without +his host. There was one pride greater than that of a +Roman noble, and that was the pride of Venice. Padua +was Venetian territory, and the republic suffered no +such acts of lawless vengeance within her jurisdiction, +no matter by whom they were committed nor on what +provocation. The Venetian reprisals were summary and +fearful. Ludovico Orsini was strangled by the Bargello +with the red silk cord which, as a nobleman, he had a +right to demand; and his accomplices died by torture +in the public square. It was an age of crime, flagrant +and atrocious; but the story of Vittoria Accoramboni, +involving, as it did, the temporary ruin of the Orsini +family, lives on when others equally horrible have been +happily buried and forgotten in the archives of the +families in which they occurred.</p> + +<p>Sixty years after the death of Sixtus V this region +about the Quattro Fontane had become both fashionable +and beautiful. The fountains were then known as +the four fountains of Lepidus, and Evelyn described +them as the “abutments of four stately ways.” Sixtus +V had made it illegal for any house along his great +thoroughfare of the Felice to be torn down against the +will of the owner, even after a decree of the Tribunal.</p> + +<p><span class="pagenum" id="Page_131">131</span></p> + +<p>In an age of uncertainty created by the Pope’s own +high-handed measures, this security alone must have +gone a long way toward encouraging building.</p> + +<p>In 1587 Sixtus himself bought the beautiful Piazza of +Monte Cavallo from the heirs of the Caraffa family, +and the Quirinal Palace, already begun by Gregory +XIII, was finished by him with great magnificence. +Fontana also built in one corner of the Quattro Fontane +the Palazzo Mattei, now the Palazzo Albani. The +invaluable stimulant of the “master’s eye” was always +to be felt about the neighborhood, for Sixtus V often +took his Sunday walk after mass along these streets, +examining, criticising, and commanding everything. +He was “always in a hurry.” It was as if he felt the +time was short. No modern methods surpass the rush +of his undertakings; but unlike the modern building, +that which he built remained, and remains until this +day. The feeble body which so successfully deceived +the Conclave at his election and yet survived for those +five titanic years of his pontificate lies in Santa Maria +Maggiore, in the great chapel built for him by his Fontana. +There, as Stendhal truly says: “Amid all the +marble magnificence, what one really cares to see is +the sculptured physiognomy of the Pope himself.”</p> + +<p>One other statue of this Sixtus which formerly +adorned Rome would now be of surpassing interest. +It was erected at the Capitol in the Pope’s lifetime, +and was the work of that gifted young Florentine artist, +Taddeo Landini, who modelled the bronze boys in +the Tartarughe fountain. The night the Pope died this<span class="pagenum" id="Page_132">132</span> +statue was covered by boards for fear of the violence +of the mob, and soon after it was removed; but it is +probably still in existence, and the increasing interest +in Sixtine Rome may some day bring it to light.</p> + +<p>In this mortuary chapel in Santa Maria Maggiore +there is also the tomb of Pope Pius V, erected by Sixtus +V, and one of the panels in the Vatican Library depicts +the solemn removal of the old saint’s body to this splendid +resting-place. Sixtus V saw this accomplished in his +lifetime, for his devotion to the Pope, who, like himself, +had begun life as a friar, and who had made him cardinal +and stood his friend in trouble, never wavered +nor grew cold. Historians have dwelt much upon Sixtus +V’s parsimony. Economy was said to be his favorite +virtue. But the best of the Quattro Fontane is that +which represents the virtue of fidelity; and this is the +only one of them which is decorated with the emblems +of Sixtus V.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_133">133</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_135">135</span></p> +<h2 class="nobreak gesperrt1" id="TARTARUGHE"><span id="toclink_133"></span>TARTARUGHE</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_135" class="figcenter land" style="max-width: 21em;"> + <img src="images/i_135.jpg" width="816" height="235" alt=""> +</figure> + +<p class="head2">TARTARUGHE</p> + +<p class="in0"><span class="firstword">Giacomo</span> della Porta, Domenico and Giovanni Fontana, +Carlo Maderno, and Bernini are the Roman masters +in the gentle art of fountain-making. Giacomo della +Porta stands first chronologically, and he has also +created the loveliest of the lovely. This is the Tartarughe +fountain for which the Senate and people of +Rome paid over twelve hundred scudi, evidently a +large sum at that time for a fountain, as Baglioni mentions +it particularly. Giacomo della Porta delighted in +rare marbles and for his fountain of the Tartarughe he +carved the broad shallow bowl of the classic drinking +cup in the centre in <i lang="it">bigio morrato fasciato</i>, or veined +gray marble, while he made the stem of a mottled +yellow marble called Saravezza. The cup stands upon +a Carrara base, moulded and carved with decorative +shields or escutcheons, from the four corners of +which project huge shells of rare beauty and distinction +of form carved in different varieties of African +marble. It rises from a shallow travertine basin, gracefully +shaped and slightly sunk below the level of the +present pavement. So far there is nothing to distinguish +this fountain from others of its kind except the<span class="pagenum" id="Page_136">136</span> +richness of its marbles and the shape of the shells, but +its four bronze figures so harmoniously composed give +this design the dignity of a work of art, and make it the +most exquisite of Roman fountains. They are by Taddeo +Landini, whose early death was a distinct loss to +the world of art.</p> + +<p>These figures are of boys in the most beautiful period +of adolescence, their sinuous bodies lean against the +swelling stem of the cup, one slender leg of each figure +pushed backward so that the foot rests on the toes, +preserving the balance, while the other leg, lifted high +and bent at the knee, presses its foot upon the head of +a bronze dolphin. The torsos lean toward each other in +couples, each supporting itself on its elbow so that the +right shoulder of the one and the left shoulder of the +other come rather close together. The hands of these +supporting arms grasp the tails of the dolphins, while +the other arms, raised high above the head, push upward +with open palms and outspread fingers four +bronze tortoises which clamber over the rim of the cup +in haste to plunge into the water. Projecting from the +under surface of the rim are carved in marble heads of +cherubs, so placed that the water which they spout +falls in a steady stream between the figures of the boys +and is received into the lowest basin.</p> + +<p>The composition of these figures of boys and water-creatures +is quite lovely; and the water, rising in a +central jet from the drinking-cup, gushing from the +mouths of the dolphins and slipping in slender runnels +from the cunningly curved lips of the huge shells enhances,<span class="pagenum" id="Page_139">139</span><span class="pagenum" id="Page_138">138</span> +as it should, the joyous naturalness of the +entire conception.</p> + +<figure id="ip_137" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_137.jpg" width="1283" height="1857" alt=""> + <figcaption class="caption">Fountain of the Tartarughe. + </figcaption> +</figure> + +<p>The popular appreciation of the beauty of the Tartarughe +is shown by the wide-spread impression that it +was designed by Raphael. It is painful to give up that +belief, and in the face of facts which prove the hopelessness +of such a contention the enthusiastic admirer +can only assert that had Raphael designed a fountain +this is the fountain he would have designed.</p> + +<p>There is assuredly some excuse for this assertion. +Raphael depicted often, and with peculiar tenderness, +the gracious figures of youths. There is, also, a whimsicality +in this conceit, a certain sympathy seems to +unite the boys with the water-creatures; it is as if they +were all joining in the sport of their own free will, and +might at any moment break away from each other +only to reunite in some fresh prank in splashing water +under happy skies. All this is highly reminiscent of the +art of Raphael. By virtue of it the Tartarughe belongs +not to the end of the sixteenth century but to that +great period of the High Renaissance when “for Leo X +Raphael filled rooms, galleries, and chapels with the +ideal forms of human beauty and the pure expression +of existence.”</p> + +<p>This fountain was erected in the last year of the pontificate +of Gregory XIII and the first year of the pontificate +of Sixtus V, which would explain why its erection +is attributed sometimes to the reign of one pope and +sometimes to that of the other. It is difficult to understand +how Sixtus V could have permitted the erection<span class="pagenum" id="Page_140">140</span> +of any fountain so entirely devoid of scriptural suggestion, +so purely pagan in its expression of joyous and +irresponsible life, as is the Tartarughe. Possibly the +play of the boys in the splashing water reminded the +old man, who was in spite of his fierce enthusiasms so +kindly and so human, of the far-off days of his childhood. +As Cardinal Montalto he had done much for his +native village, and many acts of his pontificate prove +he had the poor always with him. He never forgot their +sufferings or their simple pleasures, and in that old +heart there lingered memories of his father’s fruit garden +at Formi, of the pear-trees which he placed in his +coat of arms, and of the great cistern in which he dabbled +with such happy recklessness that one day he fell +in and had to be fished out like any other urchin destined +or not for the papal chair.</p> + +<p>Rome would, undoubtedly, be the richer for a fountain +by Raphael, but it is probably fortunate for the +Tartarughe that it was not of Raphael’s creation. It is +not likely that this bit of fancy in bronze and rare marbles +could have escaped destruction at the time of the +sack of Rome in 1527, only six years after Raphael’s +death. Perhaps, also, this last blossom from the golden +Summer of Italian Art owes its perfect preservation to +its position in an obscure corner close to what was once +the Ghetto. But as a setting for this gem no situation +could be more inadequate. A mean square of dingy, +uniformly ugly houses surrounds it, and there is not +one redeeming feature in all this dreariness except the +patch of blue sky overhead. A fountain fit to be the<span class="pagenum" id="Page_141">141</span> +crowning beauty of some prince’s garden or to be celebrated +in a canto of “The Faerie Queene” plays on in +this commonplace part of Rome unheeded, and seemingly +uncared for. However, when in 1898, one of the +tortoises was stolen the indignation felt at the theft +was so wide-spread and so fierce that the thief was only +too glad to abandon the precious tortoise in a place +where it could be easily discovered.</p> + +<p>Trevi water supplies this fountain at present. Until +quite recently it was the Acqua Paola, but its deposits +had so discolored the bronze and marbles that the +water in the shells was changed back to the Trevi, +for which water it was originally constructed. However, +the highest jet in the fountain was not changed, +as Paola water can rise to a much higher level than +Trevi.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_143">143</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_145">145</span></p> +<h2 class="nobreak gesperrt1" id="FONTANA_DEL_MOSE"><span id="toclink_143"></span>FONTANA DEL MOSÈ</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_145" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_145.jpg" width="1257" height="1004" alt=""> +</figure> + +<p class="head2">FONTANA DEL MOSÈ</p> + +<p class="in0"><span class="firstword">This</span> is the first of the great Fontana fountains, and if +Domenico Fontana got his inspiration for it from the +beautiful public fountain made by Amannati for Julius +III on the Via Flaminia, with which he was familiar +before the Casino was placed above it, his fountain in +its turn became the prototype for the great fountains +erected in the next century by his brother for Pope +Paul V.</p> + +<p>This Fountain of the Moses is a great portal consisting +of three arches equal in size, from the base of which +the water issues in double cascades. The water falls +into three large basins guarded by couchant lions, and +each lion spouts an additional stream of water. In the<span class="pagenum" id="Page_146">146</span> +centre archway stands a colossal figure of Moses in the +act of striking the rock, and the niches on either side of +him are filled by high reliefs of scenes from the Old +Testament relative to the importance and significance +of water. The relief to the right represents Gideon testing +his soldiers and is the work of Flaminio Vacca, and +in the left Giovanni Battista della Porta has carved +the scene in the desert after Moses has brought the +water from the rock. Four beautiful marble columns +with Ionic capitals stand one on either side of these +arches, and in the small triangular spaces between the +capitals and the keystones are the emblems of Sixtus +V—the star, the three mounts, the pear branch and the +lion. These arches and columns support a massive entablature +of which the inscription, in the noble Sixtine +caligraphy, forms the most important feature, and +is, in fact, the most impressive part of the entire structure. +Above the inscription rises the florid pediment, +flanked by two obelisks (an idea distinctly borrowed +from Amannati’s fountain) and bearing on its apex the +three mounts of Sixtus V which carry the huge iron +cross. Underneath this and occupying the greater part +of the pediment are the armorial bearings of Sixtus V. +The huge shield is supported by two angels, a conceit +borrowed, perhaps, from Pius IV’s escutcheon over the +Porta Pia, and repeated again for Paul V in his fountain +on the Janiculum. The armorial sculpture is by +Flaminio Vacca. Such is the great Fontana fountain, +grandiose rather than magnificent, but still distinctly +imposing and adequately filling by its size and importance<span class="pagenum" id="Page_147">147</span> +the honorable position which it occupies among +the fountains of Rome. It is the main delivery tank of +the Acqua Felice; and the Acqua Felice was the first +new supply of water which Rome had received since +the aqueducts had been cut off from the city by Vitiges +in 537.</p> + +<p>The statue of Moses is a colossal blunder. Prospero +Bresciano had modelled the curious Sixtine lions which +served to support the Vatican obelisk, and the Pope +gave him the commission for the principal figure in his +great fountain. Contrary to the advice of his friends, +Bresciano carved this statue, which was to be his masterpiece, +directly from the travertine without any previous +modelling—the block lying horizontally on the +ground. When the figure was raised it was found to be +not only out of proportion but also out of conformity +with the laws of perspective. Its unveiling was greeted +by the critical Roman populace with a shout of derisive +laughter, so Homeric in its volume and duration that it +utterly condemned the artist, who, as a result, fell into +a melancholia and died.</p> + +<p>The present lions, which are of bigio marble, are +modern, dating from the days of Gregory XVI (1846). +This Pope created the Egyptian Museum in the Vatican +and removed thither the original lions, which were +of Egyptian origin and had been appropriated for his +fountain by Sixtus V—two from the Piazza of the Pantheon +and two from the gate of St. John Lateran.</p> + +<p>The two great points of difference between the Fontana +fountains and the Amannati fountain on the<span class="pagenum" id="Page_148">148</span> +Flaminian Way are interesting and significant. They +are, first, the place of the inscription, and secondly the +volume of water. The first point of difference is due to +the fact that the Fontana fountains, here and on the +Janiculum, proclaim the appearance in the city of +a new supply of water. Sixtus V and Paul V had each +built a new aqueduct and could announce the fact conspicuously +by magnificent inscriptions; whereas Julius +III, using a stream of water from an aqueduct already +in existence, could only claim the honor of having +erected the fountain for the convenience of the public. +His inscription, therefore, is not borne aloft on triumphal +arches but occupies a place in the central niche, +filled in Sixtus V’s fountain by the figure of Moses, and +in Paul V’s fountain left absolutely vacant. The stream +which Julius III dared appropriate from the Virgo +Aqueduct was only large enough to fill a single basin +placed before the central niche of Amannati’s fountain; +whereas in the Fontana fountains the water fills +the entire space below the mostra, as it was naturally +the intention to show the magnitude and force of the +new supply.</p> + +<p>Pope Sixtus V’s great fountain demands for its effect, +like Paul V’s, wide and spacious surroundings. The +high modern buildings crowding upon it and dwarfing +it have done much toward diminishing its artistic +values. One of the panels in the Vatican Library shows +what the fountain was like in the years immediately +following its erection. Gardens and vineyards lay all +about it, and it easily dominated the walls and gateways +which were its only architectural neighbors. The<span class="pagenum" id="Page_149">149</span> +Porta Pia to the left merely enhanced its dignity, and +in the far distance the hills, aqueducts, and the open +sky lent themselves for a magnificent background.</p> + +<p>The Acqua Felice, which was the first water of papal +Rome, had been the last water brought to the ancient +city. In 226 the Emperor Alexander Severus built the +eleventh and last aqueduct of the classic city. Its remains +are still to be seen on the Via Prænestina. Over +this aqueduct he brought the Acqua Alexandrina, which +was from practically the same sources as those which +now supply the Acqua Felice. The Acqua Alexandrina +was brought by the Emperor down the Via Labicana +as far as the Esquiline, where he erected for it a magnificent +fountain. A coin of his period shows the design +to have somewhat resembled the present “Fontanone” +on the Janiculum.</p> + +<p>Sixtus V selected as the site for his fountain an open +space on the Viminal Hill near the Church of Santa +Susanna. He faced it southwest, at right angles to the +Via Pia, which terminated at some distance to the +northeast in the Porta Pia. The Acqua Felice enters +Rome at the Porta Maggiore at the altitude of 59 +metres and supplies 21,632.8 cubic metres of water +daily. In order to bring the water to Fontana’s fountain +it was necessary to cut a wide street, the Via Ceruaia, +and to tunnel through the Baths of Diocletian. +Although the Acqua Felice served the Pope’s purposes +and literally made the desert blossom like the rose, Sixtus +V had no sentiment about it. When the water actually +reached the city, his sister and nephew, thinking to +please him, hastened to bring him a cupful. The Pope,<span class="pagenum" id="Page_150">150</span> +who hated a scene of any kind, refused to drink it, declaring +that it had no taste, which is quite true. It is to +this day the least valued of the Roman waters, and the +overflow or “lapsed water” of Fontana’s great fountain +is used for laundry purposes.</p> + +<p>The Pope bought the land containing the feeding-springs +of the Acqua Felice from Cardinal Colonna, +and brought it to the city underground for thirteen +miles and for the remaining seven over arches. Its +channel is known as the “ugly aqueduct.”</p> + +<p>The worst of the crimes committed by Sixtus V and +Domenico Fontana against the antiquities of the city +was the destruction of the Septizonium. Artists of the +period have left invaluable sketches of this last fine example +of classic architecture. It had been built by Septimius +Severus against the Palatine, probably as an +architectural screen to the mass of confused buildings +in its rear. It faced south down the road by which +travellers from Africa entered the city. It had survived +the sieges, the earthquakes, and the fires of more than +thirteen centuries; yet Sixtus V, without a qualm, demolished +it for the sake of the blocks of travertine and +peperino and its beautiful marble columns, which he +wished to use in his own architectural enterprises. It is +impossible not to wonder what were Fontana’s feelings +as he superintended the destruction of this masterpiece +of his own profession. He does little more than mention +the fact in his memoirs, and this may be in itself significant. +Some of the material went into the fabric of the +Moses fountain; but the Romans never forgave either +Sixtus V or Fontana.</p> + +<p><span class="pagenum" id="Page_151">151</span></p> + +<p>Considering the dearth of water in Rome in the sixteenth +century and the character of Sixtus V, the conception +of the central idea of this fountain—that of +Moses striking the rock—was not only happy but almost +inevitable. Although the Pope was an ardent +churchman, it was easier for him to believe in the conversion +to Catholicism of the conqueror of Ivry than to +understand that the Roman ruins had any other than a +commercial value. Leo X had believed in art “for art’s +sake.” He had believed in nothing else. To Sixtus V, on +the other hand, all the efforts of painting, sculpture, +and architecture were to be for the glory of God, +more particularly as that glory was understood and +expounded by himself. The Neptunes and Tritons of +later pontificates would have seemed to him creations +of the devil. The Old Testament was to him, as it +was to the English Puritan of the next century, the +source of artistic inspiration; and for his great fountain +the Hebrew lawgiver, bringing the water out of the +rock at the Divine command, was alone adequate. It +was not unnatural for him to think of himself as standing +in the place of Moses.</p> + +<p class="center allsmcap larger"> +SIXTVS · V · PONT · MAX · PICENVS<br> +AQVAM · EX · AGRO · COLVMNAE<br> +VIA · PRAENEST · SINISTRORSVM<br> +MVLTAR · COLLECTIONE · VENARVM<br> +DVCTV · SINVOSO · A · RECEPTACVLO<br> +MIL · XX · A · CAPITE · XXII · ADDVXIT<br> +FELICEMQ · DE · NOMINE · ANTE · PONT · DIXIT<br> + +COEPIT · AN · I · ABSOLVIT · III · MDLXXXVII +</p> + +<p><span class="pagenum" id="Page_152">152</span></p> + +<p><i>Pope Sixtus V, of the Marches, conducted this water +from a junction of several streams in the neighborhood +of Colonna, at the left of the Prænestine road, by a +winding route, twenty miles from its reservoir and +twenty-two from its source, and called it Felix, after +the name he himself bore before his pontificate. He commenced +the work in the first year of his pontificate, and +finished it in the third, 1587.</i></p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_153">153</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_155">155</span></p> +<h2 class="nobreak gesperrt1" id="THE_LATERAN"><span id="toclink_153"></span>THE LATERAN</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_155" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_155.jpg" width="1257" height="902" alt=""> +</figure> + +<p class="head2">THE LATERAN</p> + +<p class="in0"><span class="firstword">Modern</span> photographs can still be found of the original +fountain of the Lateran. It was the work of Fontana +and was placed in this spot after he had erected the +obelisk for Sixtus V. The present fountain is quite new +and most inadequately replaces the old one which had +stood there for over three hundred years. By the close +of the nineteenth century the upper basin of Fontana’s +fountain was badly broken, while the lower one had +been held together for some time by iron clamps. The +carving was so worn and defaced that the dolphins and +eagle were quite shapeless, and the figure of St. John +writing in a scroll upon his knee and looking to +Heaven for inspiration had long since disappeared. +Maggi’s engraving of this fountain made in 1618<span class="pagenum" id="Page_156">156</span> +shows it to have been one of the richest ever designed +by Fontana. A curious feature in this old fountain +was the blending of the insignia of three popes. The +pears of Sixtus V were carved in heavy festoons under +the huge supporting scrolls of the mostra (which was +a screen made low so as to bring the figure of St. John +in simple and high relief against one of the square +sides of the pedestal), the Borghese eagle poured the +water into the shell-shaped upper basin; and finally +the Aldobrandini bar of continuous Maltese crosses +was used as frieze.</p> + +<p>The obelisk of the Lateran was set in its present +place by Fontana only two years before the death of +Sixtus V, and it is quite probable the fountain was +not erected until some years later. Sixtus V rushed +the work on the Lateran at top speed; and this +obelisk was no sooner in place than Fontana was +commissioned to transport its companion to the Piazza +del Popolo. The Lateran obelisk was erected in 1588. +In August, 1590, Sixtus V died. Four popes followed +him in rapid succession—Urban VII, Gregory XIV, +and Innocent IX, all dying so soon that by January +20, 1592, Clement VIII (Aldobrandini) had become +Pope; and Fontana may have finished this fountain +during the first years of Clement’s pontificate, before +he fell under that pontiff’s displeasure. The frieze on +the fountain must have been originally the Montalto +or Peretti frieze, which forms so beautiful a finish +to the Lateran Palace; but Fontana, while keeping +the star of Montalto (one of Sixtus V’s emblems) in<span class="pagenum" id="Page_157">157</span> +the corners under the cornice of the screen, changed +the design of the intervening space into the Aldobrandini +bar. It was a small detail, and the change was a +mere matter of custom and policy and involved no disloyalty +to the great past in Fontana’s life. This would +account for the Aldobrandini frieze. The eagle seems at +first more difficult to explain. From the accession of +Paul V the eagle denotes the Borghese family; but Paul +V did not become Pope until 1605, and Fontana left +Rome for Naples in 1596. Therefore, the eagle of this +fountain cannot have any connection with the Borghese +family. Why did Fontana use it instead of the +lion’s head, which was another of Sixtus V’s emblems +and would have made a better architectural outlet for +the water? It must have been because the eagle is the +emblem of St. John. In Michelangelo’s fresco of the +Fourth Evangelist in the Sixtine Chapel the eagle +stands with bent head and folded wings close against +the figure of the saint who, seated upon the ground, is +writing in the scroll supported by his knee. Fontana, or +the sculptor who carved for him the figure on the top +of the mostra of this fountain, was undoubtedly inspired +by Michelangelo’s creation. The St. John of the +fountain was, according to the old engravings, a beautiful +and youthful figure looking to Heaven for inspiration +and writing in the scroll held upon his knee. The +eagle was wanting, but Fontana placed him just below +the cornice between the curving tails of the dolphins, +and adapted him to the purposes of a fountain. The design +was original and extremely interesting, as it shows<span class="pagenum" id="Page_158">158</span> +both Sixtus V and Fontana in a new and unusual light. +They were dominated by the place. The great new Lateran +Palace which they had built, the ancient obelisk +which they had set up, the fountain which supplied the +invaluable Acqua Felice, were all subservient to the +venerable basilica of St. John. The piazza and all that +it contained were dedicated to St. John, and had been +so for seven hundred years. Pope and architect may +have felt that in this fountain the insignia of any pontiff +were more fittingly kept in a purely subordinate +position.</p> + +<p>The mostra of the old fountain rested, as the present +one does, on the base of the obelisk; and the fine Piranesi +engraving of the Piazza of the Lateran shows its +position and proportions as well as the admirable balance +which it gives to the entire scene.</p> + +<p>This obelisk is still the highest in the world, although +the lower end was so badly broken and damaged (by +fire) that Fontana had to shorten it by three feet. It +was also broken in three pieces and Fontana’s device +for mending it, which so pleased the Pope, can be traced +in various places among the hieroglyphics. When the +obelisk was at last erected, Fontana carved his name +with his title of knight in Latin on the base, and the +three mounts and the star of Sixtus V were fastened +to the apex. Above everything was placed the huge +bronze cross, for Sixtus V considered the obelisk to be +the supreme symbol of divinity in a great Pagan theology; +and by placing the cross on all those which he +re-erected, the Pope felt that he was exhibiting in the<span class="pagenum" id="Page_159">159</span> +most picturesque and conspicuous manner the triumph +of Christianity.</p> + +<p>This obelisk, which is of red granite, was found by +accident lying prone and buried in the marshy ground +of the Circus Maximus. Near by was another, the one +which now stands in the Piazza del Popolo. Fontana +employed five hundred men in raising and removing +the obelisk of the Lateran. Of these men, three hundred +were employed day and night keeping out the water +which poured in on all sides. This stream is now +thought to have been the brook Crabra, the “goat +brook” of Tusculum, described by Frontinus, which, in +the general decay of mediæval times, had become one +of the “lost waters” of Rome. The difficulties encountered +in transporting the obelisk up the rough sides and +through the old streets of the Quirinal Hill were numerous. +The obelisk of the Piazza del Popolo was removed +from the same place and set up on its present +site for the sum of ten thousand three hundred and +thirty-one scudi; whereas this obelisk of the Lateran +cost the papal treasury twenty-four thousand six hundred +and eleven scudi.</p> + +<p>It was originally brought to Rome in the early +days of the Christian era. Twenty-seven years after +Constantine had transferred the seat of government +to his own new capital of Byzantium, his successor, +Constantine II, visited Rome. He visited Rome like +any foreign prince and was profoundly impressed by +the magnificence and majesty of his discarded capital. +A not unnatural instinct prompted him to leave<span class="pagenum" id="Page_160">160</span> +some memorial of himself among the monuments and +trophies of his heroic predecessors; and for this purpose +he sent for the obelisk which Thotmes III had originally +placed before the great temple of Thebes. It was +brought to Rome and placed in the Circus Maximus. +Its subsequent history and the causes of the fall of this +last of the imperial obelisks are still lost in the mystery +which hangs over so much of mediæval Rome.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">H</a></p> + +<p>The original pedestal had been too damaged by fire +to admit of using it again; so Sixtus V gave permission +to Domenico Fontana to make the new pedestal out of +the materials of an old arch which Domenico was to +destroy for this purpose. The permission was given in +writing, for Domenico Fontana had found that it was<span class="pagenum" id="Page_161">161</span> +necessary to be armed with written instructions from +the Pope whenever he began one of his devastating +raids upon the antiquities of the city. The city government +had endured such pillage and destruction at the +hands of the great Pope’s great architect that all the +past vandalism of private individuals seemed slight in +comparison. They protested in vain against most of the +destruction upon which Sixtus V had set his heart, and +neither princes nor magistrates could save the old pontifical +residence of the Lateran which had stood since +the seventh century on this very piazza. It was a marvellous +rambling pile of buildings—churches, monasteries, +shrines, loggias, colonnades, oratories, banqueting +rooms and halls filled with mosaics, pictures, and<span class="pagenum" id="Page_162">162</span> +frescoes—and, according to a great authority, the most +wonderful museum of mediæval art that ever existed. +This priceless record of the past was ruthlessly demolished +and razed to the ground in a few months’ time by +order of Pope Sixtus V. It is difficult to understand his +motives for this particular action, since it was not the +history of Paganism but of his own predecessors that +he was destroying. The populace never forgot, or forgave +him this destruction, involving as it did the loss +of the Oratory of the Holy Cross. An exquisite example +of early Christian architecture, built in the shape of a +Greek cross, this oratory was held in peculiar veneration +by all classes; and the Roman people might not +unnaturally conclude that the wanton destruction of +anything at once so beautiful and so sacred as this oratory +could only be ascribed to the promptings of the<span class="pagenum" id="Page_163">163</span> +devil himself. Posterity can hardly accept Pope Sixtus +V’s fountain, even with its obelisk, as an adequate substitute +for the three fountains of rare marble in the +atrium of this oratory which perished by order of the +Pope.</p> + +<p>The Church of St. John Lateran was under the protection +of the Kings of France, as the Church of Santa +Maria Maggiore was under the protection of the Kings +of Spain, St. Peter’s under that of the Emperor of Austria, +and St. Paul’s Beyond the Walls under the protection +of the English sovereign. In the pontificate of +Clement VIII, when the papacy began to turn toward +France in its foreign policy, the work of embellishing +the Lateran cost Rome—and indeed large portions of +the surrounding country—untold treasures in costly +marbles and gilt bronzes. The first were sawed into +slabs for the transept of the Church; and the Altar of +the Sacrament owes its magnificence to the many hundred +bronzes which, together with portions of the +bronze beams of the Pantheon, went to the smelting +furnaces. In Sixtus V’s time, however, the old church +was still comparatively simple; and it was in this old +Church of the Lateran, probably during his pontificate, +that Stradella’s prayer (“Pity, oh, Saviour!”) +was sung, while hired assassins waited in the outside +darkness to take the composer’s life. As the service +was long, the bravos stepped inside the church to enjoy +the music before committing the murder. There, in +the wavering light of the altar candles and under the +subtle influence of the incense, they became so impressed<span class="pagenum" id="Page_164">164</span> +by the pathetic beauty of that marvellous <i lang="it">Aria +di Chiesa</i> that they felt it impossible to put out of existence +the man who could write such music; and in +the darkness and silence that followed the close of the +divine melody they themselves warned Stradella of the +plot against his life and abetted his escape.</p> + +<p>Of late years this legend has been discredited; but in +such a case as this it is well to remember the attitude +taken by the writer of “The Renaissance in Italy,” +“I would rather accept,” says Symonds, “sixteenth-century +tradition with Vasari than reject it with German +or English speculators of to-day. I regard the +present tendency to mistrust tradition, only because it +is tradition, as in the highest sense uncritical.”</p> + +<p>Over the door of the Vatican Library is a fresco map +of Sixtine Rome. It portrays not what Sixtus V actually +left, but what he at one time intended to leave. In +this fresco a great thoroughfare runs from the Piazza +del Popolo to the Piazza Laterano, and at each end of +the magnificent vista stands an obelisk erected by the +Pope. Such a street laid out to-day would lead along +the Via Babuino, the Piazza di Spagna and the Via Due +Macelli, and, passing through the tunnel, come out on +the Via Merulana, and reach the Piazza Laterano after +traversing the eastern slope of the Esquiline and the +new streets between it and the basilica. Sixtus V abandoned +the idea as the great thoroughfare would have +cut its way directly through the precincts of the Quirinal, +and he had determined to make that spot his own +abode, not only because he loved it but because he<span class="pagenum" id="Page_165">165</span> +recognized the sovereign quality of the situation of +Monte Cavallo in the Rome which he was reconstructing.</p> + +<p>The Fontana fountain of the Lateran is not included +by Baglioni in his list of Fontana’s works; but that list +which is embodied in his account of Fontana’s life is +manifestly incomplete. The fountain was engraved in +full detail as early as 1618 by Maggi; and later engravings +were made of it by Cruyl, Millotte, and Falda. +These designs were so comprehensive that it would +have been an extremely simple matter to entirely reconstruct +the old fountain, more especially as the +mostra and old basins were still in place, and there +could have been no difficulty in ascertaining the proportions. +Had this been done, the pictorial effect and, +above all, the historical interest of the Piazza of St. +John Lateran would have been greatly enhanced. The +old fountain disappeared in the general submersion of +papal Rome. Its modern substitute is a mere paraphrase, +and the eagle seems intentionally to represent +the eagle of imperial Rome rather than the emblem of +St. John.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_167">167</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_169">169</span></p> +<h2 class="nobreak gesperrt1" id="TRINITA_DE_MONTI"><span id="toclink_167"></span>TRINITÀ DE’ MONTI</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_169" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_169.jpg" width="1251" height="1053" alt=""> +</figure> + +<p class="head2">TRINITÀ DE’ MONTI</p> + +<p class="in0"><span class="firstword">The</span> fountain on the terrace in front of the Villa Medici +has been called by a lover of Rome “The Fountain +of the Brimming Bowl.” It is a happy surname, +for the marble vase beneath the formally clipped ilex +trees is nothing more or less than a huge bowl filled to +overflowing with the Acqua Felice. The stream gushes +upward in a slender column until it reaches the spreading +branches overhead. There it returns upon itself in +clouds of glistening spray, filling the bowl with circles +of gleaming water, ever widening until they brim over +the edge and veil the marble in a continuous overflow. +The octagonal basin which receives this copious stream<span class="pagenum" id="Page_170">170</span> +is sunk into the ground and its shadowed waters have +all the unobtrusive beauty of a quiet and sequestered +pool. There is no sculpture, no decoration. With unerring +taste, the artist has made his appeal to the eye +through fundamental and universal elements of beauty. +Grace of line and of proportion, contrast of solid rock +and flowing water, the impression of abundance and +perpetuity, symmetry, contrast, suggestion—these are +the simple qualities out of which he composed his +Fountain of the Brimming Bowl.</p> + +<p>Sunlight flickering through the ilex branches overhead +and the crumbling shadows of their dense foliage +add a poetic charm, while the Italian trinity—Art, +Time, and Nature—have given to this modest fountain +a background of unsurpassed interest and dignity. +The view from the terrace of the Villa Medici might +be described almost exactly by Wordsworth’s sonnet +on Westminster Bridge, and truly</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Dull would he be of soul who could pass by</div> + <div class="verse indent0">A sight so touching in its majesty.”</div> + </div> +</div> +</div> + +<p>Here in Rome “... towers, domes, theatres, and +temples lie,” massed together in that famous quarter +of the city known in classic times as the Campus Martius; +and through this architectural maze, spanned by +bridges old and new, the Tiber “floweth at its own +sweet will.” On its farther shore the modern Palace of +Justice and a network of thoroughfares with names relating +to the Risorgimento and to Italy of to-day +crowd against the venerable Castle of St. Angelo. Beyond<span class="pagenum" id="Page_171">171</span> +that lies the densely packed Borgo or Leonine +city, surrounded by walls, while the heights of the Janiculum +to the left and those of the Vatican Hill and +Monte Mario to the right give a background of green +to all this masonry. In the very centre of the distance, +on the ground once covered by the Circus of Nero, +dominating everything and seeming to float against +the western sky, rises the dome of St. Peter’s.</p> + +<p>The terrace leads on the one hand to the gardens of +the Pincio and on the other to the Church of the Trinità +de’ Monti. From 1544 to 1560, when Annibale Lippi +was working on the Villa Medici, that portion of the +Pincian Hill covered to-day by the Pincian Gardens +belonged to the Augustinian monks of the Piazza del +Popolo. The villa stood on the ground between them +and the gardens and convent of the Trinità de’ Monti. +The terrace with the fountain was the approach to the +cardinal’s villa and to the precincts of the convent. +The old engravings show the fountain standing quite +free from trees, which, however, are growing along the +edge of the hill and down its slope. The fountain is +generally ascribed to Annibale Lippi, but there seems +to be no positive proof that it is his work. It resembles +in general outline the fontanella on the balcony inside +the villa, which is by Lippi; and the fact that the basin +is made of bigio marble might put its date as early as +Lippi’s time. The fountains in the first half of the +Cinque Cento were generally made of marble or granite, +whereas after Fontana and in Bernini’s period +travertine was used almost exclusively.</p> + +<p><span class="pagenum" id="Page_172">172</span></p> + +<p>The villa was the property of Cardinal Monte Pulciano, +but it was barely finished when Cardinal Ferdinand +de’ Medici began negotiations for its purchase. +Medici, whose childhood had been passed in the Boboli +Gardens, which were created by his father, spent +eleven years in laying out and beautifying the gardens +of this villa, where he had a small zoological collection, +and also in making the gallery of Greek and Roman +sculpture which rivalled that already belonging to his +old friend Cardinal Alessandro Farnese. He returned to +Florence in 1587, and some time after the villa passed +into the hands of another Medici, Cardinal Alessandro, +who became Pope Leo XI in 1605. This Cardinal Alessandro +de’ Medici also spent much time and money in +the decoration of the villa, and it seems probable that +the fountain was constructed during his tenure of the +property, since the introduction of the Acqua Felice in +1587 had at last made it possible to have fountains on +this hillside. Evelyn, describing this fountain in the +last days of Pope Urban VIII’s pontificate, speaks of +the magnificent jet of water spouting fifty feet into the +air. The earliest engravings of it date from the middle +of the Sei Cento and show the water springing from a +large ball of travertine which has long since lost its size +and shape from the constant action of the water. The +pedestal and base of this fountain are also of travertine.</p> + +<p>The present Church of the Trinità de’ Monti was +erected by Louis XVIII, of France, to replace the original +building which had been destroyed during the excesses +of the French Revolutionary period. But in 1544<span class="pagenum" id="Page_173">173</span> +the old Gothic church of the Valois King stood looking +westward over the French quarter of the city. This +church dated from the year 1495, when Charles VIII, +of France, on his way to reconquer his Neapolitan territory, +entered Rome and paid a visit—half threatening, +half ceremonious—to Alexander VI. He left as a +memorial of his stay in Rome this Church of the Trinità +de’ Monti. The church became the nucleus of +French influence in Rome. The French convent of the +Sacred Heart grew up beside its walls, and many famous +Frenchmen lived within its shadow.</p> + +<p>Cardinal Ferdinand de’ Medici, who gave his family +name to this villa, as well as to the Venus which, upon +its discovery in Hadrian’s Villa, he immediately bought +and placed here, was one of the commanding figures of +his time. Fourth son of Cosimo, first Grand Duke of +Tuscany, he had been made a cardinal at fourteen, in +the room of his elder brother Cardinal Giovanni de’ +Medici, who had died at nineteen. The second Grand +Duke of Tuscany, Ferdinand’s eldest brother, died in +1587, leaving no son, and so, after twenty-four years of +ecclesiastical life, Cardinal Ferdinand, who had never +taken holy orders, laid by the red hat to become third +Grand Duke of Tuscany. He married Christine de Lorraine, +a granddaughter of Catherine de’ Medici, and +therefore a distant cousin of his own, and had, like his +great-grandfather Lorenzo the Magnificent, and his +own grandfather Cosimo I, eight children, his eldest +son succeeding to the grand duchy. It is difficult to +trace in the wise and beneficent grand duke the intractable<span class="pagenum" id="Page_174">174</span> +young cardinal who had been a handful for +even Sixtus V. The old pontiff had found in him an +obstinacy and a craft equal to his own, and he must +have “thanked God fasting” when Medici was no +longer a member of his curia! The Pope was an old +man, and the cardinal had the physical advantage of +youth; nevertheless it was a battle royal when this true +chip of the Medicean block interceded with the Peretti +Pope for the life of his old friend, Cardinal Alessandro +Farnese. Sixtus, who was not to be shaken in his determination, +kept track of the time, and held firmly to his +resolution until he was sure that the appointed hour +for Farnese’s death had come and gone; then, knowing +that it was too late, he graciously consented to spare +Farnese’s life, to please his Cardinal de’ Medici. But +the cardinal knew his Sixtus V, and had, before his +audience, taken the precaution to set every clock in the +Vatican, outside the Pope’s private apartments, back +one hour!<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">I</a> The fire still lives in the ashes of this Ferdinand, +for, in 1906, a deputation from Leghorn visited +his tomb in the Medici mausoleum in Florence and laid +upon it a bronze wreath as a testimony of their undying +gratitude and affection. Leghorn, a mere fishing village +of the Cinque Cento, had been raised to her position +of the second seaport in Italy by this ex-cardinal, and +that chiefly through the operation of an edict of toleration +almost incredible at the period in which it was +promulgated. When the Spanish Armada, the struggle<span class="pagenum" id="Page_175">175</span> +in the Netherlands, and the religious wars in France +kept all Europe in a ferment, Leghorn rose suddenly +and swiftly like an exhalation of the sea through the +peaceful labors of the French, Flemish, and Jewish refugees +who, within her walls and under the powerful +protection of her Grand Duke, the ex-cardinal, found +absolute liberty of conscience and security of life and +property. It was this Ferdinand who furnished from +his own rich coffers the sinews of war to Henry +of Navarre; it was he who mediated between Henry +and the Pope; and it was his niece, Maria de’ Medici, +who became Queen of France as wife of Henry IV, +bringing with her, as Sully said, such a marriage +portion as had never before been brought into the +kingdom.</p> + +<p>Five years after this event Cardinal Alessandro de’ +Medici became Pope; so the Villa Medici, as well as the +Church of the Trinità de’ Monti, had, in spite of their +Italian names, many affiliations with far-off Paris; +and partly on account of these associations, partly +for the sake of the marvellous view, their terraces +became the favorite haunt of those artists who, in +the early days of the Sei Cento, began to find their +way to Rome.</p> + +<p>In the continuity of the development of art there +are few events more interesting than the appearance +of the French art student in Rome. Gaul had been the +first of the northern nations to assimilate Roman culture, +and France was the first to come under the influence +of the Renaissance. Just at the time when the<span class="pagenum" id="Page_176">176</span> +Catholic reaction against the license of the Cinque +Cento had begun to force Italy under the stultifying +influence of Spanish domination, France awoke to the +full consciousness of her æsthetic nature and to her +need of those things which Italy alone could give. The +army of Charles VIII had carried back across the Alps +imperishable memories of beauty, and soon afterward +Francis I had enticed to Paris some of the greatest +Italian artists of the time. Even the fierce religious +wars of the sixteenth century could not stamp out the +seed sown by the soldiers’ stories and by the works of +art left by homesick Italian masters in Fontainebleau. +One by one the eager French artists crossed the Alps, +and they came in ever-increasing numbers when the +genius of Richelieu brought order and amenity into +French life, and when Richelieu’s contemporary, Maffeo +Barberini, for many years papal legate to France, +had become Pope Urban VIII. To reach Rome all of +these voyagers had to endure severe physical hardships, +and some of them never returned to France. The +greatest of them—Le Poussin and Claude—died in +Rome. Painters, engravers, sculptors, and architects +came to these terraces to worship and to work, and to +this day the galleries and palaces of northern Europe +cherish the pictures planned or sketched about the +Fountain of the Brimming Bowl.</p> + +<p>Pope Urban VIII, who died in 1644, was himself +half French, not only by virtue of his temperament +and genius, but also by the trend of his sympathies +and his foreign policy. Under his enlightened patronage,<span class="pagenum" id="Page_177">177</span> +the artists of France found a congenial home in +the Eternal City. This was the beginning of the French +Academy of Painting in Rome, which was formally +founded in 1666 by Colbert, the great minister of Louis +XIV. For the first seven years of its existence this institution +had no permanent abode; but in 1673 the +Capronica Palace was placed at its disposal, and later +on—in Louis XV’s time—it moved to the Mancini Palace +near the Corso. The slope leading from the Piazza +of the Trinità de’ Monti (now the Piazza di Spagna) +to the terraces above had all this time been a natural +hillside, whereon grew trees, grass, and wild flowers +familiar to Rome. The footpaths leading upward must +have been a rather steep climb; but five years before +the founding of the Academy an event occurred which +was to make the ascent of the hillside not only easy +but delightful. In 1661 Rome came into the possession +of a large sum of money left to the city by the learned +French gentleman, Etienne de Guéffier, for the express +purpose of constructing a magnificent stone stairway +which should cover this slope of the Pincian Hill, and +unite for all time the Campus Martius with the terraces +above. The stairway was long in building, and +during its construction the connection between the +Academy in the Mancini Palace and the old terraces of +the Trinità de’ Monti may have been slender; but in +1725 the Scalinata was opened with great pomp, and +once again French artists could spend long hours on +their beloved terraces. Seventy-six years later Napoleon, +with his supreme instinct for effect (a possession<span class="pagenum" id="Page_178">178</span> +he shared with Julius Cæsar),<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">J</a> and not unmindful of +the French association with this quarter of the city, +removed the French Academy from the old Mancini +Palace and lodged it permanently and most impressively +where it now is, in the Villa Medici, the villa +built by that family which had given two queens to +France. So the fountain of the Trinità de’ Monti is still +a feature in the life of the French artists at Rome; and +it is perhaps a pardonable fancy that, in this particular +fountain, the Acqua Felice plays in French!</p> +</div> + +<div class="chapter"> +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_179">179</span></p> + +<h2 class="nobreak gesperrt1" id="VILLA_BORGHESE"><span id="toclink_179"></span>VILLA BORGHESE<br> +<span class="small">NOW</span><br> +VILLA UMBERTO PRIMO</h2> +<div> </div> +</div> +<div class="section"> + +<p><span class="pagenum" id="Page_181">181</span></p> + +<figure id="ip_181" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_181.jpg" width="1260" height="989" alt=""> +</figure> + +<p class="head2">VILLA BORGHESE<br> +<span class="small">NOW</span><br> +VILLA UMBERTO PRIMO</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">A garden where the centuries</div> + <div class="verse indent0">Of men have come and none did care</div> + <div class="verse indent0">Save for the green grass and the breeze</div> + <div class="verse indent0">And shelter from the noontide glare.</div> + <div class="verse indent0">But that which makes the garden fair—</div> + <div class="verse indent0">The sense of life’s futility,</div> + <div class="verse indent0">Is deathless beauty. Born of Death,</div> + <div class="verse indent0">It blossoms under cloudless skies—</div> + <div class="verse indent0">One’s very dream of Italy.</div> + </div> + <div class="attrib">—<cite>From an unpublished MS.</cite></div> +</div> +</div> + +<p class="in0"><span class="firstword">Such</span> a garden was the Villa Borghese; and such a +garden it still is, in spite of constant desecration. This +is the home of the most poetic of Bernini’s fountains. It<span class="pagenum" id="Page_182">182</span> +stands on the summit of a rising avenue, yet it does not +terminate a vista, it makes itself a part of one, for the +avenue continues after the fountain has been reached. +It stands in full but tempered sunlight, girt about by a +circle of box hedges and ilex trees, with here and there +a tall stone pine. The lower basin lies in the turf, like a +natural pool, and the water fills it to the brim. It reflects +the trees and clouds in its quiet depths, or as the +little breeze ruffles the surface, it gives back the sunshine +like a broken mirror. Single shafts of water, +spouting upward from between the forefeet of the sea-horses, +fall back into the same basin from which they +rose, curving like the arches of a pergola; yet so steady +is their flow that the tranquillity of the pool is hardly +troubled. Four foam-flecked circles, only, show where +the falling water mingles with the water at rest. +Greater peacefulness could not well be given to any +artificial bit of water. Then from the centre of this +dreaming pool there rises a fountain so rich in carving, +so beautiful in design that it seems rather a great and +splendid efflorescence than the work of men’s hands. +From its leaf-fringed lower basin there rises a second +and much smaller one, not like another basin but like a +corolla within a corolla, and the flower-like composition +terminates in a beautifully wrought cup resembling +the blossom of the campanula. The water gushes +upward from this cup, but not to any height. It falls +back at once over the scalloped edges of the marble, +and slipping in and over the carved foliage of the lower +basins finally reaches, in a gentle, pensive manner, the<span class="pagenum" id="Page_185">185</span> +quiet pool beneath. Sea-horses with tossed manes and +backward curving wings plunge outward from the +shelter of the lower basin. Their tails twine about its +stem, and the basin is close above their heads, but it +does not rest upon them; they are free. It is evident +that in one more spring they will be out and away. +Yet they do not take it, and they never will. For once +Bernini’s genius masters his fancy. His fountain is not +a fanciful conceit but a rich and peaceful artistic creation. +An enchanter’s wand has checked the horses in +mid-career, and here they remain, motionless, for all +their movement, under the shadow of the leafy basin, +part of a beautiful whole that must never be broken. +This is one of those rare compositions in which the artist +has most happily achieved the second essential in a +fountain, that it should be a thing of beauty, a source +of delight to the eye and ear. It is admirably suited to +its surroundings, for rich carving and imaginative +sculpture held in subservience to the natural charm of +quiet water, conform exquisitely with a garden where +stately formality enhances the loveliness of wild and +simple beauty. The fountain is of travertine, the natural +mellow tone of which has been rendered even more +lovely by centuries of soft Italian weather. It does not +stand out conspicuously in the vista; it detaches itself +from the surrounding trees gently, as if it had grown +there among them.</p> + +<figure id="ip_183" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_183.jpg" width="1279" height="1953" alt=""> + <figcaption class="caption">The Fountain of the Sea-Horses. + </figcaption> +</figure> + +<p>On either side of this fountain the ground falls away +sharply into groves of ilex, traversed by natural footpaths. +In the gloom of these wooded spaces there are<span class="pagenum" id="Page_186">186</span> +two other fountains. Great basins catching the water +from tiers of smaller ones in the centre and each surrounded +by a broken circle of curved stone benches. +They are the work of Antonio Vansantio; and, according +to drawings by Letarouilly, the back of each +semicircular bench was originally decorated at regular +intervals with statues. Behind these stood a +formally clipped box hedge rising some three feet +above the benches, while the larger trees growing +behind the hedge made by their branches a green +canopy to this truly charming bit of garden architecture. +Vansantio’s basins and benches are now in a +half-ruined condition, but they are still extremely +lovely and suggest pictures of eighteenth-century garden-parties, +where groups of Watteau’s figures idle +away the hours. The fountains are hardly visible, even +at close range. They betray themselves by the sound of +their falling water, which gives to the scene, like the +song of the hermit-thrush, a poignant sense of remoteness +and solitude. The deep shadows and half-hidden +waters of Vansantio’s fountains form a well-conceived +contrast to Bernini’s sunlit basins on the slope above.</p> + +<p>There are many other fountains in this villa. A large +round pool decorated with a central figure of a nymph, +and set about with huge cactus-filled vases of a shape +peculiar to the Villa Borghese, stands behind the Casino, +while at the other end of the gardens the so-called +Fountain of Esculapius fills a shady place with the +sound and beauty of abundant water. This is a beautiful +fountain, not because of any special charm or<span class="pagenum" id="Page_187">187</span> +originality of design in the fountain itself, but because +of its splendid jet of water and the composition of it +and its surroundings. The arch containing the statue +of Esculapius stands on a slight eminence surrounded +with tall trees and shadowy foliage. Beneath and before +it, the ground slopes in masses of broken rock and +bowlders, and the fountain, a single round and shallow +vase of finished travertine, stands in the midst of them. +The jet of water almost tops the Arch above the statue, +and it falls in great abundance upon the rocks at its +base.</p> + +<p>There is also the Fountain of the Amorini—so daintily +lovely that the fact that it is incomplete is hardly +noticed. The little Loves still firmly grasp their frogs +and dolphins, but the vase they once carried on their +heads is gone. The moss-grown stone-work of the basin, +and the light and shade of the great ilex trees about it +give this little fountain a peculiar charm. It seems to +belong quite consciously to other days than ours.</p> + +<p>There are fountains everywhere in the gardens. They +are as common as the trees and the marbles and the +violets. The water seems to play at will among the +lights and shadows, for during three centuries this has +been a Roman pleasure-ground; and to the Roman no +pleasure-ground is worthy the name without the sound +and sight of water.</p> + +<figure id="ip_188" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_188.jpg" width="1257" height="928" alt=""> +</figure> + +<p>The Villa Borghese was created by Cardinal Scipione +Borghese during the sixteen years that his uncle +held the keys of St. Peter, under the title of Paul V. +The Pope assisted him in every way, for Paul V’s chief<span class="pagenum" id="Page_188">188</span> +pleasure consisted in advancing and aggrandizing his +family. Marc Antonio Borghese, a second nephew of +his, became the founder of the family in Rome, and +Cardinal Scipione had as commanding an influence +over the Pope as had ever been known. Paul V found +his model in Paul III, and so well did he emulate the +founder of the Farnese fortunes that by the close of his +pontificate the Borghese had become the wealthiest and +most powerful family that had ever arisen in Rome. +Cardinal Scipione’s annual income alone was one hundred +and fifty thousand scudi—about one hundred and +sixty thousand dollars—and Paul V destroyed the +ruins of the Baths of Constantine so as to build for +him what is now called the Rospigliosi Palace. Their +habits, charities, possessions were all but regal. The cardinal<span class="pagenum" id="Page_189">189</span> +endeavored to lessen the envy which such opulence +naturally aroused by a complaisant and courtly +behavior, as well as by benevolence; and he earned for +himself the sobriquet of “the delight of Rome.” This +villa he laid out for the benefit of the people, and it +has really existed for them for over three hundred +years. Paul V’s pontificate came to an end in 1621, and +in 1645 Mr. John Evelyn writes in his “Diary” a long +account of the Villa Borghese. The groves and avenues +had by that time a generation’s growth, but the Casino +and little temples and the multifarious delights which +enriched them were still in pristine freshness. The +taste of the present day may prefer the gardens as they +now are to those of 1645; they have more of natural +beauty and fewer artificial devices, and the simple +fountains are more effective than the spouts of water +made to resemble the shapes of vessels and fruits and +the conceit of artificial rain. Much of the architecture +and statuary Evelyn describes has vanished, but +enough remains for the present traveller to recognize +the picture and to feel that he is walking in groves and +meadows trodden by many feet through many years. +Since Evelyn’s time eight generations have also found +these pleasure-grounds delightful. As full of memories +as of fragrance, these gardens convey a sense of human +life once lived among them and now forever gone, +which is as poignant as the smell of the boxwood hedges +in the hot sunshine.</p> + +<p>The Villa Borghese has pre-eminently this subtle +quality, and therefore it has become the loveliest as<span class="pagenum" id="Page_190">190</span> +well as the best beloved of all Roman villas; and it is +precisely because it is a Roman garden that its memories +are so compelling. The men and women who have +walked in these long avenues and lingered about these +fountains have been the aristocracy of mankind. England, +France, and Germany come here to gather memories +of their great men. Statues to Goethe and Victor +Hugo are not needed. Hugo and Goethe and many more +of these noble ghosts come back, together with a long +line of splendid popes and brilliant cardinals, to haunt +the sun-warmed yet shadowy places, never jostling or +disturbing the living but felt by the living in some +strange and undefinable way.</p> + +<figure id="ip_191" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_191.jpg" width="1274" height="1934" alt=""> + <figcaption class="caption">The Fountain of the Amorini. + </figcaption> +</figure> + +<p>These groves and fountains have been the setting +for many scenes in Life’s dramas. There has been a +Napoleonic interlude with dancing, masquerading, and +somewhat boisterous merrymaking; and here, amid +the loveliness of an alien civilization, began the last +act in the tragedy of the Stuart Kings. The son of the +exiled James II of England lived and died in Rome, and +his children—Prince Charlie and the little Duke of +York—played beneath these trees, as scores of other +brothers of less fateful history have played before and +since.<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">K</a> + Here they came every morning with their fowling-pieces.<span class="pagenum" id="Page_193">193</span><span class="pagenum" id="Page_192">192</span> +High-spirited English lads, they made of +the Italian groves a Sherwood Forest of their own. It +was a far cry at that time to Culloden, and a long way +to the cathedral of Frascati, where the younger brother +was to read the funeral service over the elder. Time +means so little in Rome that here in the villa where the +Stuart Princes played, the “adventure of the ’45” +seems to have happened only yesterday.</p> + +<p>The villa is at its loveliest in May and October. On +every Thursday and Sunday of this latter month it +used to be the custom for the Prince Borghese to receive +all Rome within his gates. Forty to fifty thousand +people would sometimes come to these garden-parties, +all classes mingling yet preserving their identity with +the admirable dignity and self-respect of the Romans. +The young Princess Gwendolin Borghese was seen for +the last time at one of these great fêtes. Her saintly +young spirit adds a breath as of incense to the Borghese +gardens, and it is more easy to think of her presence +here than among the ponderous marbles of the +Borghese Chapel in Santa Maria Maggiore where she +lies buried.</p> + +<p>Yet another Princess Borghese has left her memory<span class="pagenum" id="Page_194">194</span> +within these gates. Canova has portrayed her as Venus +Victrix, and she takes her place among the antique +marbles by the right of flawless beauty. The flesh-and-blood +original of Canova’s masterpiece, Pauline Bonaparte, +Princess Borghese, cared but little for her beautiful +villa. The ilex groves were gloomy and the fountains +were insignificant compared with those of Versailles. +She wearied of palace, prince, and villa, and +spent as much time as possible with her own kin. It is +recorded that the prince, her husband, was far more +jealous of Canova’s statue of his wife than of his wife’s +person. The Princess Pauline Borghese passed away +like a summer cloud, but the Venus Borghese remains.</p> + +<p>The personality of Cardinal Scipione Borghese is +preserved in the two magnificent busts still standing in +the picture-gallery of the Casino. It is difficult to believe +that such vitality as Bernini has here portrayed +could ever have quite faded from the earth, and surely +his ghost must at times return to these gardens of his +creation.</p> +</div> + + +<div class="chapter"> +<p><span class="pagenum" id="Page_195">195</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_197">197</span></p> +<h2 class="nobreak gesperrt1" id="LA_BARCACCIA"><span id="toclink_195"></span>LA BARCACCIA</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_197" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_197.jpg" width="1261" height="1152" alt=""> +</figure> + +<p class="head2">LA BARCACCIA</p> + +<p class="in0"><span class="firstword">At</span> the foot of the great stone stairway, known in Italian +as <i lang="it">La Scalinata</i> and in English as the Spanish Steps, +which leads down from the Church of the Trinità de’ +Monti to the Piazza di Spagna lies the singular fountain +called La Barcaccia. The design of this fountain is +that of a quaintly conventionalized boat, fast sinking +under the water which is pouring into it. To this effect +it owes its name; for “barca,” being the Italian for +boat, and “accia” a termination of opprobrium, Barcaccia +means a worthless boat. The boat is supposed to<span class="pagenum" id="Page_198">198</span> +commemorate an event which occurred during the +great flood of 1598. On Christmas Day of that year the +Tiber rose to its highest recorded level. All this part of +the city was submerged to a depth of from seventeen +to twenty-five feet; and here in the Piazza di Spagna a +boat drifted ashore, grounding on that slope of the Pincian +Hill, which is now covered by the Spanish Steps. +For a long time the design of this fountain was supposed +to commemorate this event, and it is quite possible +that this may have been the case. Still there are +other fountains of this design, the work of Carlo Maderno, +and as one is in the Villa d’Este at Tivoli and +the other in the Villa Aldobrandini, it is also quite possible +that Carlo Maderno and the creator of the Barcaccia +may have had yet another idea when they constructed +their stone boats with a fountain amidships +and lying in basins not much larger than the boats +themselves. For the Romans of this time knew much +and surmised still more about the mysterious boats lying +at the bottom of Lake Nemi, in the Alban Hills, +not more than seventeen miles distant from Rome. +These boats had been discovered first during the pontificate +of Pope Eugenius IV, and had been rediscovered +in Paul III’s time, in 1535, or about a hundred +years before Carlo Maderno employed this design for a +fountain. At each date an attempt had been made to +raise the boats, but these efforts as well as all subsequent +attempts proved unsuccessful. However, in 1535 +measurements had been computed and many objects +belonging to the vessels had been brought to the surface<span class="pagenum" id="Page_199">199</span> +to excite the wonder and admiration of the Roman +world. It was discovered that the boats when once +raised and floated would all but fill the tiny lake. The +decks had been made of concrete and marble, and +amidships there had been fountains whose falling +waters mingled with those of the lake. The mystery +surrounding the purpose and construction of those +huge vessels is yet unsolved, but in the seventeenth +century it still stirred men’s imaginations with all the +force of fresh discovery. Both Maderno and Pietro +Bernini could not have been ignorant of it, and they +must have seen the exquisite bronzes and lead pipes +bearing the stamp of the Emperor Tiberius which had +been detached and brought up from the sunken vessels.</p> + +<p>The Barcaccia fountain is the last work of Pietro +Bernini, the father of Lorenzo. He had been employed +to bring a branch of the Trevi Water from its reservoir +at the head of the Vicolo del Bottino as far as the foot +of the Pincian Hill in front of the Trinità de’ Monti, +and the fountain done by order of Pope Urban VIII +(1623–1644) was the adequate consummation of that +work. From whatever cause he derived his inspiration, +his design of the Barcaccia fountain is so admirably +suited to its position that it explains and almost excuses +the popular idea that the fountain was made low +in order not to obscure the view of the Spanish Steps. +A reference to dates at once shows the absurdity of this +last suggestion. In the Keats Memorial House hard by +there can be seen an engraving by Falda (born in 1640) +showing Pietro Bernini’s completed fountain against<span class="pagenum" id="Page_200">200</span> +the background of the tree-planted slope of the Pincian +Hill. The fountain was finished before the death +of Pope Urban VIII, which occurred in 1644, and the +steps were not begun until 1721, nine pontificates after +that of Urban VIII.</p> + +<p>On the prow and stern of the boat is carved the +coat of arras of the Barberini family, for Urban VIII +was the Barberini Pope and the founder of that family +in Rome. This pontiff, whose character was a formidable +compound of priest, statesman, warrior, and man +of letters, delighted in the design of the fountain. Pietro +Bernini had placed cannon at either end, thus making +his boat into a war-vessel, whereupon Urban VIII +composed a Latin distich in its praise:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Bellica pontificum non fundit machina flammas,</div> + <div class="verse indent0">Sed dulcem, belli qua perit ignis, aquam.”</div> + </div> + <div class="stanza"> + <div class="verse indentq">“<em>The war-ship of the priest, instead of flames,</em></div> + <div class="verse indent0"><em>Pours water, and the fire of battle tames.</em>”</div> + </div> +</div> +</div> + +<p>At both ends of the large basin in which the boat +stands are long, flat pieces of travertine. These are the +stepping-stones on which any one using the fountain +stands while dipping up the water. The Marcia Pia +now supplies the houses in this part of the city, but the +Romans still prefer to drink Trevi, and the stepping-stones +are as much in use as they were in the days when +Falda and other artists of that period engraved this +fountain, placing in the lower basin figures of men or +women in the act of dipping up the water. This quarter<span class="pagenum" id="Page_201">201</span> +of Rome, once a part of the Campus Martius of classical +days, has been for a long time given over to the +interests of the American and English colonies; but for +more than three centuries its foreign associations were +chiefly French. Urban VIII was in many ways a French +Pope, although he came of a Florentine family. As +papal nuncio he had spent many years and made +many powerful friends at the courts of Henry IV and +Louis XIII. In the conclave which elected him Pope, +France openly and ardently supported his claims. During +his residence in France he had known Armand du +Plessis, who was to become Cardinal Richelieu. The +two great churchmen went up the ladder of preferment +side by side. They became, as pope and cardinal minister, +respectively, lifelong allies in their tireless and +successful efforts to humble the dual power of Austria +and Spain, while promoting on the one hand the prestige +of France and on the other the stability of the +Papal See.</p> + +<p>At the accession of Urban VIII, Spain and Austria +held the passes of the Alps, thus dominating Europe +and threatening the existence of the Papal States. At +the close of his pontificate, France was rapidly becoming +the first Continental power, and the Papal States +had reached their utmost limit of territorial expansion. +With his death the French influence in papal politics +rapidly declined, but its artistic ascendency still lingered +on. Thirteen years later a certain French gentleman, +attached to the French embassy at Rome, and +named Etienne de Guéffier, left in his will a sum of<span class="pagenum" id="Page_202">202</span> +money for the construction of a great stone stairway +which should connect the Piazza of the Trinità de’ +Monti, in the centre of which lay the Barcaccia fountain, +with the Church of the Trinità de’ Monti, standing +far above, on the slope of the Pincian Hill. This +gentleman, of whom little is known, must have been +the friend of more than one of the great French artists +who were living in Rome contemporaneously with himself. +Possibly the splendid project of the Scalinata was +the result of long hours of comradeship, when he, with +his fellow countrymen, watched the sunset from the +terrace which Sixtus V had placed before the Church +on the Hill, or scrambled down the tree-planted slope +before it in order to reach the fountain at its base. Certain +it is that Rome owes this most distinctive architectural +feature of papal times to the imagination and +generosity of a Frenchman. The two Latin inscriptions +upon the steps are worthy of attention.<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">L</a></p> + +<p>The building of the steps, begun by Alessandro +Specchi and completed by Francesco de Sanctis, was +not undertaken, as appears from the inscription, till +sixty years after the death of De Guéffier and six pontificates +later than that of Alexander VII (Chigi), in +which De Guéffier died. By that time the Spanish influence +had reasserted itself to a marked degree, and as +the Spanish embassy had been established in a palace +on the western side of the square, the old name of the +Piazza della Trinità de’ Monti gradually gave way to +the present name, Piazza di Spagna. And so finally the<span class="pagenum" id="Page_203">203</span> +great stone stairway, the gift of a Frenchman in the +heyday of French influence at Rome, came to be known +as the Spanish Steps.</p> + +<p>Yet, after all, the paramount association with the +fountain of the Barcaccia is neither French nor Spanish, +but belongs pre-eminently to the English-speaking +race. This fantastic fountain, with its commonplace +background and its limited view of the Scalinata, forms +the only outlook from the windows of the house in +which the poet Keats spent the last three months of +his life; so that from the position of this house the +fountain of the Barcaccia is connected for all time with +the fate of the “young English poet” who lies buried +now these many years in the Protestant cemetery outside +the walls. From the windows of his narrow death-chamber +he watched the plashing waters in the fountain +below him, while above his head the bells in the +church, which he could not see, remorselessly rang out +the quarter-hours or tolled for some fellow creature +the “agonia,” or “passing bell.” During his hours of +listlessness or fits of sombre rage, this passing of time +and of life was always in his ears, as the futile play of +the water was always before his eyes.</p> + +<p>It is not difficult to connect the bells and the fountain +with the bitter epitaph written, by his own wish, +above his grave:</p> + +<p class="center"> +“Here lies one whose name was writ in water.” +</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_205">205</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_207">207</span></p> +<h2 class="nobreak gesperrt1" id="TRITON"><span id="toclink_205"></span>TRITON</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_207" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_207.jpg" width="1275" height="1196" alt=""> +</figure> + +<p class="head2">TRITON</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Have sight of Proteus rising from the sea,</div> + <div class="verse indent0">And hear old Triton blow his wreathèd horn.”</div> + </div> +</div> +</div> + +<p class="in0"><span class="firstword">The</span> exquisite lines rise involuntarily to the lips as one +comes suddenly upon Bernini’s old fountain in the Piazza +Tritone, which, standing in the centre of one of +the busiest and most prosaic thoroughfares of modern +Rome, still keeps its own quality of beauty and seems +to weave about itself the enchantment of the world of +fable. Roman art has created many Tritons, notably +the joyous group surrounding Galatea in the Farnesina<span class="pagenum" id="Page_208">208</span> +Palace, but there is about this water-worn old figure +such distinction and such emphasis of life that he becomes +the prototype of all his race. He is <i lang="it">Il Tritone</i>.</p> + +<p>Triton blows his conch-shell with all his might as he +kneels across the hinge of a wide-open scallop-shell, +which is supported on the upturned tails of three dolphins +massed together in the middle of a large, low-lying +basin. The dolphins’ tails are twisted and folded +about large papal keys—a Bernini conceit which, suggesting +St. Peter both as fisherman and pontiff, must +have delighted the Pope. The composition of dolphins, +keys, and shell is extraordinarily rich and harmonious.</p> + +<p>Triton, kneeling upon this noble support is, from the +waist upward, a severely simple figure, almost uncouth +and somewhat out of keeping with the rest of the design. +This effect is entirely accidental. It has been +brought about by the ceaseless flow of the water, which +for two and a half centuries has been thrown upward in +a slender jet of great height, returning upon itself with +such precision that Triton’s face and shoulders have +been worn and blurred into shapeless surfaces of travertine. +Triton has suffered from a sculptor’s point of +view, but as a work of imaginative art it is, perhaps, +all the better for Nature’s modelling. The shapeless +head and shoulders have in them something of the +formlessness and blurred masses of the elements, and +the water-creature becomes more real to the imagination +in proportion as he suggests—but does not entirely +resemble—a man. The entire design is on a colossal +scale and has a dignity and harmony rarely to be found<span class="pagenum" id="Page_211">211</span> +in Bernini’s creations. This is because the central idea +is the only idea, and no subsidiary and fantastic inventions +are presented to bewilder the eye and brain.</p> + +<figure id="ip_209" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_209.jpg" width="1268" height="1948" alt=""> + <figcaption class="caption">The Fountain of the Triton. + </figcaption> +</figure> + +<p>This fountain was done by Lorenzo Bernini for Pope +Urban VIII. It stands near the Barberini Church of +the Capuchins, and was intended to adorn the approach +to the Palazzo Barberini. This third of the trio of the +great palaces of the nepotizing Popes—Farnese, Borghese, +and Barberini—was built by Urban VIII in +order to invest his house with an importance equal to +that enjoyed by the families of Paul III and Paul V. +As the fountain was an adjunct of the palace, it had +to bear upon it in some way the emblem of the Barberini—the +colossal bee—and this explains why Bernini +united the curving bodies of his dolphins by escutcheons +carrying three bees and the papal arms.</p> + +<p>Another fountain, contemporaneous with the Triton, +once stood in this same piazza, at the corner of +the Via Sistina; and this fountain, also made for Urban +VIII by Bernini, was in itself the emblem of the Barberini, +for it represented merely a great shell into which +the bees spouted water. In some way this second fountain +has disappeared, but the piazza still remains the +Barberini quarter of the city; and the Triton, as well as +the magnificent palace, recalls the days when the power +and rapacity of that family brought upon it the unforgettable +pasquinade:</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“What the Barbarians spared,</div> + <div class="verse indent0">The Barberini took.”</div> + </div> +</div> +</div> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_213">213</span></p> +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_215">215</span></p> +<h2 class="nobreak gesperrt1" id="NAVONA"><span id="toclink_213"></span>NAVONA</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_215" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_215.jpg" width="1260" height="1205" alt=""> +</figure> + +<p class="head2">NAVONA</p> + +<p class="in0"><span class="firstword">Before</span> the genius of Valadier moulded the isolated +buildings and waste spaces of the Piazza del Popolo +into a noble symmetry, the Navona was considered the +finest and most important piazza in Rome. In length +and breadth it is a reproduction of the stadium of +Domitian, for the houses, churches, and palaces which +line the Piazza Navona are based squarely upon the +seats and corridors of that old Roman playground. +This part of the city, not far from the Pantheon or old +Baths of Agrippa, is low, and it has always been easy<span class="pagenum" id="Page_216">216</span> +to flood it with water. The ancient Romans were so +keen for shows of every kind that when the great Flavian +amphitheatre (the Coliseum) was closed for repairs, +Domitian found it necessary to provide a second +place of amusement where the gladiatorial combats and +the <i lang="la">naumachiæ</i> or sea fights could go on without interruption.</p> + +<p>It was a rule strictly enforced under the empire that +no one could open new baths in the city without providing +a fresh supply of water. Something more than a +century after Domitian, Alexander Severus—having +brought the Acqua Alessandrina to Rome—was able to +repair Domitian’s old stadium and to use it once more +for the <i lang="la">naumachiæ</i>. In modern times there does not appear +to have been any fountain here until the pontificate +of Gregory XIII, and at that time the passion +for fountain-building in modern Rome really began.</p> + +<p>Pius IV, the Pope last but one preceding Gregory +XIII, had repaired the old aqueduct of the Acqua +Virgo, originally brought to the city by Marcus +Agrippa, the son-in-law of Augustus, so that that water, +which for a long time had been running only intermittently +in the fountain of Trevi, could now be obtained +in a continuous stream. It is impossible to throw +Virgo Water to any great height, and the fountains of +the Piazza Navona have had to be constructed with +reference to this limitation.</p> + +<figure id="ip_217" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_217.jpg" width="1277" height="1969" alt=""> + <figcaption class="caption">The Fountain of the Four Rivers. + </figcaption> +</figure> + +<p>The two end fountains, designed for Gregory XIII +by Giacomo della Porta, are simply great basins of +Porta Santa marble standing in still larger Carrara<span class="pagenum" id="Page_219">219</span> +basins of exactly the same shape and sunk into the +ground. The beauty of these fountains consists in their +elegant shape, the fineness of the marble, and in their +air of simple distinction. The great basins hold the limpid +Trevi Water as a Venetian goblet holds wine: the +receptacle and that which it contains enhance each +other’s beauty, and any further decoration seems superfluous +and unfortunate. This, however, was not the +taste of the seventeenth century, at which time there +were added the various figures now crowding the upper +basin of the south fountain. On one side of the piazza +stands the fine palace built for Innocent X (Pamphili, +1644–1655) by Rainaldi. It was occupied during the +Pope’s lifetime by his sister-in-law, Donna Olympia +Maidalchini, who, for that period, became the most +important person of the papal court. She filled the +palace with art treasures and, in order to make its exterior +still more imposing, Bernini was commissioned +to decorate della Porta’s fountain, which stood directly +in front of the palace. The central figure, called the +Moor, was modelled by Bernini himself, and it was +sculptured for him by Gianantonio Mari. It is in +travertine. The Carrara masques and marine creatures +are by various pupils of Bernini. Toward the +close of the last century the originals of these side +groups, which had become badly disfigured, were +removed and replaced by those of the present day, +which were sculptured by Amici after the old models. +This fountain since Bernini’s time has been called the +fountain of the Moor. The fountain at the other end<span class="pagenum" id="Page_220">220</span> +went from the earliest times by the name of the Fountain +of the Scaldino, probably because of the shape of +the small vase in the centre which resembled a classic +scaldino or brazier. It can be seen in an engraving by +Piranesi, for the fountain was left undisturbed until +the close of the last century when the Scaldino was removed +and replaced by the figure of Neptune. This figure +was carved by Bitta Zappalà from a model of Bernini’s +found in the Villa Montalto. The figures around +the edge are Zappalà’s own, and they as well as the +Neptune are of Carrara. All this wedding-cake decoration +has spoiled the original effect of della Porta’s +work, and the best that can now be said for the side +fountains is that they are in harmony with the fountain +in the centre. In justice, however, to the genius of +della Porta and to the taste of an earlier day, an attempt +should be made to think of these fountains without +their more modern excrescences. It is a pity that +the Roman municipality has found it necessary to surround +them with a high iron fence. If these fountains +could be left free like the side fountains in the Piazza +del Popolo their charm could be and would be much +better appreciated.</p> + +<p>In the centre of the piazza, immediately opposite +the church, Bernini erected for Innocent X the Fountain +of the Four Rivers. The obelisk of red Oriental +granite which surmounts it was brought from the Circus +of Maxentius, and tipped with the bronze dove +and olive-branch, the emblem of the Pamphili family, +to which Innocent X belonged. Bernini placed the obelisk<span class="pagenum" id="Page_221">221</span> +on four flying buttresses of white granite, crossing +each other at right angles. The obelisk rests upon the +arch thus formed, and the space beneath it is left as a +grotto with four openings. This gives the obelisk the +appearance of resting upon nothing, an effect which +was greatly admired by the artist’s contemporaries. +The bases of these flying buttresses are broadened and +flattened so as to receive the recumbent figures of four +river-gods carved in Carrara. They represent respectively +the Ganges, the Nile, the Danube, and the Rio de +la Plata. The obelisk and its base stand in the centre of +a basin some seventy-eight feet in circumference, which +is sunk into the pavement, and which receives the +water flowing from the four rocky projections where +the river-gods lie. Beneath the grotto additional jets of +water spout upward, while a river-horse dashes furiously +through one archway as if in terror of a lion +which is coming out of another to drink of the water +under the shade of a palm-tree cut in high relief +against the rocks. On top of one of the rocks crawls a +serpent, and a mass of cactus grows upward from behind +one of the rivers. In the lower basin two monstrous +travertine fish are disporting themselves in +characteristic Bernini contortions. Escutcheons bearing +the arms of Innocent X (three fleur-de-lis and a dove +with an olive-branch) of course are not wanting. All +this sculpture is in travertine.</p> + +<p>This fountain has been called Bernini’s masterpiece, +and it deserves that title as an example of the utmost +length to which the Bernini idea of artistic invention<span class="pagenum" id="Page_222">222</span> +can be carried. From an æsthetic standpoint it shows +both in execution and design the faults and excesses +into which he was led by his popularity, and the boundless +fertility of his genius. The extravagances and absurdities +of this fountain and its debased execution +arouse curiosity both as to the artist and to the taste +and character of the seventeenth-century Romans for +whom it was erected and by whom it was so greatly +admired. Bernini came in with the seventeenth century +and lived through eighty years of it. The pompous epitaph +under his bust, which is let into the wall in the +Palazzo Mercede, speaks no more than the truth. +Princes and popes did bend before him, from Paul V, +who recognized his precocious genius, to Louis XIV, +who enticed him to Paris. Charles I sent his Van Dyck +portraits to Rome, that Bernini might use them as +guides in making his portrait bust of the Stuart King, +and Urban VIII thanked a gracious Providence that +Bernini lived during his pontificate. His journey to +Paris was a triumphal progress. The few clouds which +marred his long and prosperous day were due not to +any waning of popular appreciation but to the inevitable +jealousy of less fortunate men. Yet his best work +was done in his youth under the enlightened patronage +of Paul V and Urban VIII. By the time Innocent X (a +mediocre man) could command his services his faults +had obscured his genius, and the great days of Rome +were definitely over. With the death of Urban VIII, +the Pope immediately preceding Innocent X, the last +trace of vigorous artistic life had disappeared; for as<span class="pagenum" id="Page_223">223</span> +the French influence in the papal court declined and +the Hapsburg ideas regained and held the ascendancy +spontaneous and free expression of thought and feeling +were rigorously repressed. Men were made to live on +the surface of things, and in proportion as they became +formal and superficial in themselves they demanded +excitement and extravagance in their art. This was the +secret of Bernini’s immense success. He was exactly +fitted to his time. Men wanted “Sound and fury, signifying +nothing,” and he gave it to them in full +measure.</p> + +<p>In this fountain he strove to produce the effect of a +wild concourse of waters. He wished to reproduce in +stone the tumult of the falls of Tivoli. Confusion, rapidity +of movement, and noise are the qualities which +he attempted to embody in his sculpture. That the effect +should be bathos and not grandeur was inevitable. +The ideas which Bernini strove to express cannot be +portrayed. Music is the only artistic medium by which +they can be rendered, and in looking at the Bernini +sculpture as well as architecture it is impossible not to +wish that this artist of such undeniable genius and immense +facility had been a musician. As the composer +and interpreter of great <i>brio</i> music Bernini might have +given no less pleasure to the men of his time and +have secured from posterity a kindlier appreciation.<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">M</a> +But in the seventeenth century secular music as an art +was still in its infancy, and it was inevitable that Bernini<span class="pagenum" id="Page_224">224</span> +should express himself in sculpture, or in the +“frozen music” of architecture. As the Borgo holds its +memories of the Borgias, and the Via Sistina and its +vicinity recall the power of Sixtus V, and the Piazza +di Spagna the versatility of Urban VIII, so the Piazza +Navona brings back the times of Innocent X. The +greatest gift which the Pamphili family has left to +Rome is the Villa Pamphili, which was built by the +Pope’s nephew, but here in the Piazza Navona stand +the Pamphili Palace, the Collegio Innocentium and the +Church of St. Agnes, whose new façade dates from his +pontificate.</p> + +<p>It was during his lifetime that the festas of the +“Lago of the Piazza Navona” were inaugurated. +Every Sunday in July and August the outlets of the +great central fountain were stopped and the water +was permitted to flood the entire piazza, which was +at that time much lower than it is at present. Then +the carriages of the nobility and gentry drove around +the piazza, the water reaching up as far as the middle +of the smaller wheels. The owners of the houses and +palaces invited friends to witness the spectacle from +their windows, refreshments were served, and bands of +music played on stands erected at various parts of the +piazza. The fact that only people owning carriages +could drive in the procession and that only the inhabitants +of the houses and palaces could invite their +guests, limited the number and regulated the quality +of the participants in these curious pageants. In the +earlier days much license was permitted, and the<span class="pagenum" id="Page_225">225</span> +entertainments lasted through the night, but in Clement +XIII’s time, or about 1760, the number of hours +was curtailed. With the ringing of the Ave Maria the +piazza was drained and the waters once more confined +to the basin of Bernini’s Fountain of the Four +Rivers.</p> + +<p>These harmless midsummer carnivals which came to +an end during the pontificate of Pope Pius IX were as +much relished by the Romans as were the <i lang="la">naumachiæ</i> +held fourteen hundred years earlier in the same place.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_227">227</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_229">229</span></p> +<h2 class="nobreak gesperrt1" id="TREVI"><span id="toclink_227"></span>TREVI</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_229" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_229.jpg" width="1260" height="1197" alt=""> +</figure> + +<p class="head2">TREVI</p> + +<p class="in0"><span class="firstword">One</span> hundred and fifteen years after Agrippa brought +the Acqua Virgo into Rome the Emperor Nerva appointed +as commissioner of the water-works of the city +a man of extraordinary integrity and energy who was +possessed of many accomplishments and had had a long +training in the practical experience of government and +war. Fortunately for posterity, he was able to write +as well as govern, and in his book, “The Water Supply +of the City of Rome,” a copy of which has been preserved +in the monastery of Monte Cassino for more<span class="pagenum" id="Page_230">230</span> +than thirteen centuries, there is an account, true beyond +the shadow of doubt, of the earliest history of +the Trevi Water. Frontinus says that the water was +shown to some Roman soldiers by a young maiden who +guided them to the springs near her father’s home, that +a small temple was erected near the springs containing +a picture of the incident, and that the name of Virgo, or +maiden, which still endures, commemorates the event. +Agrippa at once brought the water to Rome and its +delightful purity as well as its abundance must have +given it immediate popularity. Suetonius relates that +about this time the Romans complained to Augustus +of the expense and scarcity of wine, whereupon the +Emperor sent word to them that his son-in-law, +Agrippa, had sufficiently provided for their thirst by +the ample supply of water which he had brought to +Rome. The springs of the Virgo rise in the valley of the +Anio and are not more than eighty feet above sea-level. +They are on land which once belonged to Lucullus. +The veteran adversary of Mithradates, who had suffered +all the privations of far-eastern warfare, knew +from personal experience the immense value of pure +and abundant water. It is not improbable that he was +aware of his priceless possession and that he kept it for +his own private use during those years of his peaceful +old age passed in his gardens on the Pincian Hill. +When, a generation after Lucullus’s death, Agrippa +constructed the Virgo Aqueduct he brought it underground +through the old gardens of Lucullus to a reservoir +beneath the hill, and from there the water<span class="pagenum" id="Page_231">231</span> +was carried to the Campus Martius, and thence distributed +throughout the city, whose gardens and fountains +it still supplies. Cassiodorus, prime minister to +that Gothic King, Theodoric, who, from 493 to 526, +governed the Romans with such extraordinary sympathy +and intelligence, felt for the Virgo Water the +admiration and love of a veritable Roman. The true +origin of the name had already been forgotten, and +Cassiodorus supposes that “Virgo’s stream is so pure +that the name, according to common opinion, is derived +from the fact that those waters are never sullied, +since, while all the others give evidence of the violence +of rain-storms by the turgidity of their waters, Virgo +alone ever maintains her purity.” It was quite a natural +supposition, for the Virgo Water has never had a +filtering or settling reservoir. Those who have the good +fortune to drink it receive it from its Roman fountains +exactly as it comes from its springs on the Via Collatina. +This aqueduct was cut off from the city in 537 by +the Goths and Burgundians, and, though in the same +year Belisarius restored the aqueducts of Claudius and +Trajan, the Virgo seems to have remained entirely unused +for the next two hundred years. During that period +the popes were not sufficiently powerful to undertake +any great public works, but when Charlemagne +visited Rome in 778 he gave the needed support to the +head of the church, and thereafter the popes began the +restoration and the maintenance of the Roman aqueducts. +The Virgo was restored in 1447 by Nicholas V, in +whose pontificate Constantinople was taken by the<span class="pagenum" id="Page_232">232</span> +Turks and the Wars of the Roses began in England. He +was a great Pope and repaired the aqueduct so thoroughly +that it remained in use for thirty years. There +must always have been a main fountain for the Virgo +Water, but the records of the modern “Fountain of +Trevi” begins with the fountain which Vasari says +was rebuilt by Nicholas V’s architect, Leon Batista +Alberti. After a short period the aqueduct was again +restored and the fountain enlarged by “The Great +Builder,” Sixtus IV. Then occurs a period of various +vicissitudes, and finally, in 1570, Pius V restored the +Virgo Aqueduct effectively and rebuilt Sixtus IV’s +fountain, making what is now known as the “old Trevi +fountain.” This fountain stood not where the present +one stands, but to the west of it, in the little Piazza +Santa Crocifere. The old engravings show it to have +been a huge semicircular pool into which the water +poured from three great apertures made in massive +stone piers.</p> + +<figure id="ip_233" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_233.jpg" width="1280" height="1979" alt=""> + <figcaption class="caption">Figure of “Neptune” in the Fountain of Trevi. + </figcaption> +</figure> + +<p>The name of Trevi is supposed by some writers to be +derived from these three streams of water—three ways, +Trevie; but there is more reason to believe that the +fountain took its name from the mediæval name of that +quarter of the city—Regione Trevi, from trevium, because +of three roads which converge near the present +Piazza of Trevi. Sixtus IV had constructed near the +fountain a large public washing-trough, and the whole +composition was extremely simple and practical. The +Rome of Sixtus V and Paul V became too sumptuous +for the old fountain, and as early as 1625 plans were<span class="pagenum" id="Page_235">235</span> +made for its reconstruction. The Barberini Pope, Urban +VIII, had his own ideas of magnificence; he proposed +to change the fountain from its old site to its present +position against the southern façade of the great Poli +Palace; and Bernini made for him some beautiful +sketches for the new masterpiece. Urban VIII stripped +the portico of the Pantheon of its bronze and also carried +off a part of the base of the tomb of Cecilia Metella, +proposing to construct his fountain out of these +materials. The Roman people, whose love for their own +antiquities was constantly growing, showed such indignation +when the Pope’s project became known that +Urban was actually obliged to abandon his scheme, +and it was not until eleven pontificates after his time +that the work on the new fountain was really begun. +Then it was intrusted to the architect Niccolo Salvi by +Clement XII (Corsini, 1730–1740), and after the death +of this pontiff and his successor, Benedict XIV, and +eleven years after the death of Salvi himself, the +fountain was at last finished. This was in 1762, under +Clement XIII (Rezzonico, 1758–1769). Niccolo Salvi +had succumbed prematurely to the hardships of his +task. The construction of the fountain necessitated +spending much time in the subterranean chambers of +the Virgo Aqueduct, and this had proved fatal to +Salvi’s health. The tomb of Cecilia Metella was +never again attacked, and there is no bronze in the +present fountain; in other respects the great scheme +of Urban VIII was revived. The fountain was placed +against the Poli Palace, and Salvi used for the sculptural +part of the fountain Bernini’s beautiful designs.</p> + +<p><span class="pagenum" id="Page_236">236</span></p> + +<p>So severe a critic as Francesco Milizia declares that +this fountain is justly considered to be the best work +produced in Rome during the eighteenth century. It +has elicited extravagant praise from other authorities, +and in later times some adverse criticism. It has been +woven into many of the romances connected with +Rome, and until quite recently there were few American +and English visitors to the Eternal City who left +her without paying a moonlight visit to Trevi, there to +toss a coin into the water while they drank to their certain +return. Romans of the eighteenth century often +saw Alfieri, the tragic dramatist, crouched beside the +fountain, lost in a day-dream evoked by the tumult +and beauty of the water; and it is recorded that the +day after Michelangelo’s death there was found in his +house no wine whatever, but five jars of water, presumably +the Trevi, as it was the only pure drinkable water +in Rome. The Trevi fountain has become a feature in +the city’s life. It is the chief fountain of the one water +which modern Rome inherits directly from her great +past.</p> + +<p>The fountain consists of a vast semicircular basin, +sunk so far below the level of the pavement that it is +necessary to descend a flight of steps in order to stand +beside it. This device, which was rendered necessary +by the low head of the water, is excellent from an æsthetic +view-point, as the spectator, being on a different +grade from the piazza and its surroundings, feels that +he is in another world and is able to forget the city +and give his entire attention to the scene before him. +Looking up, he sees a great ledge of broken rock, over<span class="pagenum" id="Page_237">237</span> +which the water pours in many streams and waterfalls, +disappearing and reappearing among the rocks like a +veritable mountain torrent. The main stream descends +in a series of three quite lovely cascades, their semicircular-shaped +basins being prototypes of the great +lower basin, into which all eventually flow. Their edges +are smooth, as if they had been water-worn, and the +force of the water feeding them is so great that it boils +and roars among masses of broken rock as it does in +a natural waterfall. Above all this finely simulated +wildness rises the ornate group of Neptune riding +in a chariot made of an enormous sea-shell and drawn +by two sea-horses. The horses are placed well to each +side of the central cascades, and the group is terminated +by Tritons who are restraining the onward dash +of the horses and are blowing conches. The background +or frame-work to this scene of commotion and +tumult is the highly finished conventional façade of a +Roman palace; Neptune issues forth not from a rocky +cavern but from a Renaissance tribune constructed +with four Ionic pillars and a richly carved roof, on +the frieze of which runs the following inscription:</p> + +<p class="center allsmcap larger"> +CLEMENS · XII · PONT · MAX<br> +AQVAM · VERGINEM · COPIA · ET · SALVBRITATE<br> +COMMENDATAM · CVLTV · MAGNIFICO · ORNAVIT<br> +ANNO · DOMINO · MDCCXXXV · PONTIF: VI +</p> + +<p><i>Pope Clement XII decked out with magnificent ornament +the aqueduct of the Maiden, which is recommended +for its plenteous flow and for the healthful qualities of its +water. In the year of the Lord 1735, and of Clement’s +pontificate the sixth.</i></p> + +<p><span class="pagenum" id="Page_238">238</span></p> + +<p>On either side of this tribune the palace wall breaks +into niches containing statues, one of Abundance, the +other of Health; and separated from each other by tall +columns are panels depicting in high relief the discovery +of the water and the construction of the aqueduct. +Beyond these sculptures the windows and balconies +of the palace frankly make their appearance.</p> + +<p>Nothing could be more incongruous and artificial. +The design is one which demands a background as an +integral part of the composition, but this background +has absolutely no connection with the fountain, except +the purely physical connection of juxtaposition. Neptune +should be appearing from some sea cave, worn in +straight, steep cliffs like the cliffs at Sorrento. The +architect who could so skilfully mass these rocky +ledges and dispose these streams and cascades could +have designed quite as well stone palisades and grottos; +but the fountain belongs to an age which played +“Macbeth” in periwig and ruffles, and it remains a +magnificent example of the taste of that period.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_239">239</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_241">241</span></p> +<h2 class="nobreak gesperrt1" id="PIAZZA_DEL_POPOLO"><span id="toclink_239"></span>PIAZZA DEL POPOLO</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_241" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_241.jpg" width="1257" height="865" alt=""> +</figure> + +<p class="head2">PIAZZA DEL POPOLO</p> + +<p class="in0"><span class="firstword">The</span> fountains in the Piazza del Popolo should not be +considered as individual creations; they must be regarded +as parts of an architectural composition which +includes the piazza as a whole—its shape, dimensions, +and location, and the buildings which surround it. This +composition is the work of the distinguished Roman +architect Giuseppe Valadier, whose life lay within the +last thirty-eight years of the eighteenth century and +the first three decades of the nineteenth. His bust +stands in the place of honor on the Pincian; that is, it +stands at the end of and facing the long, broad drive +called the Passeggiata, which begins on the terrace before +the Villa Medici and runs northward along the +western crest of the Pincian Hill. Valadier had been +papal architect under Pius VI and Pius VII, and he<span class="pagenum" id="Page_242">242</span> +had laid out for Napoleon the public gardens of the +Pincian. Up to that time most of that land had belonged +to the Augustinian monks whose convent stands +below the hill, close to the Church of Santa Maria del +Popolo. It has been their vineyard, and the story goes +that it was while he was walking in this vineyard that +Valadier got his first conception of what he might make +out of the Piazza del Popolo.</p> + +<figure id="ip_243" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_243.jpg" width="1258" height="864" alt=""> +</figure> + +<p>Standing on the brow of the hill, from which is obtained +the incomparable view of St. Peter’s at sunset, +Valadier looked down upon the Piazza del Popolo as +Piranesi had engraved it in his time (1720–1778). A +somewhat shapeless area of flat ground stretching in an +indeterminate way westward from the base of the Pincian +Hill, it seemed to be only the debouchment of the +three great thoroughfares running into it from the +heart of the city. The twin churches standing one on +either side of the Corso, the centre thoroughfare, were +the chief architectural features on the south side, while +on the north side ran the city wall and the Church of +St. Mary of the People. In the centre of this area stood +the obelisk as it stands to-day, placed there by Sixtus +V in 1589, and with a single fountain at its foot—a +huge basin carved by Domenico Fontana out of one +solid block of marble taken from the ruins of Aurelian’s +Temple of the Sun. The water supplying this fountain +was the Acqua Trevi, the same which fills the fountains +of the present day. Such was the Piazza del Popolo as +Valadier’s eyes beheld it, but at that point where the +Aurelian wall is pierced by the Porta del Popolo (the<span class="pagenum" id="Page_243">243</span> +old Flaminian Gate) he saw something else: He saw +the end of the Flaminian Way—the great highroad +leading directly from the north. And at that point the +actual faded away, and to Valadier there came a vision. +He saw the Piazza del Popolo as the magnificent and +adequate antechamber to Rome. He saw it approached +by this great highroad which, first skirting the shore of +the Adriatic, then traversing the breadth of Italy and +the watershed of the Appenines, descends thence to the +western slopes of Mount Soracte and, crossing the +Ponte Molle, comes all the way to Rome from far-off +Ariminum, or Rimini, the Roman fortress and frontier +town on the Adriatic—two hundred and twenty miles +distant—and the key to Cisalpine Gaul. Down this +road, which is but a continuation of the still greater +Via Emilia, have come all the northern friends and all<span class="pagenum" id="Page_244">244</span> +the northern foes of Rome. Other eyes than Valadier’s +can see that procession. Barbarian invaders and imperial +armies have covered all the countryside like +swarms of locusts—the progress of most of them +marked by burning farms and plundered villages. In +quieter times there have come pilgrim hosts and companies +of merchants; and travelling scholars, and artists +“with hearts on fire” for Rome; also ambassadors +and foreign prelates, exiles and penitents, great bridal +processions like Margaret of Austria’s in 1537, funeral +pageants, bandit troops, fugitives of every type, bare-legged +friars (among them a Luther), soldiers of fortune, +and English noblemen in travelling carriages +with postilions; every sort and condition of man whom +the north has sent forth to the Eternal City. Down this +Flaminian Road they came, passed through the Flaminian +Gate, and received their first impression of +Rome here in the Campus Martius—the modern Piazza +del Popolo. Valadier lived in the period of the +First Empire, when the shock of change and of contrast +quickened even the most formal imagination. He came +down from his “mount of vision” and designed the +noble and finely proportioned piazza of the present +day. He formed the vast and slovenly-shaped piece of +ground into a stately ellipse, whose broadly curving +ends, made of Roman brick and travertine, ornamented +by sphinxes and allegorical figures, become the retaining +walls of the terraced gardens at their rear, so that +these long retaining walls seem coped by a line of glistening +green foliage. On the side of the Pincian Hill the<span class="pagenum" id="Page_245">245</span> +grass and trees of the Pincian Gardens rise in four tiers +of terraces, high against the sky. Behind the retaining +wall, opposite the Pincian, the tall cypresses screen the +new city which stretches off toward the Tiber. A beautiful +small semicircular basin, with a shell-like upper +basin, stands in the centre of each of these curving +ends. They might be called decorative keystones to recumbent +arches. The water gushes through the retaining +walls which form their background and falls between +the convolutions of the shell in a fringe of steady, +slender streams.</p> + +<p>It has been truly said that the eighteenth century +did not die with the close of the year 1799. It lingered +on through the first, and more than the first, decade +of the century which followed. Valadier remained an +eighteenth-century architect to the end of his life. This +is most apparent in the Piazza del Popolo, his work of +widest scope and freest fancy and the product of his +most mature talent. Elegance, proportion, and formality +are the qualities on which Valadier relies. His composition +is simple, polished, and formal, and the note +of affectation ingrained in the art of that period is +given in the Egyptian character of some of the ornaments +and accessories. This character was undoubtedly +suggested by the obelisk, but it is a curious coincidence +that many archæological remains of Egyptian +origin have been discovered in this part of Rome.</p> + +<p>The allegorical groups placed behind the fountains +represent on the side of the Pincian the god Mars in +full armor, supported by the river-gods Anio and Tiber,<span class="pagenum" id="Page_246">246</span> +each with his respective emblem, one of the emblems +belonging to the Tiber being the figure of Mercury, the +god of trade. On the side toward the river the group +represents Neptune between two Tritons. These groups +are by Valadier, and their mass of elaborate detail +proves an admirable foil to the fountains beneath, +which in their great simplicity are among the very +loveliest in Rome. Small white marble sphinxes, said +to be made out of blocks of Greek marble, found under +the sea at the time that the bronze vase of Mithradates +in the Palazzo dei Conservatori was discovered, mark +the descending grades along the curving wall, and, as +might be expected, statues of the four seasons adorn +its four terminal piers.</p> + +<p>These conventional figures are the work of various +and now little known artists of Valadier’s time or later. +The effect of Valadier’s creation has been somewhat +marred by the huge monument to King Victor Emmanuel +I of Italy. This ponderous and tasteless masonry +rises in a series of three tiers, placed one above +the other, against the Pincian Hill, and makes a hard +and artificial background to the fountains in the +square. Besides being far less attractive than the green +turf and living foliage, this monument is quite out of +proportion to all its surroundings. It occupies the place +where Valadier had intended in the first instance to +construct a vast fountain, which was to rise in various +jets on the summit of the hill now bordered by the esplanade +and balustrade, and descend in cascades from +terrace to terrace until it gained the level of the piazza.<span class="pagenum" id="Page_249">249</span> +The scheme was abandoned for lack of water. Only the +aqueducts of imperial Rome could have furnished the +amount required for such a fountain. The design was +most imposing, but it is possible that Valadier himself +may have relinquished it willingly. He was keenly alive +to the beauty of proportion, and the monument to “Il +Re Galantuomo” shows how incongruous a Niagara +would have been amid such circumscribed and highly +finished surroundings.</p> + +<figure id="ip_247" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_247.jpg" width="1283" height="1948" alt=""> + <figcaption class="caption">Piazza del Popolo from the West. + </figcaption> +</figure> + +<p>When the time came to carry out Valadier’s design +for the fountains about the obelisk, Domenico Fontana’s +massive old basin was removed from its position +on the south side of that monument and placed in the +gardens of San Pietro in Montorio, now the public gardens +on the Janiculum. Then the low stone terrace +with its five steps was built around the base of the obelisk, +and the four corners of this terrace were marked +by miniature pyramids of seven steps, the top of each +pyramid supporting an Egyptian lioness couchant +carved of Carrara. The water gushes in a copious fan-shaped +stream from the mouths of these beasts and +falls into four massive travertine basins, each basin set +so close against the base of its pyramid that the lower +steps of the pyramid project well over a portion of the +basin’s rim. The task of providing a modern architectural +setting to an Egyptian obelisk is probably an impossible +one. It must be conceded, however, that +Valadier, while not achieving the impossible, did succeed +in producing a design which enhances the dignity +and importance of the obelisk, considered as the central<span class="pagenum" id="Page_250">250</span> +architectural feature in a Roman square. More than +this could not be expected, and as much as this has not +been achieved by any other architect. The obelisk on +Monte Cavallo is in no way affected by the objects +grouped about it. It is as utterly detached from the +Roman fountain and the Greek statues at its base as +though it stood by itself at Alexandria. Bernini’s extravaganzas, +in which the Egyptian symbol of the mystery +of life becomes the meaningless centrepiece for a +banal fountain, have long ceased to give pleasure. It +is doubtful whether the obelisk was altogether pleasing +to the ancient Romans. They could not fail to admire +its austere dignity and strength, and they regarded +it as the insignia of supreme power, human or +divine. Roman Emperors from Augustus onward constantly +imported them to Rome to celebrate a victory, +to adorn a circus, or to place in pairs, one on either +side of the entrance to a tomb. But when the Romans +re-erected an obelisk, whether in Rome, in Egypt, or in +Constantinople, they frequently, if not always, raised +the monolith a perceptible distance above the plinth of +the base. On the four corners of this plinth they placed +a bronze crab—one of the emblems of Apollo—or, as in +Constantinople, a square of metal, and the obelisk itself +rested upon these, daylight being distinctly visible +between the obelisk and its base. The crabs were fixed +into the plinth of the base by huge bronze dowels, and +other dowels ran up into the four corners of the obelisk, +holding it in place. The obelisk in New York, its +mate in London, the larger Constantinople obelisk, and<span class="pagenum" id="Page_251">251</span> +the Vatican obelisk were all re-erected by the Romans +in that way. Opinions differ as to the reason for this +departure from the original Egyptian method, but the +decorative effect of this bold but simple device is at +once apparent. It is obvious that an obelisk mounted +in this way lends itself more easily to alien architectural +surroundings.</p> + +<p>This obelisk of the Piazza del Popolo was brought +to Rome by young Octavius, afterward the Emperor +Augustus, to honor his victory over Mark Antony at +the battle of Actium, B. C. 31. Octavius believed that +he owed his triumph to Apollo; and this obelisk erected +by an Egyptian monarch of the XIXth dynasty before +the great temple in Heliopolis, the city of the +sun, seemed an altogether appropriate trophy. Octavius +erected it in the Circus Maximus, where it stood +throughout the greatest days of the Roman Empire. +But the fate of the Roman obelisks had overtaken it +at some time, for when Domenico Fontana suggested +to Sixtus V to remove it to its present position it was +lying broken in three pieces under masses of rubbish +on the site of the old Circus.</p> + +<p>There is no inscription upon the four fountains of +the lionesses. They are to be regarded solely as adjuncts +architecturally suitable to the obelisk, the interest +of which must transcend all minor annals.</p> + +<p>In developing his design for the Piazza del Popolo. +Valadier had to consider and amalgamate the architectural +features of many previous generations; for here in +the Piazza del Popolo are grouped the works of a great<span class="pagenum" id="Page_252">252</span> +number of Roman architects—men of the very first +distinction in their own time and who have left the imprint +of their industry or genius upon a large part of +modern Rome. Baccio Pintelli, Michelangelo, Vignola, +Carlo Fontana, Rainaldi, and Bernini were at work +here in the centuries preceding Valadier, but to this +last was given an opportunity of combining the past +with the works of his own creation, such as had not +fallen to the lot of any other Roman architect since the +days when Michelangelo remodelled the Capitol.</p> + +<p>Throughout the Middle Ages, all that part of Rome +which lies between the Flaminian Gate and the Church +of San Lorenzo in Lucina on the Corso was almost +devoid of human habitation and given over entirely +to orchards and gardens. This condition still prevailed +when Sixtus IV (1471–1484) demolished the old Flaminian +Gate, through which, some five hundred years +before, the Saracens had captured Rome. He did this +in order to build the modern Porta del Popolo. It was +by way of this Porta del Popolo that Charles VIII +of France entered the city on New Year’s Day, 1495, +with the most imposing and brilliant force of arms +which modern Rome had ever beheld. At three o’clock +on the winter’s afternoon, the great gates opened to +receive them, and it was nine at night before they +could close. For six hours the great procession marched +down the Corso, and when darkness fell torches and +flambeaus were lighted and held aloft by the marching +troops. The advance-guard of Swiss and Germans +was followed by five thousand Gascons, small of stature<span class="pagenum" id="Page_253">253</span> +and very agile, like the bersaglieri of the present +day. Then came the cavalry, twenty-five hundred +cuirassiers from the French nobility, all arrayed in silk +mantles and golden collars, and each knight followed +by his squire and grooms leading three additional +horses. Then more cavalry, and finally four hundred +archers, of whom one hundred were Scotch. These last +formed the body-guard of the King, who rode surrounded +by two hundred of the greatest of his nobles; +and among these came Cardinal Giuliano della Rovere, +afterward Pope Julius II, at that time papal legate to +France and the most implacable enemy of the Pope +whose territory they were invading. “The King,” +wrote Brantôme, “was in full armor; lance on thigh +as though pricking toward a foe. Riding thus in full +and furious order of battle, trumpet sounding, drums +a-beating,” the rattle and rumble of the artillery bringing +up the rear, Charles made his way to the Palazzo +di Venezia, whence he issued his edicts and gave his +orders, while his army, with all its network of sentries +and pickets, occupied the city as though it were +Paris.</p> + +<p>Pope Alexander VI fled to the Vatican and, later, +to the Castle of St. Angelo. Very little came—or, for +the time, very little seemed to come—of all this glitter +and commotion. “Charles VIII and his lusty company +of young men, among them the youthful Bayard, all of +good family,” says the old chronicler, “but little under +control,” were making a holiday war. They could +not have comprehended the great forces that were at<span class="pagenum" id="Page_254">254</span> +work beneath the noisy agitation of their enterprise. +Yet King and nobles fell at once under the spell of +Italy. Charles VIII, bred in the fortress castles of +Louis XI, wrote home to his sister, Anne de Beaujeu, +describing the loveliness of his Neapolitan gardens and +the genius of the Italian painters who were to do wonderful +ceilings for him when he had carried them back +to France. Before he quitted Rome, the army got one +day of pillage and the King founded the Church of the +Trinità de’ Monti. Then after six months more of picturesque +soldiering Charles went back to France, planning +his return already in his heart, and taking with +him over the Alpine passes an army which spread the +legend of Italy far and wide through the northern +countries. In the fifteenth century there were but two +ways for a man to see the world. Either he went on pilgrimage +to some far-distant shrine or he had to join +an army of invasion! Charles VIII did not return, but +he had shown his subjects the way to Rome, having +been the first French King to cross the Alps since +Charlemagne. Even before the Porta del Popolo was +finished and long after the orchards and gardens of this +district had been converted into the spacious Piazza +del Popolo, Rome and France felt the influence for evil +and for good set in motion by this unjustifiable and +light-hearted incursion of (as the old Huguenot historian +calls him) a “madly adventurous young King.”</p> + +<p>Modern methods of travel have deprived men of +one of life’s greatest sensations. Lovers of Rome know +this. One of them, a schoolboy, spoke for all when he<span class="pagenum" id="Page_255">255</span> +came out of the railway station, exclaiming in bitter +disappointment: “So this is ancient Rome! It might as +well be modern Chicago!” The Piazza del Popolo is no +longer the entrance hall to the Eternal City. It must +be sought for, with guide-book or map; but when it is +found there is no better way to revive the ghost of that +thrill which came spontaneously to those who entered +Rome by the Porta del Popolo than to seat oneself +upon the edge of one of Valadier’s fountains, preferably +the western one, and then—to try to think!</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_257">257</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_259">259</span></p> +<h2 class="nobreak gesperrt1" id="PINCIAN"><span id="toclink_257"></span>PINCIAN</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_259" class="figcenter land" style="max-width: 25em;"> + <img src="images/i_259.jpg" width="1003" height="635" alt=""> +</figure> + +<p class="head2">PINCIAN</p> + +<p class="in0"><span class="firstword">Until</span> quite recently the Acqua Felice fed all the +fountains on the Pincian Hill, and the altitude of its +source is so nearly the same as the top of the hill, +where the public gardens are situated, that the only +kind of fountain possible there was a sheet of water; +so the sculptor of the chief fountain in the Pincian +Gardens, Count Brazza, the elder, made a virtue out +of necessity and created a fountain in which any kind +of <i lang="fr">jet d’eau</i> would be distinctly out of place. Brazza’s +white marble group of the infant Moses and his +mother stands, set about with tall aquatic plants, in +the centre of a large white marble basin, which is filled +with placid yet ever-changing water, and it is so happily +suited, both in subject and treatment, to its purpose +that the absence of action in the water is never +felt. On the contrary, plashing water would be a false +note in the quiet and legendary harmony of this composition, +and the higher jet produced by the recent<span class="pagenum" id="Page_260">260</span> +change of water is no improvement. The biblical story +is portrayed with great naturalness and dignity. The +mother of Moses has placed the basket containing her +sleeping infant among the rushes, which are represented +by the living plants. As she rises to move away, +she pauses, on one knee, to implore divine protection +for the child whom she must abandon to his fate. The +heroic size of the figure enhances the strength and dignity +of the artist’s conception. The design is little in +sympathy with the gay and crowded life of the Pincian +Gardens, during the afternoon, but all through the +morning hours this fountain becomes the centre of one +of the world’s most tender settings for the comedy of +childhood and early youth. The civilization which man +has made and kept can show nothing fairer than the +Pincian Gardens at that time. The soft Roman sunshine +then filters through the ilex branches only upon +groups of little children and their nurses, solitary old +men who have become as little children, and bands +of seminarists or theological students wearing black or +scarlet gowns and speaking divers tongues. The little +company occupy the benches, or walk demurely in +small groups beneath the trees, or play the endless +plays of babyhood, in and out of the warm shadows; +all of them living in a dreamland as old as life itself, +and finding in this quiet garden of the Eternal City a +background full of sympathy and significance. Up and +down the shaded alleys, linking the present to the great +past, stretch the long rows of portrait busts placed +there by order of Mazzini during the short-lived Mazzinian<span class="pagenum" id="Page_261">261</span> +Republic of 1849. This is what has been called +“The Silent Company of the Pincio.” No happier fate +can befall an imaginative child from northern lands +than to wander at will through this Roman playground. +All unconsciously the classic beauty is woven into his +spiritual fibre, and with that strange sensation of coming +into his own—peculiar to such children—he finds, +in these seemingly endless rows of white marble heads, +faces which stimulate his fancy or fit the names of heroes +already known to him.</p> + +<p>In the centre of the garden stands an obelisk the history +of which brings back the memory of a beautiful +pagan youth who lived more than eighteen hundred +years ago, and of another story of Old Nile, more pitiful, +if less important, than the story of Moses. This is +the obelisk which the Emperor Hadrian and his Empress +Sabina raised to the memory of their beloved +Antinous—the most beautiful youth the world has +record of—who drowned himself in the Egyptian river, +under the impression that his voluntary death would +avert calamity from his benefactor the Emperor. After +all these eighteen hundred years it is still possible to +feel the passion of Hadrian’s grief. His biographer calls +it “feminine”! But the gifted Emperor, lover of all +things beautiful in art and nature, and a student of +men and character, understood the value of his treasure +and knew full well the irreparableness of his loss. +He brought back to Rome all that was left of that +beauty—an urnful of ashes—and placed it in the Emperor’s +own tomb, now called the Castle of St. Angelo;<span class="pagenum" id="Page_262">262</span> +and on the <i lang="la">spina</i> of the circus by the tomb, Hadrian +and Sabina erected this obelisk whose hieroglyphics, +only quite recently deciphered, relate the deification +of their favorite and give the information concerning +his place of burial. The obelisk must have been removed +by a later Emperor, probably Heliogabalus, for +it was found in 1570, near Santa Croce in Gerusalemme, +in the gardens of the Varian family, to which +family that Emperor belonged. Bernini, in the century +following its discovery, moved it to the Barberini Palace, +which he was erecting and beautifying for the +Barberini Pope, Urban VIII. Later on, a Princess Barberini +presented it to Pope Pius VI, who set it up in +the Giardino della Pigna in the Vatican, that temporary +resting-place for so many treasures, and finally, in +1822, Pius VII and Valadier erected it where it now +stands in full view of Hadrian’s Tomb, they being +quite unconscious, however, that there was any connection +between it and that great mausoleum.</p> + +<p>Not far from the fountain of Moses stand two umbrella-pines, +their great boles shooting high up through +all the foliage about. A hundred years ago they marked +the exit into a side lane from the vineyard where they +had been planted, for until that time these Gardens of +the Pincio had been for centuries the vineyard belonging +to the Augustinian monks of Santa Maria del Popolo, +the same order from which, about 1494, young +Cardinal Farnese bought the property by the Tiber, +on which he built the Farnese Palace.</p> + +<p>The Church of Santa Maria del Popolo had been<span class="pagenum" id="Page_263">263</span> +built by the Roman people in the twelfth century, and +from that time on it and the Augustinian convent beside +it became the first hospice and sanctuary to the +pilgrims from beyond the Alps. This was because the +church and convent stand close to the Porta del Popolo, +the gateway to the Flaminian Road, which is the great +highway leading to the north.</p> + +<p>With these Augustinian monks stayed young Martin +Luther when business connected with that order had +brought him to Rome. The German seminarist who +threads his way to-day among the Pincian alleys must +often cross those vanished paths in the vineyard once +trodden by the sandalled feet of his great fellow countryman, +since Luther’s northern feeling for nature +would surely have carried him at dawn or sunset to the +convent’s vineyard. There the voices of the birds and +the well-trained vines could soothe a spirit dazed and +disquieted by the splendors and vices of Rome. The +history of the German Reformation may well have had +its earliest beginnings in the thoughts which thronged +the mind of that young monk, as he leaned upon the +vineyard wall and gazed with eyes that saw and saw +not at the papal city, where old St. Peter’s—the +church in which Charlemagne had been crowned—was +being made over by Bramante into its present form; +and beside it the huge pile of the Vatican housed the +fighting Pope, Julius II, and a hierarchy of utter worldliness.</p> + +<p>The monks retained possession of their Pincian vineyard +during the three following centuries, or until 1809,<span class="pagenum" id="Page_264">264</span> +at which time Napoleon annexed the Papal States to +his Empire, banished the recalcitrant Pope, Pius VII, +and set about making Rome over to suit himself. He +found the architect who had worked for Pius VI and +Pius VII equally ready to serve him, and it was to this +architect, Giuseppe Valadier, that Napoleon intrusted +the conversion of the old convent vineyard into the +Pincian Gardens of the present day. The work was +not begun until 1812, and before it was finished Pius +VII was back in Rome, and Napoleon was eating out +his heart in St. Helena. In that long dying, when this +last of the world’s great conquerors had time to remember +even all that he himself had done, Napoleon +must have often thought of Rome. The old mother +who had always believed in him, yet never looked up +to him, still lived there in her sombre palace under the +shadow of the Austrian Legation and the Austrian +hate. His favorite sister, Pauline, was a princess of one +of the greatest of the Roman families; and the little +son, who was to grow up as the Austrian Duke of +Reichstadt, was still, to his father, the King of Rome. +Did he ever think of the instructions he had given to +Valadier about a public garden for the Romans? There +was time to think of everything as the seasons came +and went and the remote seas washed the crags beneath +his feet, while his English jailers watched him +from a distance with hard, uncomprehending eyes.</p> + +<p>It is something of a shock to find Napoleon’s bust in +that company of great Italians which Mazzini placed +here. In these Pincian Gardens, as elsewhere in the<span class="pagenum" id="Page_265">265</span> +world, he surely belongs in a niche by himself! However, +the Roman episode was of small importance in his +life, and he would not have grudged the honorable position +to Valadier, whose bust stands alone facing the +principal promenade of the Pincian. That architect +lived to welcome back the exiled Pius VII and to finish +for him the gardens begun by order of Napoleon.</p> + +<p>One explanation of Rome’s charm may be found in +her power of suggestion. Although the things to be seen +in the Eternal City are of transcendent interest, the +things which are only apprehended have a still stronger +hold upon the imagination. The actual loveliness of the +Pincian Gardens is forgotten as the archæologists build +up from buried marbles and scattered inscriptions the +life lived here in centuries gone by. Where now is Valadier’s +casino there stood in the second century of our +era a great Roman dwelling, the home of a patrician +family, Christian in faith, its members holding from +generation to generation high offices of state and called +by historians “the noblest of the noble.” The grounds +about this house of the Acilii included not only the +present public gardens but also the precincts of the +Villa Medici, the garden and convent of the Sacred +Heart, and a part of the Villa Borghese. It would be +impossible to find nowadays in any land the exact +counterpart of this Roman dwelling. Its comfort, splendor +and universal perfection of detail could not be surpassed, +perhaps not equalled. Its artificially heated +bathrooms, the cool, dark recesses of the wine-cellars, +the courts and offices and state apartments, the devices<span class="pagenum" id="Page_266">266</span> +for garden and foundation building, everything +which made up this perfect specimen of the highest +domestic civilization the world has known, has been +discovered on the Pincian Hill. The great buttresses +which this private family built to sustain the northwestern +boundaries of their terraced garden still support +the public gardens of to-day, and were incorporated +by the Emperor Aurelian into the great wall with +which he surrounded the city. Surely no stories of the +Pincian can ever give so good an idea of the power, +solidity, and grandeur of Rome as do these archæological +discoveries, which show in fullest detail the domestic +life of the Roman patrician under the Antonines. +Of all this the northwestern buttresses of the Pincian +Hill and the immortality of Nature alone remain.</p> + +<p>Napoleon was only following in the footsteps of another +Emperor, when he created these gardens; for the +Emperor Aurelian made the grounds—which had been +the estate of the Acilii—into a public park. So whether +owned by private individuals or by Emperor, church, +or municipality, the Pincian has always been known +as the Hill of Gardens; and the water which now feeds +its public fountains is once more the Acqua Marcia—the +same water which supplied the fountains, baths, +and fish-ponds of the great Antonine villa.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_267">267</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_269">269</span></p> +<h2 class="nobreak gesperrt1" id="FONTANA_PAOLA"><span id="toclink_267"></span>FONTANA PAOLA</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_269" class="figcenter land" style="max-width: 32em;"> + <img src="images/i_269.jpg" width="1260" height="894" alt=""> +</figure> + +<p class="head2">FONTANA PAOLA</p> + +<p class="in0"><span class="firstword">Throughout</span> Roman history the Janiculum has suffered +many alternations of peace idyllic and of sanguinary +strife, for it is a natural garden, and it is also +the key to Rome. Whoever can hold the terraces of San +Pietro in Montorio and the heights to the north and +south has the city at his mercy. At the present day the +Villa Pamphili-Doria and the Villa Garibaldi crown +its summit, and stretch downward toward the west, +and its southeastern slope, leading toward the Tiber, +once contained the gardens of Julius Cæsar—those +gardens where he received Cleopatra and which he left +by his will to the Roman people. One of the earliest +chapters in Roman history tells how Lars Porsena came<span class="pagenum" id="Page_270">270</span> +over the Janiculum to reinstate the Tarquins, and one +of the latest recounts the struggle carried on across its +heights and terraces in Garibaldi’s defense of the Mazzinian +Roman Republic. Like the gardens of Ischia +and the vineyards on Vesuvius, which are forever +threatened by earthquake or eruption, the Janiculum +villas will have, so long as war lasts, a precarious existence; +but with villas, gardens, and vineyards, so great +is the fertility of the soil and so enchanting the +prospect, while the world endures men will take +the risk.</p> + +<p>The water for this part of the city was brought to +Rome by the Emperors Augustus and Trajan. Trajan +built the aqueduct bearing his name; and this aqueduct, +like that of the Virgo, has, in spite of many vicissitudes +continued to supply Rome with a varying +quantity of water from that time until the present day. +The Emperor brought the water thirty-five miles from +Lake Bracciano to the Janiculum. It was almost the +last water brought to Rome and entered the city at the +level of two hundred and three feet above the sea. The +first water (the Appian) had entered Rome fifty feet +under ground. Trajan used the water from the springs +about Lake Bracciano, not from the lake itself, because +the spring-water was much purer and the ancient +Romans were fastidious in the water they used. Alsietina +water, for instance, brought to Rome by Augustus, +was considered fit only for baths and the <i lang="la">naumachiæ</i>; +and Frontinus says that, as a matter of fact, the water +was intended for that purpose only and for the irrigation<span class="pagenum" id="Page_271">271</span> +of the gardens across the Tiber. Christian Rome +was far from being so particular, and its inhabitants +drank Tiber water as late as Michelangelo’s time. During +the “Golden days of the Renaissance in Rome” +Virgo water, which was to be had intermittently from +the Trevi fountain, and a remnant of this Acqua Traiana +still flowing in the fountain of Innocent VIII were +the only pure waters. Meantime many Romans of that +period preferred the Tiber water; and Petrarch coming +to Rome gave special instructions to a friend to have a +quantity of Tiber water which had stood for a day or +two, to settle, ready for his use. Paul III took with him, +on his journey to Nice to meet the Emperor Charles V +and King Francis I of France, a supply of Tiber water, +so that he might not miss his customary beverage! +When, therefore, Pope Paul V bethought him of reconstructing +the Trajan Aqueduct he had nothing to +hinder him from collecting the water from every available +source. He used Trajan water from the springs, +water from Lake Bracciano, and water from Lake Alsietina +as well. By this means the united water now +called the Acqua Paola, although not so pure as the +former Acqua Traiana, is yet good enough, and it forms +a supply of magnificent quantity and force. Paul V’s +intention was to surpass the Acqua Felice, brought to +Rome some twenty years previously by Sixtus V. No +one could forget Sixtus V and the Acqua Felice. Was +not the water always before men’s eyes as it gushed +out of the great fountain of Moses on the side of the +Viminal Hill; and did not every Roman know that<span class="pagenum" id="Page_272">272</span> +Cavaliere Domenico Fontana had brought it there by +order of Sixtus V? The Borghese pontiff determined to +erect another fountain, across the Tiber, on the Janiculum, +which was a still more commanding position, +and to build another aqueduct for Rome, so that there +should be an Acqua Paola as well as an Acqua Felice, +and men should remember Paul V even as they remembered +Sixtus V.</p> + +<p>Domenico Fontana had just died in Naples, rich and +honored by the Neapolitans, but there were others at +hand of that renowned family of architects. Fontana’s +elder brother Giovanni was still alive, and had great +skill in hydraulics; and Carlo Maderno, his nephew, +was also to be had. So in 1611 Paul V employed these +two to build his great fountain on the Janiculum. This +fountain is made of travertine, adorned with six Ionic +columns of red granite taken from the Temple of Minerva +in the Forum Transitorium. Other portions of +the same beautiful ruin were sawed into slabs and used +in the decoration of the fountain. The design is that of +a church façade in the style of the florid and debased +Renaissance. It consists of five arches, three colossal +ones in the middle, directly under the great inscription +which they support, and on each side smaller arches. +The three centre cascades fall into a huge semicircular +basin, which is sunk into the ground, while the arches +on the side have small individual basins in which to +receive the water. The inscription, which is a magnificent +example of Renaissance caligraphy, gives the history +of the Paola Aqueduct and the pontifical dates. A<span class="pagenum" id="Page_273">273</span> +smaller inscription describes the final completion of +the fountain under Alexander VIII.</p> + +<p class="center allsmcap larger"> +PAVLVS · QVINTVS · PONTIFEX · MAXIMVS<br> +AQVAM · IN · AGRO · BRACCIANENSI<br> +SALVBERRIMIS · E · FONTIBVS · COLLECTAM<br> +VETERIBVS · AQVAE · ALSIETINAE · DVCTIBVS · RESTITVTIS<br> +NOVISQVE · ADDITIS<br> +XXXV · AB · MILLIARIO · DVXIT<br> + +ANNO · DOMINI · MDCXII · PONTIFICATVS · SVI · SEPTIMO<br> + +ALEXANDER · VIII · OTTHOBONVS · VENETVS · P · M<br> +PAVLI · V · P · PROVIDENTISSIMI · PONT · BENEFICIVM<br> +TVTATVS<br> +REPVRGATO · SPECV · NOVISQVE · FONTIBVS · INDVCTIS<br> +RIVOS · SVIS · QVEMQVE · LABRIS · OLIM · ANGVSTE<br> +CONTENTOS<br> +VNICO · EODEMQVE · PERAMPIO · LACV · EXCITATO · RECEPIT<br> +AREAM · ADVERSVS · LABEM · MONTIS · SVBSTRVXIT<br> +ET · LAPIDEO · MARGINE · TERMINAVIT · ORNAVITQVE<br> +ANNO · SALVTIS · MDCLXXXX · PONTIFICATVS · SVI<br> +SECVND... +</p> + +<p><i>This water, drawn from the purest of springs, in the +neighborhood of Bracciano, was conducted by Pope Paul +the fifth, thirty-five miles from its source, over ancient +channels of the Alsietine aqueduct, which he restored, +and new ones, which he added.</i></p> + +<p><i>In the year of the Lord 1612, and of Paul’s Pontificate +the seventh.</i></p> + +<p><i>Pope Alexander the eighth, Ottoboni, of Venice, in +protection of the beneficent work of that most far-sighted<span class="pagenum" id="Page_274">274</span> +pontiff, Paul the fifth, recleaned the channel, +admitted water from new sources, and constructed a +single capacious reservoir for the common reception of +the several streams which had formerly been strictly confined +each to its own channel. To prevent the wearing +away of the hill, he paved the surrounding area, surrounding +and beautifying it with a marble coping. In +the year of Salvation 1690, and of Alexander’s pontificate +the second.</i></p> + +<p class="p2">The Borghese griffins and eagles compose the decoration +of the mostra, and the whole structure is surmounted +by the papal insignia and the arms of Paul V, +the escutcheon being guarded by two angels.</p> + +<p>In Maggi’s book on the fountains of Rome, printed +in 1618, there is an engraving of this fountain. It is represented +as having four griffins and two eagles spouting +water into the basins as do the lions in Sixtus V’s +Fountain of the Moses. This device is not shown in +Falda’s engraving a generation later, nor does Piranesi +show it. It is probable that this feature existed +only on paper in the original design for the fountain. +Under the two side niches of the actual fountain the +water spouts from lions’ mouths. From the three centre +niches it simply pours in three cascades, equal in size, +and of really magnificent force and volume. The effect +of this water in full sunshine is dazzling in the extreme, +and both in sight and sound the fountain must have +been as conspicuous as Paul V could have wished it to +be. Paul V never saw it completed, for he died in 1621, +ten years after the fountain was begun. It was finished<span class="pagenum" id="Page_275">275</span> +by Alexander VIII in 1690, eight pontificates later. It +was, therefore, seventy-eight years in building, whereas +Domenico Fontana built and unveiled the Fountain of +the Moses for Sixtus V within that Pope’s own pontificate, +which lasted only five years! The Fontana Paola +is—to translate sight into sound—an echo of the Fountain +of the Moses. It has the characteristics of an echo—it +is magnified and meaningless. Giovanni Fontana +and Maderno could not free themselves from the taste +and traditions of the greater and more forceful Domenico. +They did not mar the effect of their great +fountain by an absurd colossus, like the Moses, but +they made a mistake of another kind; they left the +central niche above the cascade absolutely empty, yet +failed to secure an adequate background for the eye to +rest upon, so that the structure, for all its size and +magnificence, gives a disagreeable sense of vacancy and +incompleteness. However, as one studies the Fontanone, +as this fountain is commonly called, it becomes +apparent that its mostra must be regarded not as a +façade, nor as a screen, but as a great water-gate. It is a +triumphal arch through which the water of the Pauline +Aqueduct makes its formal entry on the Janiculum in +the sight of all Rome. It is also built to hold before +the eyes of all Rome the inscription which sets forth +the history of Pope Paul V and the construction of the +aqueduct. The inscription is certainly the most successful +part of the mostra. It is adequately supported, +its dimensions are noble, and the lettering is remarkably +beautiful. The entrance of the water, on the other<span class="pagenum" id="Page_276">276</span> +hand, is not sufficiently imposing. The three streams +are not great enough in themselves to justify their +right to so pretentious a setting, and they require a +background which would augment their importance. +Through the huge arches, which were certainly never +intended to hold statuary, the eye should see the approach +of the water either in a series of cascades or in +one broad flood like the serried ranks of a great army. +But to produce this effect it would be necessary for the +channel of the aqueduct to approach the fountain directly +from the rear and to have the castellum or receiving +tank immediately behind the mostra. It is noticeable +that neither in this fountain nor in the other +two great fountains of Rome—the Moses and the +Trevi—is this done. In all three the castellum is at the +side of the mostra, and the water falls into the basins +at a right angle to the direction in which it enters the +fountain from the castellum. This position of the castellum +was obligatory in the case of Trevi, as that +fountain backs against the Poli Palace, but when the +Moses and Paola fountains were constructed they +stood free from all other buildings on open hillsides, +and the castellum in either instance could be located +at will. In the Paola fountain the castellum lies to the +left of the mostra, as it faces the city, and the aqueduct +comes underground down the hill forming the +boundary between the gardens now belonging to the +Villa Chiaraviglio, which is a part of the American +Academy, and a small villa owned by the Torlonia +family, so that the stream approaches the fountain<span class="pagenum" id="Page_277">277</span> +obliquely. The ground directly back of the Paola +fountain is occupied by a modern villa with a small +garden, and the entrance to the house as well as the +trees in the garden are clearly seen through the arches +of the mostra, which thus has more or less the appearance +from the front of a huge screen before a shrine +of no signification, while the view of it in profile is +too thin. The entire fountain seems to require a solid +background such as Giovanni Fontana gave to his +truly noble and beautiful fountain of the Ponte Sisto. +There the immense niche is placed against a massive +wall, and the gloom of the vaulted space is lighted +by a gleaming cascade which issues not at the base +of the niche but high up in the very spring of the +arch. This cascade falls into a projecting vase, also +near the roof, and thence descends in heavy spray to +the black pool beneath. On either side this pool jets +of water spouting from the Borghese griffins cross like +flashing rapiers—a natural enough fancy to an artist +living in an age when the thrust and parry of the +rapier were known to all men. This most artistic of all +the Fontana fountains was also erected for Paul V. +It used to stand on the other side of the Tiber, opposite +the Strada Giulia, but in recent years, when the +Tiber embankment was constructed, the fountain was +taken down and set up in its present position at the +head of the Ponte Sisto. If the waters of the Fontanone +had received some such treatment as this, +Paul V’s greatest fountain might have indeed rivalled +those of ancient Rome.</p> + +<p><span class="pagenum" id="Page_278">278</span></p> + +<p>Paul V (Borghese), surnamed by the friends of the +Aldobrandini “the Grand Ingrate,” succeeded to the +papacy in 1605. His immediate predecessor had been +the Medici pontiff, Leo XI, but Leo died twenty-six +days after his election, so that Paul V’s real forerunner +was Clement VIII (Aldobrandini).</p> + +<figure id="ip_279" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_279.jpg" width="1275" height="1959" alt=""> + <figcaption class="caption">Mostra of the “Fontanone.” + </figcaption> +</figure> + +<p>The Borghese family came originally from Siena. +When the Spaniard took that heroic and beautiful +city, Philip II handed her over to the Grand Duke of +Tuscany, and many Sienese families emigrated, rather +than submit to the rule of the Medici. Camillo Borghese, +the father of Paul V, emigrated to Rome, where +his son Camillo, the future pontiff, was born. This was +in 1552, Julius III being then Pope. Camillo’s career +began in the law, as has been the case with so many of +those who have risen to the See of St. Peter. He studied +in Perugia and Padua; was sent on a mission to Spain, +and, proving successful there, was given the Red Hat +in 1596 by Clement VIII, he being at that time forty-four +years of age. Living as cardinal, quietly and unobtrusively +among his books and documents, he had +seemed to Peter Aldobrandini, who was the all-powerful +nephew of Clement VIII, the very man to carry on +Clement’s steady policy of restoring the French influence +at Rome and of keeping his own family in power. +The Aldobrandini had left Florence from hatred of +the Medici, as the Borghese had left Siena, and Peter +felt that in the case of Camillo Borghese he could +rely upon feelings similar to his own to back up the +coalition of himself and France against Spain. With the<span class="pagenum" id="Page_281">281</span> +premature death of Leo XI all the complicated machinery +of the conclave had had to be put in motion +once again, and in this second conclave the nephew of +Clement VIII was the most powerful of the forces at +work. He threw his influence for Cardinal Borghese, +and Paul V undoubtedly owed his election to that +fact. Peter Aldobrandini had been a very great papal +nephew, indeed, and he expected from the Borghese +pontiff a proper recognition of his services. Even with +the keenest sense of humor in the world, Cardinal Aldobrandini +would have found it hard not to feel resentment +when he learned that Cardinal Borghese, now +Paul V, considered his unsought-for election to the +papal chair entirely due to the direct intervention of +the Holy Spirit, and that in consequence he owed +nothing whatever to earthly aid. It was because Paul +V carried this idea so far on the one hand, and on the +other poured such lavish favors upon his own kin, that +he won for himself the name of “the Grand Ingrate.” +Looking upon himself as divinely appointed in a +marked and special degree, the quiet, unassuming cardinal +became the opinionated and inflexible pontiff. He +administered the papal power, temporal and spiritual, +with the arrogance of a despot, the intolerance of an +inquisitor, and the formality of the jurist. During the +sixteen years of his pontificate he succeeded in rousing +bitter hostility on all sides. The aged Grand Duke of +Tuscany, who had lived through nine pontificates and +had known both Sixtus V and Clement VIII, complained +that this Pope judged of the world as he would<span class="pagenum" id="Page_282">282</span> +of one of the towns belonging to the papal territory +where everything was done according to the letter of +the law, and went on to say that in this respect there +would soon have to be a change. The year before his +election the gunpowder plot had fanned England into +a white heat of patriotism, and a new oath of allegiance +was required by Parliament. Paul V was the +Pope who forbade the English Catholics to take it. He +also was the Pope who so mishandled the Gallican +Church that he forced the States General of 1614 to +declare that the King of France held his power from +God alone; and, finally, it was Paul V who spent the +first two years of his pontificate in such a quarrel with +Venice as threatened to involve all Christendom. The +Republic so unflinchingly endured excommunication +and interdict that the Pope even thought of subduing +her by arms. He was brought to his senses only by the +fear that Venice in her extremity might call Protestant +powers to her aid and thus bring confusion and disaster +not only upon Italy but upon all Catholic countries. +In this grave crisis France took it upon herself +to mediate, and the dispute was finally settled, but +with little honor to the papacy. It was a Venetian ambassador +who has recorded of Clement VIII that when +he found he could not reform Florence without great +trouble he reformed his own mind. But Paul V did not, +like the wise Clement VIII, “look to his predecessors” +when in difficulties. Paul V had certainly no cause to +love the Venetians, and it is one of the quaint tricks of +history that his magnificent fountain on the Janiculum +was at last finished by a Venetian Pope.</p> + +<p><span class="pagenum" id="Page_283">283</span></p> + +<p>Although the Fontanone was built in the seventeenth +century, its most interesting associations are +connected with modern Rome. It is pre-eminently the +fountain of the Risorgimento, for the last stand in +Garibaldi’s three months’ defense of the Roman Republic +was made upon the terraces surrounding this +water, and it was just above here that the worst fighting +occurred.</p> + +<p>The second stage of the siege consisted of the nine +days’ defense of the Aurelian wall, behind which Garibaldi +was intrenched.</p> + +<p>This bit of wall runs northwest and southeast on +the eastern slope of the hill, and within the walls of +Pope Urban VIII. At its northern end it is at about an +equal distance from the Fontanone and the Porta San +Pancrazio. When this defense broke down, the French +troops entered the city through a breach in the Urban +walls to the southwest of the fountain. The narrow +lane leading from this point to Porta San Pancrazio +was soon choked with the dead and dying. The Italians +and French fought hand to hand in the darkness, along +the road in front of the Villa Aurelia, that road which is +to-day so quiet and so clean! During the previous +eight days bursting shells from the French batteries +erected on the walls and near the Villa Corsini and the +Convent of San Pancrazio had wrought far-reaching +havoc.</p> + +<p>The Church of San Pietro in Montorio was used by +Garibaldi as a hospital, but its roof had collapsed, and +on the slopes above it all the great villas were in ruins. +To the northwest of the fountain, just above the Porta<span class="pagenum" id="Page_284">284</span> +San Pancrazio, the Villa Savorelli (now the Villa Aurelia +and the present home of the American Academy) +stood up against the sky, a mere shell of blackened +walls. Outside the porta, the Vascello lay in masses of +crumbled masonry, although Medici still held it for +Garibaldi. Farther up the hill, over the spot now occupied +by the triumphal arch, towered the remains of +the magnificent Villa Corsini; before it the body of +Masina, still lying where the young lancer had fallen +after his last wild charge up the villa steps. Amid the +general devastation the Fontanone stood unscathed. +Its splendid stream of water flowed unpolluted, and +it fulfilled the noblest functions of a fountain during +the heat and carnage of that Roman June.</p> + +<p>To those who are familiar with the story of the +heroic “Defense” a visit to Paul V’s great fountain on +the Janiculum is not a bit of sight-seeing—it has become +a pilgrimage.</p> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_285">285</span></p> + +<hr class="chap x-ebookmaker-drop"> + +<p><span class="pagenum" id="Page_287">287</span></p> +<h2 class="nobreak gesperrt1" id="MONTE_CAVALLO"><span id="toclink_285"></span>MONTE CAVALLO</h2> +<div> </div> +</div> +<div class="section"> + +<figure id="ip_287" class="figcenter port" style="max-width: 32em;"> + <img src="images/i_287.jpg" width="1266" height="1326" alt=""> +</figure> + +<p class="head2">MONTE CAVALLO</p> + +<p class="in0"><span class="firstword">The</span> fountain of the Monte Cavallo is overshadowed +both literally and figuratively by the size and importance +of the objects which surround it. Without it the +obelisk, which forms its background, and the great +groups of the Dioscuri, which flank it on either side, +would be sufficiently imposing and significant, either +separately or together, to form the central decoration<span class="pagenum" id="Page_288">288</span> +of the Piazza of Monte Cavallo, or of any piazza +in any city; but the fountain is not entirely superfluous. +Its magnificent jet of water, thrown upward between +the heads of the rearing horses and swept hither +and thither at the will of the wind, binds together the +otherwise disjointed and inharmonious group.</p> + +<p>This fountain is not the first one to be erected on +Monte Cavallo, but the first fountain was as subservient +as the present one to the colossal groups +which have given the name “Cavallo” to this entire +district. The Dioscuri were once a part of a kind of +open-air museum which, during the earliest days of +the papacy, existed on the slope of the Quirinal Hill. +Gregory XIII had them removed to the Capitol, but +when Sixtus V had purchased from the heirs of Cardinal +Caraffa the site and the partly erected buildings +of the Quirinal, he brought them back again and subjected +them to a thorough restoration, using for this +purpose the material from the base of one of them.</p> + +<p>There has existed a villa on this spot antedating +Pope Sixtus V’s time by many years. It had been +called the Villa d’Este, but it should not be confused +with the Villa d’Este, at Tivoli, although it was built +by the same Cardinal Ippolito of that family.</p> + +<p>Sixtus V was extremely fond of this portion of the +city and with Fontana’s assistance he created the magnificent +palace and surroundings which ever since his +day have been associated with sovereign power in +Rome. Fontana enlarged the piazza before the palace +in order to make it “commodious for consistories,” and<span class="pagenum" id="Page_289">289</span> +he also lowered the grade in order to bring hither the +Acqua Felice.</p> + +<p>There must have been many discussions between +Pope Sixtus V and his architect with regard to the +fountain on the Quirinal. Everything that Sixtus V +did he did thoroughly and magnificently, and it was +quite natural that he should desire a splendid fountain +before his own palace, considering that it was he himself +who had made it possible, by the introduction of +the Acqua Felice, to have a fountain in that place at +all. A rare old engraving shows that the fountain, as at +first planned, resembled the Fountain of the Moses. +In it the Dioscuri occupy the niches as does the Moses +in the fountain on the Viminal. This plan was happily +abandoned. The great classic figures were erected as +they stand to-day in front of the palace, and Fontana +placed between the two groups, in the same position as +the fountain of the present day, the conventional large +basin and central vase which is to be seen in the old +engravings of the seventeenth century. It was certainly +neither a very original nor a very interesting design +and it must have relied for its effect entirely upon the +copious supply of water which was described by Evelyn +in 1644 as “two great rivers.”</p> + +<p>It is difficult to say when this old fountain of Fontana’s +disappeared. It was probably removed either at +the time when Antinori erected the obelisk for Pius VI +or in the following pontificate when the same architect +suggested to Pius VII the idea of replacing it by the +present granite basin. This basin had stood since 1594<span class="pagenum" id="Page_290">290</span> +in the Campo Vaccino, the mediæval name for the +ruins of the Roman Forum. It had been placed there +during the pontificate of Clement VIII (Aldobrandini) +by the city magistrates on a piece of ground +given to them by Cardinal Farnese, near the three columns +of Castor and Pollux and the Church of S. Maria +Liberatrice. They had provided a high travertine base +for it, and it was fed from three jets of the Acqua Felice, +which, some eight or nine years previously, had +been brought to Rome by Sixtus V. The basin was used +as a watering-trough for cattle, and by the time Pius +VII rescued it the travertine base had entirely disappeared +under the gradually rising level of the Campo +Vaccino—that strange composite mass of rubbish, +earth, and ruins which, up to the second half of the +nineteenth century, covered the old Forum floor to a +depth of more than twenty feet. The basin measures +twenty-three metres in circumference, and when it was +thus sunk in the ground it became a pleasant pool +through which the carters walked their horses to refresh +them on a warm and dusty day. The removal of +this basin was actually accomplished in 1818, when the +architect Raphael Stern (who built for Pius VII the +Bracchio Nuovo) designed the present fountain of +Monte Cavallo. He sank the basin in the pavement +between the horse-tamers and erected in the middle of +it a second basin which rests upon a travertine base. +The water of the fountain rises in a copious jet from the +centre of the second basin to a height somewhat below<span class="pagenum" id="Page_293">293</span> +the heads of the horses and, returning on itself, falls in +a generous overflow into the lower basin.</p> + +<figure id="ip_291" class="figcenter port" style="max-width: 25em;"> + <img src="images/i_291.jpg" width="1289" height="1958" alt=""> + <figcaption class="caption">The Fountain of Monte Cavallo. + </figcaption> +</figure> + +<p>To some, the chief interest of this composite group +of obelisk, statuary, and fountain centres in this lower +basin, for it is none other than the granite tazza into +which Marforio once poured the water from his urn, +far, far back in the days of Charlemagne, and no one +knows for how many years before that.</p> + +<p>The obelisk which forms the centre of this group of +antiquities now clustered together in the Monte Cavallo +is one of a pair which flanked the entrance to the +Mausoleum of Augustus. Its mate was erected by Sixtus +V and Domenico Fontana near the Church of S. +Maria Maggiore.</p> + +<p>Pius VI and Pius VII were the two Popes whose pontificates +coincide with the era of the French Revolution +and the Napoleonic conquests. Their unhappy +stories are bound up with the history of the Quirinal +Palace, which fronts upon the Monte Cavallo; and +they form a pitiful contrast to the life of that masterful +old Pontiff Sixtus V, in whose reign the history of the +palace and the modern piazza begins. Sixtus, having +destroyed, for no reason now known, the old mediæval +papal palace of the Lateran, decided to rebuild it to suit +himself, but found, as the new building progressed, +that it was too cold and uncomfortable for a residence. +So the Lateran, which had been the papal palace since +the seventh century, holding its own against the magnificence +and enormous size of the Vatican, was gradually<span class="pagenum" id="Page_294">294</span> +abandoned as a residence, and Sixtus established +himself in the Quirinal.</p> + +<p>Sixtus V, for all his detestation of classic statuary, +must have shared with his people the profound respect +and admiration always aroused by the Dioscuri. These +colossal groups were among the few rare works of antiquity +which were cherished by the semi-barbarous +Romans of the Middle Ages, and the web of fable +spun about them during those dark years proves the +hold they had over the superstitious imagination of +the times. “Nothing is beyond question” about them, +says Lanciani, except that they once adorned the +temple which the Emperor Aurelian built to the sun +on his return from the conquest of Palmyra in 272. +This most magnificent of all Roman temples, to quote +the same great modern authority, became a quarry +for building materials, even as early as the sixth century. +The Emperor Justinian is said to have taken +some porphyry columns from it to adorn the Church +of St. Sophia in his new capital of Constantinople. +The Dioscuri must have been discovered later in the +Baths of Constantine. The relative positions of the +horses and their tamers were ascertained from antique +coins. Modern authorities are of the opinion that they +are Roman copies of Greek originals, and they are +counted among the great inheritances from imperial +Rome.</p> + +<p>It is curious to trace the working of the mediæval +intelligence, groping its way through mysticism and<span class="pagenum" id="Page_295">295</span> +allegory to find some explanation for the undeniable +impression made by these heroic figures upon the +minds of all who behold them. The attempt to read +into them some abstruse ethical meaning was abandoned +long ago, and the world of to-day accepts the +Dioscuri frankly for what they are, admiring, with a +wonder not unmixed with despair, the unreclaimable +art of ancient Greece.</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indentq">“Ye too marvellous Twain, that erect on the Monte Cavallo</div> + <div class="verse indent0">Stand by your rearing steeds in the grace of your motionless movement,</div> + <div class="verse indent0">Stand with upstretched arms and tranquil, regardant faces,</div> + <div class="verse indent0">Stand as instinct with life, in the might of immutable manhood—</div> + <div class="verse indent0">Oh, ye mighty and strange—ye ancient divine ones of Hellas!”</div> + </div> +</div> +</div> + +<p>Whatever may have been the lot of the Dioscuri in +the unaccounted-for days of the past, since Sixtus V +placed them here they have been in the very thick of +Roman political life. Around and about them have +surged some of the worst mobs of modern Roman history; +and under their “tranquil, regardant faces” +crowds of peaceful, expectant citizens have gathered +from time to time during the last two centuries of +papal government. Here they have waited during papal +elections to watch for the smoke from the chimney of +the Quirinal which should indicate to the outside world<span class="pagenum" id="Page_296">296</span> +that no choice had yet been made by the Conclave, +since the cardinals were burning the ballots. Here they +have received the blessing of the newly elected Pope, +which was given from the balcony of the window over +the entrance.</p> + +<p>Sixtus V died in the Quirinal Palace. His pontificate +had lasted but five years, and it remains to this day one +of the most memorable periods in the development and +power of Rome. Never had Pope done more for his +people; yet, when he came to die, the Romans had already +forgotten the benefits of his pontificate and remembered +only the severities. They recalled the fact +that this Sixtus who was dying as the head of Christendom +had been born a poor gardener’s son. Such +dramatic contrasts exercise great sway over the Roman +mind—superstition and fancy played with the story, +and strange rumors drifted about concerning an unholy +bargain which Sixtus was said to have made for +power. Here, before the palace which he had built, the +silent crowds gathered to await his end; and when, as +the old pontiff drew his last breath, that terrific thunderstorm +broke over the Quirinal, men shuddered and +fled, saying and believing that the Prince of Darkness +had come in person for the soul of the monk whom he +had made Pope. Kindly old Sixtus! It was well that +he could not know how the poor whom he had always +remembered would remember him!</p> + +<p>Across the Monte Cavallo, to pause before the balcony +of the Quirinal, came in 1840 that extraordinary<span class="pagenum" id="Page_297">297</span> +funeral cortège which carried the body of Lady Gwendolin +Talbot, Princess Borghese, to be laid in the Borghese +chapel in S. Maria Maggiore. At seven in the +evening of October 30, by torchlight, amid a silence so +profound that the low prayers of the priests were distinctly +audible, the procession moved slowly along the +three-quarters of a league from the Borghese Palace to +the church of S. Maria Maggiore. Soldiers with reversed +arms, mounted dragoons, mourning carriages, +religious societies, priests, prelates, and all the Roman +poor, comprised the train. The funeral car was drawn, +not by horses but by forty Romans dressed in deep +mourning. Flowers were thrown upon the bier from +the palaces along the Corso, and when the procession +reached Monte Cavallo and paused before the Quirinal, +from the balcony over the entrance Pope Gregory XVI +gave his final blessing to the beautiful young princess, +dead at twenty-two, and saint if ever there has been +one. All the poor of Rome felt that they had lost a +friend and benefactress, the like of whom would not +come again. Later, when Prince Borghese wished to +know the names of those who had drawn the funeral +car, he was only told that they were Romans!</p> + +<p>Up the slopes of Monte Cavallo in February, 1798, +came with their tricolored cockades the soldiers of the +French Revolutionary Army. They entered the Quirinal +and called upon Pope Pius VI to renounce the temporal +power. The eighteenth-century pontiff calmly refused +to comply with this preposterous demand. That<span class="pagenum" id="Page_298">298</span> +refusal lost him the tiara and brought about his death +eighteen months later in a French fortress.</p> + +<p>Rome was metamorphosed into a republic, but this +obscuration of the papal power was only temporary. +When Pius VI died, at Valence, in August, 1799, the +cardinals held their Conclave at Venice, and on March +14, 1804, elected Pius VII (Chiaramonti, 1804–1823), +who returned to Rome the following July. This was the +Pope who, after many misgivings, consented to crown +Napoleon. Five years later, when the Emperor proceeded +to annex the Papal States to his empire, this +was the Pope who excommunicated him.</p> + +<p>Few of St. Peter’s successors have been called upon +to suffer and to dare more than the good and gentle +Pius VII. His Italian nature comprehended to an unusual +degree the strange character of Napoleon, enduring +with perfect composure the Emperor’s outbursts +of histrionic rage, and daring to bring him back +to business by the single word, “comedian.” He braved +no less calmly Napoleon’s genuine anger at the bull of +excommunication, and refused to cancel it. Consequently, +on the night of July 5, 1809, the Emperor’s +soldiers broke into the Quirinal and took the Pope +prisoner. For a moment, standing under the stars +which looked down upon Monte Cavallo, Pius VII +blessed his sleeping city, and then was hurried away +from Rome to that wandering exile, depicted in the +frescoes of the Vatican Library, which was only +brought to an end by Napoleon’s fall. Then the States<span class="pagenum" id="Page_299">299</span> +of the Church were restored to the papacy, and the +Quirinal Palace once more received the aged pontiff.</p> + +<p>In the quiet sunset of his days, which outlasted by +two years the life of the great conqueror, the Pope had +time to erect the fountain of Monte Cavallo, and to +begin or continue the architectural and archæological +projects connected with his name.</p> + +<p>In that brief halcyon period immediately following +Pius IX’s election to the Holy See, in 1846, the Quirinal +Palace and the Monte Cavallo were in a state of unwonted +and constant activity. Pius played with all his +heart the rôle of the liberal Pope, both he and the Romans +mistaking his amiable disposition for liberal political +convictions. Day after day the Romans thronged +the space before the palace, waiting for their idol, who +was sure to appear some time on the balcony over the +entrance. Standing there in his white robe, his dark +eyes glowing with sympathetic emotion, he would bless +the people with uplifted hand and in the most moving +and beautiful of voices. If the hour was late, he might +add the injunction to go home to bed! The attitude of +the Pope and people at this time is epitomized in the +story of the ragged little boy who one day found himself +in the Quirinal Gardens face to face with the Holy +Father. Dazed and enraptured, he poured forth the +pitiful tale of his hardships to the handsome and compassionate +countenance bending over him, and the +wonderful voice comforted him with promises of redress—promises +which both pontiff and child believed +in passionately.</p> + +<p><span class="pagenum" id="Page_300">300</span></p> + +<p>There is about this period of Pius IX’s life, with its +visits to the prisons, its charities and public appearances, +a strange atmosphere of unreality. A factitious +glamour blinded the popular mind, and the Pope lived +upon pious and ideal illusions—as Marie Antoinette +had played at simplicity and a return to Nature on +the eve of the Revolution.</p> + +<p>When the golden charm was broken by the outbreak +of the Revolution in Palermo and the murder of +Pellegrino Rossi in Rome, the frightened pontiff, turning +from an angry people, whom in the nature of things +he could not possibly satisfy, appealed to the most +reactionary of all the Italian powers, the King of Naples, +or “Bomba.” Then the Quirinal witnessed the +last act which the papacy was to play within its precincts. +The Pope and one attendant escaped from the +palace by a small side door in the garden wall and fled +across the frontier to Gaeta, on Neapolitan territory. He +carried with him the pyx which Pius VII had carried +when he also had quitted the Quirinal in haste thirty-nine +years before; but, unlike Pius VII, Pius IX never +returned thither. When he came back to Rome the +Vatican received him.</p> + +<p>The Quirinal, the third one of the papal palaces, has +become a symbol of the actual sovereignty of Rome, +and, in 1871, it passed with the temporal power +from Pope Pius IX to Victor Emmanuel II, King of +Italy.</p> + +<p>The cardinals’ coaches no longer drive about the +fountain of Pius VII. The consistories are held in the<span class="pagenum" id="Page_301">301</span> +Vatican; and on the Monte Cavallo the Bersaglieri +have superseded the papal Zouaves. Over the Quirinal +the pontifical yellow and white has given way to the +green and white and red of United Italy. “Old things +are passed away. Behold, all things have become new”—once +again in the city of eternal change.</p> + +<figure id="ip_301" class="figcenter port" style="max-width: 16em;"> + <img src="images/i_301.jpg" width="637" height="851" alt=""> +</figure> +<hr class="chap x-ebookmaker-drop"> +</div> + + +<div class="chapter"> +<p><span class="pagenum" id="Page_303">303</span></p> + +<h2 class="nobreak" id="APPENDIX"><span id="toclink_303"></span>APPENDIX<br> + +<span class="subhead"><span class="smcap">Inscriptions in Piazza di Spagna +on the Spanish Steps</span></span></h2> + +<h3>I</h3> + +<p class="center allsmcap larger"> +<span class="larger">D. O. M.</span><br> +<span class="allsmcap">MAGNIFICAM HANC SPECTATOR QVAM MIRARIS SCALAM</span><br> +<span class="allsmcap">VT COMMODAM AC ORNAMENTVM NON EXIGVVM</span><br> +<span class="larger">REGIO COENOBIO</span> <span class="allsmcap">IPSIQ. VRBI ALLATVRAM</span><br> +<span class="allsmcap">ANIMO CONCEPIT LEGATAQ. SVPREMIS IN TABVLIS PECVNIA</span><br> +<span class="allsmcap">VNDE SVMPTVS SVPPEDITARENTVR CONSTRVI MANDAVIT</span><br> +<span class="allsmcap">NOBILIS GALLVS STEPHANVS GVEFFIER</span><br> +<span class="allsmcap">QVI REGIO IN MINISTERIO DIV PLVRES APVD PONTIFICES</span><br> +<span class="allsmcap">ALIOSQVE SVBLIMES PRINCIPES EGREGIE VERSATVS</span><br> +<span class="allsmcap">ROMAE VIVERE DESIIT XXX.</span> <span class="smcap">Ivnii mdclxi.</span><br> +<span class="allsmcap">OPVS AVTEM VARIO RERVM INTERVENTV</span><br> +<span class="allsmcap">PRIMVM SVB</span> <span class="larger">CLEMENTE XI</span><br> +<span class="allsmcap">CVM MVLTI PROPONERENTVR MODVLI ET FORMAE</span><br> +<span class="allsmcap">IN DELIBERATIONE POSITVM</span><br> +<span class="allsmcap">DEINDE SVB</span> <span class="larger">INNOCENTIO XIII</span>. <span class="allsmcap">STABILITVM</span><br> +<span class="allsmcap">ET R. P. BERTRANDI MONSINAT TOLOSATIS</span><br> +<span class="allsmcap">ORD. MINIMORVM S. FRANCISCI DE PAVLA CORRECTORIS GENLIS</span><br> +<span class="allsmcap">FIDEI CVRAEQ. COMMISSVM AC INCHOATVM</span><br> +<span class="allsmcap">TANDEM</span> <span class="larger">BENEDICTO XIII</span> <span class="allsmcap">FELICITER SEDENTE</span><br> +<span class="allsmcap">CONFECTVM ABSOLVTVMQVE EST</span><br> +<span class="allsmcap">ANNO JVBILEI MDCCXXV</span> +</p> + +<p><span class="pagenum" id="Page_304">304</span></p> + +<h3>II</h3> + +<p class="center allsmcap larger"> +<span class="larger">D. O. M.</span><br> +<span class="larger">SEDENTE BENEDICTO XIII<br> +PONT. MAX.<br> +LUDOVICO XV<br> +IN GALLIIS REGNANTE</span><br> +<span class="allsmcap">EIVSQ. APVD SANCTAM SEDEM</span><br> +<span class="allsmcap">NEGOTIIS PRÆPOSITO</span><br> +<span class="larger">MELCHIORE S. R. ECCLESIÆ<br> +CARDINALI DE POLIGNAC</span><br> +<span class="allsmcap">ARCHIEPISCOPO AVSCITANO</span><br> +<span class="allsmcap">AD SACRÆ ÆDIS ALMÆQVE VRBIS</span><br> +<span class="allsmcap">ORNAMENTVM</span><br> +<span class="allsmcap">AC CIVIVM COMMODVM</span><br> +<span class="allsmcap">MARMOREA SCALA</span><br> +<span class="allsmcap">DIGNO TANTIS AVSPICIIS OPERE</span><br> +<span class="allsmcap">ABSOLVTA</span><br> +<span class="allsmcap">ANNO DOMINI MDCCXXV</span> +</p> + +<h3 class="smcap">Translation of Above</h3> + +<h3>I</h3> + +<p>O spectator, this magnificent stairway which you gaze +at in wonder, that it might afford convenience and no +small ornament to the city, the noble Frenchman Etienne +Guéffier conceived in his mind, and, money having been +left in his will whence to defray expenses, ordered it to +be built. He conducted himself with distinction in the +service of the King at the courts of several pontiffs and<span class="pagenum" id="Page_305">305</span> +other sublime princes, and died in Rome the thirtieth of +June, 1661.</p> + +<p>The work, however, was interrupted by a variety of +things, and first in the reign of Clement XI there were +placed before a council many plans and designs. It was +decided upon under Clement XI, and, being intrusted to +the faithful care of the Reverend Father Bertrand Monsinat +of Toulouse, corrector generalis of the lesser order of +St. Francis de Paul, was begun, and finally, Benedict +XIII blessedly seated upon the papal chair, was brought +to an end in the year of jubilee, 1725.</p> + +<h3>II</h3> + +<p>Benedict XIII sitting in the papal chair as Pontifex +Maximus; Louis XV reigning in France; Melchior de +Polignac, Cardinal of the Holy Roman Church, and Archbishop +of Aquitaine, being his minister at the sacred see; +these marble steps, in a manner worthy of such auspices, +for the ornamentation of the sacred temple (the church +above) and the beloved city, and for the convenience of +the citizens, were completed in the year of our Lord, 1725.</p> +</div> + +<div class="chapter footnotes"> +<p><span class="pagenum" id="Page_306">306</span></p> + +<h2 class="nobreak" id="FOOTNOTES"><span id="toclink_306"></span>FOOTNOTES</h2> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_1" href="#FNanchor_1" class="label">A</a> The Queen’s palace was in the rear of Raphael’s house and faced +the Borgo Vecchio. Opposite to it was the palace of Cesare Borgia.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_2" href="#FNanchor_2" class="label">B</a> Sixtus V was severely criticised for substituting his own arms for +those of his predecessor, Gregory XIII, in the Quirinal Palace, and +after Sixtus’s death the Boncompagni arms were restored to their +original place.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_3" href="#FNanchor_3" class="label">C</a> “Ounce” was a mediæval measurement of running water, of which +there were once as many varieties in Italy as there were provinces. +Some of these are still in use. The Roman <i lang="it">oncia d’acqua</i>, or ounce of +water, was practically equivalent to four times the quantity of water +known as the California “miner’s inch.” This “miner’s inch” amounts +to something like sixteen thousand gallons in twenty-four hours, and +therefore the grant of two Roman “ounces” gave the Colonna the +right to draw from the Fountain of Trevi eight times that amount, or +one hundred and twenty-eight thousand gallons every twenty-four +hours.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_4" href="#FNanchor_4" class="label">D</a> One of Vignola’s early plans for the Villa Giulia has lately come +to light. It shows the main structure much as it is, but with a large +wing to left and right, and a long garden running down either side of +the central court behind each wing. There are also other differentiations, +and it is evident the plan must have entailed a larger and more +expensive building than that which was finally erected. The plan +measures four by five feet and is beautifully prepared. It is now in the +possession of Mr. Lawrence Grant White, of New York.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_5" href="#FNanchor_5" class="label">E</a> This cardinal became Pope Marcellus, for whom Palestrina is said +to have written the Mass of Pope Marcellus.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_6" href="#FNanchor_6" class="label">F</a> A curious story related by Wraxall (“Memoirs,” vol. I, p. 183) +shows that the Villa Giulia in its eighteenth century period of isolation +and decay proved a convenient shelter for secret crimes committed by +persons of exalted rank.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_7" href="#FNanchor_7" class="label">G</a> The ornamental detail of the “Sixtine lion” looks as if this fountain, +like the Tartarughe, had been finished in the pontificate following +Gregory XIII’s—that is, in the pontificate of Sixtus V.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_8" href="#FNanchor_8" class="label">H</a> The fate of the Roman obelisks presents one of the most baffling +and fascinating problems of archæology. As no satisfactory explanation +of their overthrow and mutilation has ever been given, possibly +the theory that they were destroyed by the Romans of the Dark +Ages, in search of bronze, is as good a working hypothesis as any +other. The idea that they were wrecked by barbarians, and the assumption +that they were thrown down by earthquakes are equally untenable. +Much curious evidence goes to show that some of the principal obelisks +were standing in the sixth and seventh centuries. One stood erect +on its pedestal in Charlemagne’s time, while the fall of another can be +placed as late as the tenth or eleventh century. Three of the principal +obelisks show holes drilled in the shaft for the insertion of levers or +crowbars, and have unmistakable marks of fire about the pedestal. +Now, the Romans generally re-erected the obelisk, not directly upon +its pedestal, but upon bronze crabs (as in the obelisk of the Vatican) +or upon brass “dice” (as in the larger of the two obelisks in Constantinople). +The Egyptians sheathed the pyramidion of the obelisk with +“bright metal” to reflect the rays of the sun, and the Romans crowned +the apex, sometimes if not always, with metal ornaments, like the ball +upon the Vatican obelisk, which, until it was removed by Sixtus V, +was supposed to contain the ashes of Julius Cæsar. The obelisk now in +Central Park had been re-erected by the Romans at Alexandria, in +this fashion, and one of the bronze crabs was brought to New York +with the obelisk, and is now in the Metropolitan Museum. These +bronze supports were firmly attached to the obelisk by heavy bronze +dowels, one dowel running upward into each corner of the shaft, +the other going down into each corner of the pedestal. Between the +shaft and the pedestal there was therefore a space, perhaps some four +inches in height, through which light was visible. This was seen in the +Vatican obelisk, which was still <i lang="la">in situ</i> when Fontana drew his plans +for changing its location, and in the Central Park obelisk, as described +by an eye-witness of its removal. Three historians of Rome’s destruction—Fea, +Dyer, and Gibbon—describe the almost incredible ingenuity, +labor, and patience exerted by the Romans of the Dark Ages +in their search for bronze and other metals. Wherever bronze could be +obtained, it was stolen, stripped, or melted, on account of its value and +the ease with which it could be transported. During the same historic +period, all pagan monuments were deprived of whatever protection +they had had as objects of religious veneration. The obelisks standing +in spacious and lonely surroundings would have proved an easy prey to +bands of clandestine or open marauders. The Roman method of blasting +consisted in building a fire against the rock and pouring vinegar, +or even water, upon the red-hot stone which then disintegrated. It +would have been an easy matter to kindle great fires at every corner +of the pedestal which, by the time this kind of destruction became +popular, had already lost much of their original height through the +gradual rise of the ground level. This method of blasting by fire would +account for the all but universal gnawing away, or rough rounding off +of the lower corners of the shaft, in which the bronze dowels were so +firmly embedded. After the disintegration of the granite the partially +melted bronze could be extracted from both shaft and pedestal, but +not before the shaft had been thrown over, and this was evidently +helped along by the use of levers. When the shaft was prone, it became +possible to remove any bronze which had been attached to its summit. +With perhaps only one exception, the fallen shafts were always found +broken in three pieces, but there seems to be no record of any bronze +found in Rome, near the original sites of the obelisks. What bronze +there is was on the one Roman obelisk that had not been thrown +down (the Vatican obelisk). The original site of this obelisk, in the +centre of the old circus of Caligula and Nero, was close to the old +Church of St. Peter, and it was furthermore protected, according to +Lanciani, by the chapel at its base, called the Chapel of the Crucifixion. +When, in 1586, Fontana removed this obelisk to its present position in +the centre of the modern Piazza of modern St. Peter’s, he re-erected it +upon its original classic Roman crabs, hiding them by the purely +decorative Sixtine lions of Prospero Bresciano, as they had been hidden +in earlier times by the bronze lions mentioned by Plutarch, and +gone since the sack of Rome in 1527. The obelisk in Constantinople, +referred to above, is still standing on its four brass “dice.”</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_9" href="#FNanchor_9" class="label">I</a> This story is told in another form. In it Cardinal Farnese employs +the same ruse to save the life of the young Duke of Parma.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_10" href="#FNanchor_10" class="label">J</a> Suetonius, Bk. I. “And he (Cæsar) mounted the Capitol by torchlight +with forty elephants bearing lamps on his right and on his left.”</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_11" href="#FNanchor_11" class="label">K</a> The “Memoirs of Madame d’Arblay” relate a touching incident +in the life of this exiled Stuart.</p> + +<p>Daddy Crump, Fanny Burney’s old gossip, while sojourning in Rome +attended a carnival ball at a certain palace, where he saw many notables, +among them King James III, as he was always called in Rome, +and his two young sons—Prince Charles Edward and Henry, Duke of +York. There were numbers of English among the guests, and, characteristically, +they did not mingle with the other nationalities, but grouped +themselves together in a solid mass at one end of the ballroom. +Suddenly, while all were watching the dancers, King James, taking advantage +of his mask and official incognito, crossed the room and placed +himself in the front rank of his fellow countrymen. The moment was +psychic, but the “loyal subjects of the House of Hanover” “took not the +slightest notice of him” while he stood as his forebears had stood—an +English king among his own people. Daddy Crump relates with smug +satisfaction that the “English never moved an eyelid” during those +few minutes when their hereditary sovereign assuaged the passionate +homesickness of his exile heart with a brief and tragic make-believe.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_12" href="#FNanchor_12" class="label">L</a> See <a href="#APPENDIX">Appendix</a>.</p> + +</div> + +<div class="footnote"> + +<p class="fn1"><a id="Footnote_13" href="#FNanchor_13" class="label">M</a> Compare the sensations produced by this fountain and those given +by the “Rhapsodie Hongroise.”</p> + +</div> +</div> + +<div id="INDICES" class="chapter"> +<p><span class="pagenum" id="Page_307">307</span></p> + +<h2 class="nobreak" id="CHRONOLOGICAL_INDEX_OF_AQUEDUCTS_MENTIONED_ANCIENT_AND_MODERN"><span id="toclink_307"></span>CHRONOLOGICAL INDEX OF AQUEDUCTS MENTIONED, ANCIENT AND MODERN</h2> +</div> + +<h3>ANCIENT</h3> + +<table id="t307a"> +<tr> +<th class="allsmcap w25">AQUEDUCT</th> +<th class="allsmcap w25 l2">DATE OF<br>CONSTRUCTION</th> +<th class="allsmcap w50">PAGE</th> +</tr> +<tr> + <td class="tdl">Appia</td> + <td class="tdl">312 B. C.</td> + <td class="tdl"><a href="#Page_38">38</a>, <a href="#Page_270">270</a>.</td> +</tr> +<tr> + <td class="tdl">Anio Vetus</td> + <td class="tdl">272–269 B. C.</td> + <td class="tdl"><a href="#Page_38">38</a>.</td> +</tr> +<tr> + <td class="tdl">Marcia</td> + <td class="tdl">144–140 B. C.</td> + <td class="tdl"><a href="#Page_38">38</a>, <a href="#Page_125">125</a>, <a href="#Page_266">266</a>.</td> +</tr> +<tr> + <td class="tdl">Alsietina</td> + <td class="tdl">(Under the Emperor Augustus)</td> + <td class="tdl"><a href="#Page_270">270</a>, <a href="#Page_273">273</a>.</td> +</tr> +<tr> + <td class="tdl">Virgo</td> + <td class="tdl">19 B. C.</td> + <td class="tdl"><a href="#Page_38">38</a>, <a href="#Page_86">86</a>, <a href="#Page_109">109</a>, <a href="#Page_148">148</a>, <a href="#Page_216">216</a>, <a href="#Page_229">229–232</a>, <a href="#Page_235">235</a>, <a href="#Page_237">237</a>, <a href="#Page_270">270</a>, <a href="#Page_271">271</a>.</td> +</tr> +<tr> + <td class="tdl">Claudia</td> + <td class="tdl">38–52 A. D.</td> + <td class="tdl"><a href="#Page_xii">x</a>, <a href="#Page_231">231</a>.</td> +</tr> +<tr> + <td class="tdl">Anio Novus</td> + <td class="tdl">38–52 A. D.</td> + <td class="tdl"><a href="#Page_xii">x</a>.</td> +</tr> +<tr> + <td class="tdl">Traiana</td> + <td class="tdl">109 A. D.</td> + <td class="tdl"><a href="#Page_14">14</a>, <a href="#Page_22">22</a>, <a href="#Page_231">231</a>, <a href="#Page_270">270</a>, <a href="#Page_271">271</a>.</td> +</tr> +<tr> + <td class="tdl">Alexandrina</td> + <td class="tdl">226 A. D.</td> + <td class="tdl"><a href="#Page_149">149</a>, <a href="#Page_216">216</a>.</td> +</tr> +</table> + +<h3>MODERN</h3> + +<table id="t307b"> +<tr> + <td class="tdl w25">Acqua Damasiana</td> + <td class="tdl w25">(Under Pope Damasus)</td> + <td class="tdl w50"><a href="#Page_8">8</a>.</td> +</tr> +<tr> + <td class="tdl">Acqua Vergine di Trevi</td> + <td class="tdl">1570 A. D.</td> + <td class="tdl"><a href="#Page_14">14</a>, <a href="#Page_38">38</a>, <a href="#Page_90">90</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>, <a href="#Page_128">128</a>, <a href="#Page_141">141</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_216">216</a>, <a href="#Page_219">219</a>, <a href="#Page_230">230</a>, <a href="#Page_232">232</a>, <a href="#Page_236">236</a>, <a href="#Page_242">242</a>, <a href="#Page_276">276</a>.</td> +</tr> +<tr> + <td class="tdl">Acqua Felice</td> + <td class="tdl">1587 A. D.</td> + <td class="tdl"><a href="#Page_22">22</a>, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_44">44</a>, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>, <a href="#Page_128">128</a>, <a href="#Page_147">147</a>, <a href="#Page_149">149</a>, <a href="#Page_152">152</a>, <a href="#Page_158">158</a>, <a href="#Page_169">169</a>, <a href="#Page_172">172</a>, <a href="#Page_178">178</a>, <a href="#Page_259">259</a>, <a href="#Page_271">271</a>, <a href="#Page_272">272</a>, <a href="#Page_289">289</a>, <a href="#Page_290">290</a>.</td> +</tr> +<tr> + <td class="tdl">Acqua Paola</td> + <td class="tdl">1611 A. D.</td> + <td class="tdl"><a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_78">78</a>, <a href="#Page_141">141</a>, <a href="#Page_271">271</a>, <a href="#Page_272">272</a>, <a href="#Page_276">276</a>.</td> +</tr> +<tr> + <td class="tdl">Acqua Marcia Pia</td> + <td class="tdl">1870 A. D.</td> + <td class="tdl"><a href="#Page_38">38–40</a>, <a href="#Page_200">200</a>, <a href="#Page_266">266</a>.</td> +</tr> +</table> +<p><span class="pagenum" id="Page_308">308</span></p> + +<div class="chapter"> +<h2 id="toclink_308">CHRONOLOGICAL INDEX OF POPES MENTIONED</h2> + +<table id="t308"> +<tr> +<th class="allsmcap w25">POPE</th> +<th class="allsmcap w20 l2">DATE</th> +<th class="allsmcap w55">PAGE</th> +</tr> +<tr> + <td class="tdl">Damasus</td> + <td class="tdl">366–384</td> + <td class="tdl"><a href="#Page_7">7</a>, <a href="#Page_8">8</a>.</td> +</tr> +<tr> + <td class="tdl">Symmachus</td> + <td class="tdl">498–514</td> + <td class="tdl"><a href="#Page_11">11–14</a>.</td> +</tr> +<tr> + <td class="tdl">Hadrian I</td> + <td class="tdl">772–795</td> + <td class="tdl"><a href="#Page_39">39</a>, <a href="#Page_57">57</a>.</td> +</tr> +<tr> + <td class="tdl">Celestine II</td> + <td class="tdl">1143–1144</td> + <td class="tdl"><a href="#Page_13">13</a>.</td> +</tr> +<tr> + <td class="tdl">Honorius III</td> + <td class="tdl">1216–1227</td> + <td class="tdl"><a href="#Page_13">13</a>.</td> +</tr> +<tr> + <td class="tdl">Eugenius IV</td> + <td class="tdl">1431–1447</td> + <td class="tdl"><a href="#Page_198">198</a>.</td> +</tr> +<tr> + <td class="tdl">Nicholas V</td> + <td class="tdl">1447–1455</td> + <td class="tdl"><a href="#Page_231">231</a>, <a href="#Page_232">232</a>.</td> +</tr> +<tr> + <td class="tdl">Sixtus IV</td> + <td class="tdl">1471–1484</td> + <td class="tdl"><a href="#Page_14">14</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_28">28</a>, <a href="#Page_31">31</a>, <a href="#Page_57">57</a>, <a href="#Page_84">84</a>, <a href="#Page_232">232</a>, <a href="#Page_252">252</a>.</td> +</tr> +<tr> + <td class="tdl">Innocent VIII</td> + <td class="tdl">1484–1492</td> + <td class="tdl"><a href="#Page_14">14</a>, <a href="#Page_15">15</a>, <a href="#Page_271">271</a>.</td> +</tr> +<tr> + <td class="tdl">Alexander VI</td> + <td class="tdl">1492–1503</td> + <td class="tdl"><a href="#Page_14">14</a>, <a href="#Page_16">16</a>, <a href="#Page_24">24</a>, <a href="#Page_27">27</a>, <a href="#Page_29">29–32</a>, <a href="#Page_53">53</a>, <a href="#Page_77">77</a>, <a href="#Page_173">173</a>, <a href="#Page_253">253</a>.</td> +</tr> +<tr> + <td class="tdl">Julius II</td> + <td class="tdl">1503–1513</td> + <td class="tdl"><a href="#Page_23">23</a>, <a href="#Page_29">29</a>, <a href="#Page_32">32</a>, <a href="#Page_69">69</a>, <a href="#Page_253">253</a>, <a href="#Page_263">263</a>.</td> +</tr> +<tr> + <td class="tdl">Leo X</td> + <td class="tdl">1513–1522</td> + <td class="tdl"><a href="#Page_24">24</a>, <a href="#Page_32">32</a>, <a href="#Page_69">69</a>, <a href="#Page_139">139</a>, <a href="#Page_151">151</a>.</td> +</tr> +<tr> + <td class="tdl">Adrian VI</td> + <td class="tdl">1522–1523</td> + <td class="tdl"><a href="#Page_69">69</a>.</td> +</tr> +<tr> + <td class="tdl">Clement VII</td> + <td class="tdl">1523–1534</td> + <td class="tdl"><a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_75">75</a>, <a href="#Page_110">110</a>.</td> +</tr> +<tr> + <td class="tdl">Paul III</td> + <td class="tdl">1534–1550</td> + <td class="tdl"><a href="#Page_32">32</a>, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_52">52</a>, <a href="#Page_58">58</a>, <a href="#Page_63">63–79</a>, <a href="#Page_109">109–112</a>, <a href="#Page_188">188</a>, <a href="#Page_198">198</a>, <a href="#Page_211">211</a>, <a href="#Page_271">271</a>.</td> +</tr> +<tr> + <td class="tdl">Julius III</td> + <td class="tdl">1550–1555</td> + <td class="tdl"><a href="#Page_83">83–104</a>, <a href="#Page_109">109</a>, <a href="#Page_145">145</a>, <a href="#Page_148">148</a>, <a href="#Page_278">278</a>.</td> +</tr> +<tr> + <td class="tdl">Marcellus II</td> + <td class="tdl">1555</td> + <td class="tdl"><a href="#Page_102">102</a>.</td> +</tr> +<tr> + <td class="tdl">Paul IV</td> + <td class="tdl">1555–1559</td> + <td class="tdl"><a href="#Page_112">112</a>.</td> +</tr> +<tr> + <td class="tdl">Pius IV</td> + <td class="tdl">1559–1566</td> + <td class="tdl"><a href="#Page_86">86</a>, <a href="#Page_88">88</a>, <a href="#Page_89">89</a>, <a href="#Page_102">102</a>, <a href="#Page_109">109</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>, <a href="#Page_120">120</a>, <a href="#Page_124">124</a>, <a href="#Page_146">146</a>, <a href="#Page_216">216</a>.</td> +</tr> +<tr> + <td class="tdl">Pius V</td> + <td class="tdl">1566–1572</td> + <td class="tdl"><a href="#Page_86">86</a>, <a href="#Page_102">102</a>, <a href="#Page_109">109</a>, <a href="#Page_120">120</a>, <a href="#Page_126">126</a>, <a href="#Page_132">132</a>, <a href="#Page_232">232</a>.</td> +</tr> +<tr> + <td class="tdl">Gregory XIII</td> + <td class="tdl">1572–1585</td> + <td class="tdl"><a href="#Page_14">14</a>, <a href="#Page_52">52</a>, <a href="#Page_86">86</a>, <a href="#Page_89">89</a>, <a href="#Page_102">102</a>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>, <a href="#Page_112">112–114</a>, <a href="#Page_126">126</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a>, <a href="#Page_139">139</a>, <a href="#Page_216">216</a>, <a href="#Page_288">288</a>.</td> +</tr> +<tr> + <td class="tdl">Sixtus V</td> + <td class="tdl">1585–1590</td> + <td class="tdl"><a href="#Page_17">17</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_28">28</a>, <a href="#Page_37">37</a>, <a href="#Page_39">39</a>, <a href="#Page_44">44</a>, <a href="#Page_52">52</a>, <a href="#Page_89">89</a>, <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>, <a href="#Page_113">113</a>, <a href="#Page_119">119–132</a>, <a href="#Page_139">139</a>, <a href="#Page_146">146–152</a>, <a href="#Page_155">155–165</a>, <a href="#Page_174">174</a>, <a href="#Page_224">224</a>, <a href="#Page_232">232</a>, <a href="#Page_242">242</a>, <a href="#Page_251">251</a>, <a href="#Page_271">271</a>, <a href="#Page_272">272</a>, <a href="#Page_274">274</a>, <a href="#Page_275">275</a>, <a href="#Page_281">281</a>, <a href="#Page_288">288–296</a>.<span class="pagenum" id="Page_309">309</span></td> +</tr> +<tr> + <td class="tdl">Urban VII</td> + <td class="tdl">1590</td> + <td class="tdl"><a href="#Page_156">156</a>.</td> +</tr> +<tr> + <td class="tdl">Gregory XIV</td> + <td class="tdl">1590–1591</td> + <td class="tdl"><a href="#Page_156">156</a>.</td> +</tr> +<tr> + <td class="tdl">Innocent IX</td> + <td class="tdl">1591–1592</td> + <td class="tdl"><a href="#Page_156">156</a>.</td> +</tr> +<tr> + <td class="tdl">Clement VIII</td> + <td class="tdl">1592–1605</td> + <td class="tdl"><a href="#Page_103">103</a>, <a href="#Page_156">156</a>, <a href="#Page_163">163</a>, <a href="#Page_278">278</a>, <a href="#Page_281">281</a>, <a href="#Page_282">282</a>, <a href="#Page_290">290</a>.</td> +</tr> +<tr> + <td class="tdl">Leo XI</td> + <td class="tdl">1605</td> + <td class="tdl"><a href="#Page_103">103</a>, <a href="#Page_172">172</a>, <a href="#Page_278">278</a>, <a href="#Page_281">281</a>.</td> +</tr> +<tr> + <td class="tdl">Paul V</td> + <td class="tdl">1605–1621</td> + <td class="tdl"><a href="#Page_3">3–18</a>, <a href="#Page_22">22–32</a>, <a href="#Page_66">66</a>, <a href="#Page_103">103</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_148">148</a>, <a href="#Page_157">157</a>, <a href="#Page_187">187–189</a>, <a href="#Page_211">211</a>, <a href="#Page_222">222</a>, <a href="#Page_232">232</a>, <a href="#Page_270">270–284</a>.</td> +</tr> +<tr> + <td class="tdl">Urban VIII</td> + <td class="tdl">1623–1644</td> + <td class="tdl"><a href="#Page_24">24</a>, <a href="#Page_66">66</a>, <a href="#Page_172">172</a>, <a href="#Page_176">176</a>, <a href="#Page_199">199–201</a>, <a href="#Page_211">211</a>, <a href="#Page_222">222</a>, <a href="#Page_224">224</a>, <a href="#Page_235">235</a>, <a href="#Page_262">262</a>, <a href="#Page_283">283</a>.</td> +</tr> +<tr> + <td class="tdl">Innocent X</td> + <td class="tdl">1644–1655</td> + <td class="tdl"><a href="#Page_52">52</a>, <a href="#Page_219">219–222</a>, <a href="#Page_224">224</a>.</td> +</tr> +<tr> + <td class="tdl">Alexander VII</td> + <td class="tdl">1655–1667</td> + <td class="tdl"><a href="#Page_202">202</a>.</td> +</tr> +<tr> + <td class="tdl">Clement X</td> + <td class="tdl">1670–1676</td> + <td class="tdl"><a href="#Page_4">4</a>.</td> +</tr> +<tr> + <td class="tdl">Alexander VIII</td> + <td class="tdl">1689–1691</td> + <td class="tdl"><a href="#Page_273">273–275</a>.</td> +</tr> +<tr> + <td class="tdl">Clement XII</td> + <td class="tdl">1730–1740</td> + <td class="tdl"><a href="#Page_52">52</a>, <a href="#Page_55">55</a>, <a href="#Page_235">235</a>, <a href="#Page_237">237</a>.</td> +</tr> +<tr> + <td class="tdl">Benedict XIV</td> + <td class="tdl">1740–1758</td> + <td class="tdl"><a href="#Page_90">90</a>, <a href="#Page_235">235</a>.</td> +</tr> +<tr> + <td class="tdl">Clement XIII</td> + <td class="tdl">1758–1769</td> + <td class="tdl"><a href="#Page_225">225</a>, <a href="#Page_235">235</a>.</td> +</tr> +<tr> + <td class="tdl">Clement XIV</td> + <td class="tdl">1769–1775</td> + <td class="tdl"><a href="#Page_103">103</a>, <a href="#Page_104">104</a>.</td> +</tr> +<tr> + <td class="tdl">Pius VI</td> + <td class="tdl">1775–1800</td> + <td class="tdl"><a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_241">241</a>, <a href="#Page_262">262</a>, <a href="#Page_264">264</a>, <a href="#Page_289">289</a>, <a href="#Page_293">293</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>.</td> +</tr> +<tr> + <td class="tdl">Pius VII</td> + <td class="tdl">1800–1823</td> + <td class="tdl"><a href="#Page_241">241</a>, <a href="#Page_262">262</a>, <a href="#Page_264">264</a>, <a href="#Page_265">265</a>, <a href="#Page_289">289</a>, <a href="#Page_290">290</a>, <a href="#Page_293">293</a>, <a href="#Page_298">298–300</a>.</td> +</tr> +<tr> + <td class="tdl">Leo XII</td> + <td class="tdl">1823–1829</td> + <td class="tdl"><a href="#Page_109">109</a>, <a href="#Page_115">115</a>.</td> +</tr> +<tr> + <td class="tdl">Gregory XVI</td> + <td class="tdl">1831–1846</td> + <td class="tdl"><a href="#Page_147">147</a>, <a href="#Page_297">297</a>.</td> +</tr> +<tr> + <td class="tdl">Pius IX</td> + <td class="tdl">1846–1878</td> + <td class="tdl"><a href="#Page_35">35–40</a>, <a href="#Page_225">225</a>, <a href="#Page_299">299</a>, <a href="#Page_300">300</a>.</td> +</tr> +</table> +</div> + +<div class="chapter"> +<p><span class="pagenum" id="Page_310">310</span></p> + +<h2 id="toclink_310">ALPHABETICAL INDEX OF ARCHITECTS, +SCULPTORS, PAINTERS, AND ENGRAVERS +MENTIONED</h2> + +<table id="t310"> +<tr> +<th class="allsmcap w30">NAME</th> +<th class="allsmcap w15 l2">DATE</th> +<th class="allsmcap w55">PAGE</th> +</tr> +<tr> + <td class="tdl">Alberti, Leon Battista</td> + <td class="tdl">1404–1472</td> + <td class="tdl"><a href="#Page_232">232</a>.</td> +</tr> +<tr> + <td class="tdl">Amannati, Bartolommeo</td> + <td class="tdl">1511–1586</td> + <td class="tdl"><a href="#Page_84">84</a>, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>, <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_127">127</a>, <a href="#Page_145">145–148</a>.</td> +</tr> +<tr> + <td class="tdl">Amici, Luigi</td> + <td class="tdl">1813–1897</td> + <td class="tdl"><a href="#Page_36">36</a>, <a href="#Page_219">219</a>.</td> +</tr> +<tr> + <td class="tdl">Antinori</td> + <td class="tdl">fl. ca. 1800</td> + <td class="tdl"><a href="#Page_289">289</a>.</td> +</tr> +<tr> + <td class="tdl">Bandinelli, Baccio</td> + <td class="tdl">1487–1559</td> + <td class="tdl"><a href="#Page_54">54</a>.</td> +</tr> +<tr> + <td class="tdl">Baronino</td> + <td class="tdl">fl. ca. 1550</td> + <td class="tdl"><a href="#Page_100">100</a>.</td> +</tr> +<tr> + <td class="tdl">Barozzi, Giacomo, da Vignola</td> + <td class="tdl">1507–1573</td> + <td class="tdl"><a href="#Page_84">84</a>, <a href="#Page_87">87</a>, <a href="#Page_94">94</a>, <a href="#Page_100">100</a>, <a href="#Page_101">101</a>, <a href="#Page_112">112</a>, <a href="#Page_252">252</a>.</td> +</tr> +<tr> + <td class="tdl">Berettina, Pietro da Cortona</td> + <td class="tdl">1596–1669</td> + <td class="tdl"><a href="#Page_120">120</a>.</td> +</tr> +<tr> + <td class="tdl">Bernini, Giovanni Lorenzo</td> + <td class="tdl">1598–1680</td> + <td class="tdl"><a href="#Page_5">5</a>, <a href="#Page_27">27</a>, <a href="#Page_77">77</a>, <a href="#Page_108">108</a>, <a href="#Page_135">135</a>, <a href="#Page_171">171</a>, <a href="#Page_181">181</a>, <a href="#Page_185">185</a>, <a href="#Page_186">186</a>, <a href="#Page_194">194</a>, <a href="#Page_199">199</a>, <a href="#Page_207">207</a>, <a href="#Page_208">208</a>, <a href="#Page_211">211</a>, <a href="#Page_219">219–225</a>, <a href="#Page_235">235</a>, <a href="#Page_250">250</a>, <a href="#Page_252">252</a>.</td> +</tr> +<tr> + <td class="tdl">Bernini, Pietro</td> + <td class="tdl">1562–1629</td> + <td class="tdl"><a href="#Page_199">199</a>, <a href="#Page_200">200</a>.</td> +</tr> +<tr> + <td class="tdl">Betti, Bernardino di Pinturicchio</td> + <td class="tdl">1454–1513</td> + <td class="tdl"><a href="#Page_77">77</a>.</td> +</tr> +<tr> + <td class="tdl">Bitta, della Zappalà</td> + <td class="tdl">1807–</td> + <td class="tdl"><a href="#Page_36">36</a>, <a href="#Page_220">220</a>.</td> +</tr> +<tr> + <td class="tdl">Bonanni</td> + <td class="tdl">fl. ca. 1570</td> + <td class="tdl"><a href="#Page_17">17</a>.</td> +</tr> +<tr> + <td class="tdl">Brazza, Count (the elder)</td> + <td class="tdl">fl. ca. 1830</td> + <td class="tdl"><a href="#Page_259">259</a>.</td> +</tr> +<tr> + <td class="tdl">Bresciano, Prospero</td> + <td class="tdl">fl. ca. 1585</td> + <td class="tdl"><a href="#Page_147">147</a>, <a href="#Page_162">162</a>.</td> +</tr> +<tr> + <td class="tdl">Buonarroti, Michelangelo</td> + <td class="tdl">1474–1564</td> + <td class="tdl"><a href="#Page_23">23</a>, <a href="#Page_44">44–46</a>, <a href="#Page_49">49</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_57">57–59</a>, <a href="#Page_69">69</a>, <a href="#Page_73">73</a>, <a href="#Page_77">77</a>, <a href="#Page_84">84</a>, <a href="#Page_94">94</a>, <a href="#Page_101">101</a>, <a href="#Page_109">109</a>, <a href="#Page_157">157</a>, <a href="#Page_236">236</a>, <a href="#Page_252">252</a>, <a href="#Page_271">271</a>.</td> +</tr> +<tr> + <td class="tdl">Canova, Antonio</td> + <td class="tdl">1757–1822</td> + <td class="tdl"><a href="#Page_194">194</a>.</td> +</tr> +<tr> + <td class="tdl">Cavalieri, Tommaso de</td> + <td class="tdl">fl. ca. 1500</td> + <td class="tdl"><a href="#Page_52">52</a>.</td> +</tr> +<tr> + <td class="tdl">Cellini, Benvenuto</td> + <td class="tdl">1500–1570</td> + <td class="tdl"><a href="#Page_100">100</a>, <a href="#Page_110">110</a>.<span class="pagenum" id="Page_311">311</span></td> +</tr> +<tr> + <td class="tdl">Cruyl</td> + <td class="tdl">1640 (?)</td> + <td class="tdl"><a href="#Page_165">165</a>.</td> +</tr> +<tr> + <td class="tdl">Falda, Giovanni Battista</td> + <td class="tdl">1648–1691</td> + <td class="tdl"><a href="#Page_108">108</a>, <a href="#Page_114">114</a>, <a href="#Page_165">165</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_274">274</a>.</td> +</tr> +<tr> + <td class="tdl">Fontana, Carlo</td> + <td class="tdl">1634–1714</td> + <td class="tdl"><a href="#Page_4">4</a>, <a href="#Page_252">252</a>.</td> +</tr> +<tr> + <td class="tdl">Fontana, Domenico</td> + <td class="tdl">1543–1607</td> + <td class="tdl"><a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_28">28</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_54">54</a>, <a href="#Page_87">87</a>, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, <a href="#Page_125">125–128</a>, <a href="#Page_131">131</a>, <a href="#Page_135">135</a>, <a href="#Page_145">145–150</a>, <a href="#Page_155">155–165</a>, <a href="#Page_171">171</a>, <a href="#Page_242">242</a>, <a href="#Page_249">249</a>, <a href="#Page_251">251</a>, <a href="#Page_272">272</a>, <a href="#Page_275">275</a>, <a href="#Page_288">288</a>, <a href="#Page_289">289</a>, <a href="#Page_293">293</a>.</td> +</tr> +<tr> + <td class="tdl">Fontana, Giovanni</td> + <td class="tdl">1540–1641</td> + <td class="tdl"><a href="#Page_22">22</a>, <a href="#Page_135">135</a>, <a href="#Page_272">272</a>, <a href="#Page_275">275</a>, <a href="#Page_277">277</a>.</td> +</tr> +<tr> + <td class="tdl">Gelée, Claude Lorraine</td> + <td class="tdl">1600–1682</td> + <td class="tdl"><a href="#Page_176">176</a>.</td> +</tr> +<tr> + <td class="tdl">Landini, Taddeo</td> + <td class="tdl"><span class="end">–1594</span></td> + <td class="tdl"><a href="#Page_131">131</a>, <a href="#Page_136">136</a>.</td> +</tr> +<tr> + <td class="tdl">Lazzari Donato, Bramante da Urbino</td> + <td class="tdl">1444–1514</td> + <td class="tdl"><a href="#Page_16">16</a>, <a href="#Page_23">23</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_263">263</a>.</td> +</tr> +<tr> + <td class="tdl">Letarouilly</td> + <td class="tdl">1795–1865</td> + <td class="tdl"><a href="#Page_96">96</a>, <a href="#Page_186">186</a>.</td> +</tr> +<tr> + <td class="tdl">Ligorio, Pirro</td> + <td class="tdl">1493–1573</td> + <td class="tdl"><a href="#Page_45">45</a>, <a href="#Page_88">88</a>.</td> +</tr> +<tr> + <td class="tdl">Lippi, Annibale</td> + <td class="tdl">fl. ca. 1550</td> + <td class="tdl"><a href="#Page_171">171</a>.</td> +</tr> +<tr> + <td class="tdl">Maderno, Carlo</td> + <td class="tdl">1556–1629</td> + <td class="tdl"><a href="#Page_4">4</a>, <a href="#Page_6">6</a>, <a href="#Page_15">15</a>, <a href="#Page_21">21</a>, <a href="#Page_23">23</a>, <a href="#Page_32">32</a>, <a href="#Page_37">37</a>, <a href="#Page_135">135</a>, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_252">252</a>, <a href="#Page_272">272</a>, <a href="#Page_275">275</a>.</td> +</tr> +<tr> + <td class="tdl">Maggi</td> + <td class="tdl">1566–1620(?)</td> + <td class="tdl"><a href="#Page_155">155</a>, <a href="#Page_165">165</a>, <a href="#Page_274">274</a>.</td> +</tr> +<tr> + <td class="tdl">Millotti</td> + <td class="tdl"></td> + <td class="tdl"><a href="#Page_165">165</a>.</td> +</tr> +<tr> + <td class="tdl">Mari, Gianantonio</td> + <td class="tdl">fl. ca. 1648</td> + <td class="tdl"><a href="#Page_219">219</a>.</td> +</tr> +<tr> + <td class="tdl">Picconi, Antonio da Sangallo</td> + <td class="tdl">1482–1546</td> + <td class="tdl"><a href="#Page_69">69</a>.</td> +</tr> +<tr> + <td class="tdl">Pintelli, Baccio</td> + <td class="tdl">1420–1480</td> + <td class="tdl"><a href="#Page_252">252</a>.</td> +</tr> +<tr> + <td class="tdl">Piranesi, Giovanni Battista</td> + <td class="tdl">1707–1778</td> + <td class="tdl"><a href="#Page_49">49</a>, <a href="#Page_93">93</a>, <a href="#Page_124">124</a>, <a href="#Page_146">146</a>, <a href="#Page_158">158</a>, <a href="#Page_220">220</a>, <a href="#Page_242">242</a>, <a href="#Page_274">274</a>.</td> +</tr> +<tr> + <td class="tdl">Porta, Giacomo della</td> + <td class="tdl">1541–1604</td> + <td class="tdl"><a href="#Page_69">69</a>, <a href="#Page_107">107</a>, <a href="#Page_109">109</a>, <a href="#Page_112">112</a>, <a href="#Page_138">138</a>, <a href="#Page_216">216</a>, <a href="#Page_219">219</a>, <a href="#Page_220">220</a>.</td> +</tr> +<tr> + <td class="tdl">Porta, Giovanni Battista della</td> + <td class="tdl">1539–1594</td> + <td class="tdl"><a href="#Page_146">146</a>.</td> +</tr> +<tr> + <td class="tdl">Porta, Guglielmo della</td> + <td class="tdl"><span class="end">–1577</span></td> + <td class="tdl"><a href="#Page_77">77</a>, <a href="#Page_135">135</a>.</td> +</tr> +<tr> + <td class="tdl">Poussin, Nicholas</td> + <td class="tdl">1574–1665</td> + <td class="tdl"><a href="#Page_176">176</a>.</td> +</tr> +<tr> + <td class="tdl">Rainaldi, Carlo</td> + <td class="tdl">1611–1691</td> + <td class="tdl"><a href="#Page_52">52</a>, <a href="#Page_65">65</a>, <a href="#Page_219">219</a>, <a href="#Page_252">252</a>.</td> +</tr> +<tr> + <td class="tdl">Rainaldi, Girolamo</td> + <td class="tdl">1570–1655</td> + <td class="tdl"><a href="#Page_52">52</a>, <a href="#Page_65">65</a>.</td> +</tr> +<tr> + <td class="tdl">Salvi, Niccolo</td> + <td class="tdl">1699–1751</td> + <td class="tdl"><a href="#Page_235">235</a>.</td> +</tr> +<tr> + <td class="tdl">Sanctis, Francesco de</td> + <td class="tdl">fl. ca. 1725</td> + <td class="tdl"><a href="#Page_202">202</a>.</td> +</tr> +<tr> + <td class="tdl">Sanzio, Raphael da Urbino</td> + <td class="tdl">1483–1520</td> + <td class="tdl"><a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_139">139</a>, <a href="#Page_140">140</a>.</td> +</tr> +<tr> + <td class="tdl">Specchi, Alessandro</td> + <td class="tdl">1665–1706</td> + <td class="tdl"><a href="#Page_202">202</a>.</td> +</tr> +<tr> + <td class="tdl">Stern, Raphael</td> + <td class="tdl">1790–1821</td> + <td class="tdl"><a href="#Page_96">96</a>, <a href="#Page_103">103</a>, <a href="#Page_290">290</a>.</td> +</tr> +<tr> + <td class="tdl">Stocchi</td> + <td class="tdl">fl. ca. 1825</td> + <td class="tdl"><a href="#Page_109">109</a>.<span class="pagenum" id="Page_312">312</span></td> +</tr> +<tr> + <td class="tdl">Tenerani, Pietro</td> + <td class="tdl">1789–1869</td> + <td class="tdl"><a href="#Page_36">36</a>.</td> +</tr> +<tr> + <td class="tdl">Vacca, Flaminio</td> + <td class="tdl">1530–1596</td> + <td class="tdl"><a href="#Page_146">146</a>.</td> +</tr> +<tr> + <td class="tdl">Valadier, Giuseppe</td> + <td class="tdl">1762–1839</td> + <td class="tdl"><a href="#Page_215">215</a>, <a href="#Page_241">241–255</a>, <a href="#Page_262">262</a>, <a href="#Page_264">264</a>, <a href="#Page_265">265</a>.</td> +</tr> +<tr> + <td class="tdl">Vansantio, Antonio</td> + <td class="tdl"><span class="end">–1710(?)</span></td> + <td class="tdl"><a href="#Page_66">66</a>, <a href="#Page_186">186</a>.</td> +</tr> +<tr> + <td class="tdl">Vasari, Giorgio</td> + <td class="tdl">1493–1573</td> + <td class="tdl"><a href="#Page_44">44</a>, <a href="#Page_54">54</a>, <a href="#Page_58">58</a>, <a href="#Page_94">94</a>, <a href="#Page_101">101</a>, <a href="#Page_164">164</a>, <a href="#Page_232">232</a>.</td> +</tr> +<tr> + <td class="tdl">Vespignani, Virginio</td> + <td class="tdl">1808–1882</td> + <td class="tdl"><a href="#Page_37">37</a>.</td> +</tr> +<tr> + <td class="tdl">Watteau, Antoine</td> + <td class="tdl">1684–1721</td> + <td class="tdl"><a href="#Page_186">186</a>.</td> +</tr> +</table> +</div> + +<div class="chapter transnote"> +<h2 class="nobreak" id="Transcribers_Notes">Transcriber’s Notes</h2> + +<p>Punctuation, hyphenation, and spelling were made +consistent when a predominant preference was found +in the original book; otherwise they were not changed.</p> + +<p>Simple typographical errors were corrected; unbalanced +quotation marks were remedied when the change was +obvious, and otherwise left unbalanced.</p> + +<p>Illustrations in this eBook have been positioned +between paragraphs and outside quotations. In versions +of this eBook that support hyperlinks, the page +references in the List of Illustrations lead to the +corresponding illustrations.</p> + +<p><a href="#FOOTNOTES">Footnotes</a>, originally at the bottoms of the pages that referenced them, +have been collected, sequentially renumbered, and placed near the end of +the book, just before the index.</p> + +<p>The <a href="#INDICES">indices</a> were not checked for proper alphabetization +or correct page references.</p> + +<p>The <a href="#ERRATA">Errata</a> listed at the beginning of the +book have been corrected in this eBook.</p> + +</div> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75707 ***</div> +</body> +</html> + diff --git a/75707-h/images/cover.jpg b/75707-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..fadd36b --- /dev/null +++ b/75707-h/images/cover.jpg diff --git a/75707-h/images/coversmall.jpg b/75707-h/images/coversmall.jpg Binary files differnew file mode 100644 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