end we have the Doric Order which is followed successively by the Ionic, Corinthian, and Composite, all richly decorated with balustrades, niches, and other fanciful ornaments, which render it very graceful and beautiful.'— Vasari.

'Vignola's great work is the palace of Caprarola. The plan is unique, or nearly so, being a pentagon, enclosing a circular court. Each of the five sides measures 130 feet on plan, and the court is sixty-five feet in diameter, while the three stories are each about thirty feet in height, so that its dimensions are very considerable, and certainly quite sufficiently so for palatial purposes. The object of adopting the form here used, was to give it a fortified or castellated appearance, as all citadels of that age were pentagons, and this palace is accordingly furnished with small sham bastions at each angle, which are supposed to suggest that idea of defensibility. Above the terrace formed by these bastions and their curtains, the palace rises in two grand stories of "Orders," the lower arcaded in the centre, the upper including the stories of windows. This last is certainly a defect, but in spite of this, the whole is so well designed, the angles are so bold, and the details are so elegant, that it is one of the finest palaces in Italy, and we may admire the ingenuity of the architect the more, because the pentagonal form is singularly unfavourable to architectural effect externally, or to commodious arrangements inside, and the site also is such that from most points it looks too high for its other dimensions. But all these defects have been overcome in a manner that makes us regret that its architect was not more employed on the great works of his day.'-Fergusson.

There is an aspect of strength and imperviousness to time in the rock-like bastions upon which the almost deserted renaissance palace stands. As it is pentagonal, from every view of it you have another angle, and the effect is very singular. When you ascend the balustraded terraces and cross the bridge you are admitted to an open circular court, whence a magnificent spiral staircase leads to the upper chambers, decorated by the brothers Zuccari, by Tempesta, and Vignola, with pictures chiefly relating to the power and achievements of the Farnese, uninteresting perhaps elsewhere, but here, where all is suggestive of them, most striking and curious. In the great hall are a fountain and a grotto, like those in the Villa d' Este at Tivoli, yet roofed in and not appearing too large in this vast chamber. 96,000 lbs. of lead, comprising the works of this and many other fountains, were sold in the last century by a dishonest steward, who also took advantage of the constant absence of the owners to make away with the old furniture and tapestries. The walls of the hall display frescoes of the towns which belonged to the Farnese-Parma, Piacenza, Castro, Vignola, Scarpellino, Capo-dimonte, Canina, Ronciglione, Fabrica, Isola, and Caprarola. chapel has windows of old stained glass, and between them are frescoes of the apostles, with S. Gregory, S. Stephen, and S. Laurence. The design of the elaborate ceiling is curiously repeated in the pavement. The next hall is an epitome of Farnese history. The marriage of Orazio Farnese is represented (1652) with Diana, daughter of Henry II. of France, and that of Ottavio with a

The

1 In this picture, besides the portraits of Diana and Orazio, there are those of Queen Catherine de' Medici; of Margaret the King's sister; of the King of Navarre; the Constable; the Dukes of Guise and Nemours; the Prince de Condé, Admiral of France; and the younger Cardinal of Lorraine; with those of another Guise, who had not then been made a Cardinal; of the Signor Piero Strozzi; of Madame de Montpensier; and of Mademoiselle de Rohan.

daughter of Charles V.1 Pietro and Raniero Farnese are made captains-general of the Florentines. Then Alessandro and Ottavio Farnese are seen accompanying Charles V. on a campaign against the Lutherans; and the three Zuccari carrying a canopy over Charles V., who is riding with Francis I. on one side, and Cardinal Farnese on the other. Paul III., who took such unbounded care of his family, is shown appointing Pietro Farnese commander of the Papal army,2 and Orazio governor of Rome.3 Ranutio Farnese is receiving the golden rose from his uncle. And there are many scenes from the life of the great Pope himself: how he presided at the Council of Trent; how he made peace between Francis I. and Charles V.; and how Charles kissed his feet on his return from Africa; how he gave the lucky hat to four cardinals who afterwards all became popes. We see one of these again, Julius II., when he is receiving the city of Parma from Ottavio and Alessandro, the kneeling nephews of his predecessor, and restoring it to them. There is also a portrait of Henry II. of France-conservator familiae Farnesiae.' All these pictures are described at the utmost length by Vasari. Many other rooms are very interesting: the private study and bedroom of the Cardinal with his secret staircase for escape; the room covered with huge maps like the gallery of the Vatican, and with the wonderful fresco of the Mora,' for which 12,000 scudi have been refused; the room with the frescoes of the appearances of S. Michael the Archangel to Gregory the Great at Rome, and to the shepherds of Monte Gargano; and then all the family are represented again and again, and their attendants, down to the dwarfs, who are painted as if they were just coming in at imaginary doorways.

Are we really in Arcadia when the old steward opens the door from the dark halls where the Titanic forms of the frescoed figures loom upon us to the garden where brilliant sunshine is lighting up long grass walks between neglected clipped hedges, adding to the brilliance of the marigolds upon the old walls, and even gilding the dark spires of the ancient cypresses? From the upper terraces we enter a wood carpeted with flowers-yellow orchis, iris, lilies, saxifrage, cyclamen, and Solomon's seal. And then we pause, for at the end of the avenue we meet with a figure of Silence, with his finger on his lips. Here an artificial cascade tumbles sparkling

In the centre is Pope Paul III. The picture also contains portraits of Cardinal Farnese the younger; Cardinal di Carpi; the Duke Pier Luigi; Messer Durante; Eurialo da Cingoli; Giovanni Riccio of Montepulciano; the Bishop of Como; the Signora Livia Colonna; Claudia Mancina; Settimia : and Donna Maria de Mendoza.

2 Here are portraits of the Pope; Pier Luigi Farnese; the Chamberlain; the Duke Ottavio; Orazio, Cardinal of Capua; Simonetta; Jacobaccio; San Jacopo; Ferrara; the Signor Ranuccio Farnese, who was then a youth; Giovio; Molza, and Marcello Cervini, who was afterwards Pope; the Marquis of Marignano; the Signor Giovan Battista Castaldo; Alessandro Vitelli; and the Signor Giovan Battista Savelli.

3 Here also are numerous portraits, including the Cardinal Jean Bellay, Archbishop of Paris; with Visco, Morone, Badia Sfondrato, Ardinghelli, and Cristofano Madruzio, the prince-bishop of Trent.

down the middle of the hillside path, through a succession of stone basins, and between a number of stone animals, who are sprinkled with its spray, and so we reach an upper garden before the fairy-like casino which was also built by Vignola. Here the turfy solitudes are encircled with a concourse of decaying stone figures, in every variety of attitude, a petrified population. Some are standing quietly gazing down upon us, others are playing upon different musical instruments, others are listening. Two Dryads are whispering important secrets to one another in a corner; one impertinent Faun is blowing his horn so loudly into his companion's ears, that he stops them with both his hands. A nymph is about to step down from her pedestal, and will probably take a bath as soon as we are gone, though certainly she need not be shy, as drapery is not much the fashion in these sylvan gardens. Above, behind the Casino, is yet another water-sparkling staircase guarded by a vast number of huge lions and griffins, and beyond this all is tangled wood, and rocky mountain-side. How we pity the ex-King and Queen of Naples, the actual possessors, but who can never come here now. Gazing through the stony crowd across the green glades to the rosy-hued mountains, one dreads the return to a world where Fauns and Dryads are still supposed to be mythical, and which has never known Caprarola.

The vases of glazed pottery carried on their heads by the women here, are remarkably decorative in both design and colour. But one is taxed for them on reaching the Dogana at Rome.

The Church of S. Maria with a Carmelite convent, contains a S. Antonio by Paolo Veronese, and a S. Silvestro by Guido.

CHAPTER XXIII

VITERBO AND ITS NEIGHBOURHOOD.

(Trastevere Station, Roma-Viterbo, via Bracciano. Albergo dell' Angelo, Grandoro, Tre Re: all rough; but they have satisfactory Restaurants.)

ON descending the Ciminian Hill toward Viterbo, one overlooks

the great plain of Etruria, once crowded with the populous cities of that gloomy and debauched nation, but now deserted and desolate. It is a deeply interesting historical view, second only to that on the other side of the hill.

'With what pride must an Etruscan have regarded this scene two thousand five hundred years since. The numerous cities in the plain were so many trophies of the power and civilisation of his nation. There stood Volsinii, renowned for her wealth and arts, on the shores of her crater-lake-there Tuscania reared her towers in the west-there Vulci shone out from the plain, and Cosa from the mountain-and there Tarquinii, chief of all, asserted her metropolitan supremacy from her cliff-bound heights. Nearer still, his eye must have rested on city after city, some in the plain, and others at the foot of the slope beneath him; while the mountains in the horizon must have carried his thoughts to the glories of Clusium, Perusia, Cortona, Vetulonia, Volaterrae, and other cities of the great Etruscan Confederation. How changed is now the scene! Save Tuscania, which still retains her site, all within view are now desolate. Tarquinii has left scarce a vestige of her greatness on the grass-grown heights she once occupied; the very site of Volsinii is forgotten; silence has long reigned in the crumbling theatre of Ferentum; the plough yearly furrows the bosom of Vulci; the fox, the owl, and the bat, are the sole tenants of the vaults within the ruined walls of Cosa; and of the rest, the greater part have neither building, habitant, nor namenothing but the sepulchres around them to prove they ever had an existence.' -Dennis, 'Cities of Etruria.'

The sun was near setting and the distant hills were of deep plumcolour, as we drove down the long descent of the Ciminian forest, and entered Viterbo. Over the gate the figure of Santa Rosa holding her crucifix stood out grey against an opal sky. Viterbo, which the old chroniclers called the city of beautiful fountains and beautiful women,' is now rightly known as 'the Nuremberg of Italy.' Every street is a study. Such wonderful old houses, with sculptured cornices, Gothic windows, and heavy outside staircases resting on huge corbels! Such a wealth of sparkling water playing around the fountains, and washing the carved lions and other monsters which adorn them! The town, which is built for the most part of a dark tufaceous stone called 'Serena,' is paved in the

manner of Florence. Old women sit sewing at their doors; and coppersmiths' shops still ring with lusty blows on the red metal, pots of which shine above their shop doors. And indeed we are fortunate in the sunset, for the glow has now lighted up the old walls and towers with ruddy gold. Even the bats flittering about seem to be tinted red and the obscurer streets are softened by the effect. As we reach the Piazza, the gate of the Palazzo Pubblico, which is open, lets through a flood of splendour, as through a sluice; and the fountain within its open court drips fire. People stand about in groups, gossiping, hands behind back. Loungers loaf; students pass arm in arm; women sit at their windows; dogs sit and wait for their masters, below; while donkeys pass by. The Palazzo in two storeys rises above an arcade of round arches. At each corner of the Via di S. Lorenzo, a lion on a column guards the way, and here and there is seen a fine balcony. The Palazzo was commenced in 1264 on the site of the ancient cemetery of S. Angelo and it contained a Hall called Sall d' Ercole in token of the reputed founder of the city. In 1448 it was taken down with the exception of the Portico, and refashioned according to the prevailing style. The exterior was finished under Sixtus IV., whose stemma' appears on the façade : the interior remained for his nephew, Julius II., to complete. The Hall was called 'Accademia,' was frescoed by Lorenzo Romano (1486). In 1574, a wing was thrown out toward the Via della Pescheria, on the north side; while, later, in 1624, the court was amplified, and adorned with the Loggia and a fountain by Caparozzi. In the Palace, besides its valuable archives, are preserved the forgeries by which Fra Giovanni Nanni, commonly called Annio di Viterbo, claimed for his native city an antiquity greater than that of Troy, and a marble tablet, inscribed with a pretended edict of Desiderius, the last of the Lombard kings, decreeing that within one wall shall be included the three towns, Longula, Vetulonia, and Terrena, called Volturna, and that the whole city thus formed shall be called Etruria or Viterbum.'

Some rooms on the ground floor have been converted into a Museum. Here are Etruscan sarcophagi of peperino, recumbent figures, tiles, and sacrificial dishes, removed from sepulchres at Castel d' Asso and Civita Musarna in the neighbourhood. The Pictures, for the most part, are of no artistic value. There are, however, a few ruined gems amongst them.

An early Madonna in fresco, from S. Maria dei Gradi, by Ant. da Viterbo. A portrait of S. Bernardino da Siena.

Sebastiano del Piombo. The Flagellation-a replica of his picture in S. Pietro in Montorio at Rome. Removed from the Chiesa di S. Maria del Paradiso; painted in 1525; and ruined by restorers.

Jacopo da Norcia, or the Perugian Orlandi, who was assistant to Sinibaldo Ibi.1 The Nativity (attributed to Pinturicchio), from the Chiesa degli Osservanti.

Sebastiano del Piombo. The Dead Christ. The Madonna is watching the dead body of Christ through the moonlit night—a striking and thought

1 Crowe and Cavalcaselle, iii. 297.