The Benedictine church of S. Pietro would have been a very impressive basilica had not every inch of its walls been covered by poor frescoes and huge canvases of mediocre paintings. The nave is simple, with a good coffered roof. In one of the aisle chapels there is a very beautiful altar by that delightful artist, Mino da Fiesole; and the tabernacle over the high altar is a good example of marble work. It is surmounted by bronze figures standing at the angles round the base of its little cupola. The magnificent reading-desk is also worthy of note. It rests on a table with good carved panels ill.u.s.trating events in S. Peter's life.

[Ill.u.s.tration: THE PIAZZA GARIBALDI, PERUGIA]

One of the finest Domestic Gothic facades in Italy is that of the Palazzo Pubblico. A grand doorway of cl.u.s.tered and twisted columns ornamented with arabesques gives on to the Corso Vannucci. Above the portal are the city's three protectors, SS. Lorenzo, Ercolano, and Costanza. By their sides and overhanging the pavement, on brackets, are two huge gryphons holding a sheep and a calf. Within the building are the Munic.i.p.al Offices, and on the third floor the _pinacoteca_, on the walls of which hang some of Perugino's best work. The facade, which faces the Piazza del Duomo, has a fine flight of steps leading to an entrance on the first floor. Above this are two more gryphons in bronze and a lion. Depending from the gryphons is the great chain and bar which were captured from the Sienese. Three fine arches support a _loggia_, outside which is a pulpit, removed hither from the demolished church of S. Salvatore. This side of the Palazzo is the oldest part of the building, preceding in construction that which is in the Corso Vanucci by fifty years. A third part, that was added in 1429 for the Bankers' Guild, is known as the Collegio del Cambio. The great hall inside is decorated with very good examples of Perugino's brush, and has a marvellous ceiling covered with arabesques and medallions by his pupils. Carved stalls and benches of walnut wood with _intarsia_ work, and fine doors, complete an _ensemble_ which is one of the best examples of an early Renaissance interior.

The old Piazza del Sopra Mura, so called because the buildings on one side were erected on the Etruscan walls, has been renamed the Piazza Garibaldi. A statue of the hero may be seen in the ill.u.s.tration. On the right of the sketch, built on the walls, is the Palazzo del Capitano del Popolo, at present the a.s.size Court. Its Gothic facade has a good porch and a _ringheria_, or balcony. The _piazza_ is one of the best "bits" in this quaint old city, and when filled with market folk haggling over bargains under their umbrellas is a typical Italian scene in a typical Italian setting.

There are not many places in Italy that boast so fine a view as Perugia can from the garden where once stood the Baglioni's palace. In winding lines directly beneath one a road, b.u.t.tressed up by great blocks of masonry, now leads downhill to the station. To our left is a mat of grey-brown roofs, out of which rise hundreds of curiously shaped chimneys. Heavy stones keep some of the roof tiles in place. A necessary precaution, for, although these are laid three deep, a storm of extra violence is apt to whisk them away by scores. Glimpses of delicious walled-in gardens and old conventual courtyards nestling behind high walls break the colour of our brown mat with relieving patches of green.

Bell towers and a spire or two rear themselves out of the harmoniously coloured network and catch the early sun like beacons. Tortuous alleys appear and disappear amidst this delightful chaos, and little figures like ants may be seen labouring up the steep slopes. A sudden jump in colour from brown to green and the eye has leapt a thousand feet or more to the vast and fertile plain beyond. Shadows thrown by fleecy clouds, with which from our height, we seem to be on a level, chase one another over the emerald carpet. Little hills, covered with trees, appear as flat as the plain below. Dark cypresses and pines cl.u.s.ter round the farms and homesteads that punctuate the landscape with white dots. Long thin ribbons of the same colour tell where the main roads run to a.s.sisi, to Foligno, to Rome or Orvieto. As the eye travels on, the emerald merges imperceptibly into green of a blueish tinge. Hills twenty miles away rise in a purple ma.s.s under the shadow of the clouds above. But what a perfect canopy the sky is! The sun pierces the well-ordered battalions that are moving across it from the west, and with long, straight rays strikes the windings of the river that runs on to the Eternal City and flows out to sea. Far away, through the yellow haze that throws the purple hills into such bold relief, are shadowed forms rising tier above tier in the mystery of distant sunlight. The snowy crests of Italy's central chain toss themselves up to heaven, hardly distinguishable from the farthest ma.s.s of the marching hosts of the sky.

Yes, truly an unforgettable view, and one which the Baglioni of old, from their castle windows, must have drunk in with pride. Well nigh as far as their eye reached the country owed them allegiance.

a.s.sISI

Of all the wonderful hill towns of Italy, a.s.sisi can claim a kind of pre-eminence in saintship and monasticism. The delicate finger of time has touched lightly and lovingly the little mediaeval fortress which gave to the world S. Francis and S. Chiara. One might say that every stone in the place is saturated with the memory of the former and sweetened by the recollection of the saintly woman who outlived him many years. The life of S. Francis of a.s.sisi is one of the most enthralling tales in the history of the saints. He, who was the son of a rich cloth merchant, and up to the age of twenty-four had led a gay and vicious life, has left to humanity one of the greatest examples of charity, humility and chast.i.ty that the world has ever seen.

As one approaches the quiet little place, the first thing to attract is the great church of S. Maria degli Angeli, built over the Porziuncula.

This, a small chapel, was presented to S. Francis by the Benedictines of Mte Subacio, and is the scene of the closing years of his life and his death. A fine altarpiece by Andrea della Robbia in the north transept shows the saint receiving the _stigmata_, or wounds of our Lord's Pa.s.sion. Pope Pius V. raised the cupola that is directly over the spot where S. Francis expired. The charming little garden where the saint cultivated his plants and medicinal herbs adjoins the sacristy; and there still flourish in it the thornless roses of the legend. Two years after the death of S. Francis, the immense building that rises on a ma.s.sive substructure was commenced by Gregory IX. The great convent and two churches, one above the other, that seem from below as solid as the rocks beyond, were erected over the saint's grave. S. Francis, when dying, expressed a wish to be interred outside the city walls; but his disciples, so we are led to believe, carried his body up secretly two years later, and placed it in a sarcophagus, which was found imbedded in the rock in the year 1818. It had lain there inviolate for six hundred years.

The lower church, which one enters by a Gothic porch, is very dark. This is emphasised if the sun happens to be very brilliant. By degrees, however, the wonderful ultramarine used in the decoration of the groined roof a.s.serts itself, and what at first seemed utter blackness unfolds imperceptibly into an extraordinary scheme of colour. The costly blue was presented by Hecuba, Queen of Cyprus, whose tomb is in the church.

The great porphyry vase in which it was brought thither is there too.

Chapels raised six steps above the floor of the nave take the place of aisles; and their windows, filled with stained gla.s.s, do not help to mitigate the darkness. The High Altar stands at the inter-section of the nave and transepts. Immediately beneath is the rock containing the saint's remains. The altar itself is a huge slab of stone brought from Constantinople. It rests on twenty slender columns that form a sort of arcade with trefoils and mosaic spandrils. The tour compartments of the vault above are adorned with some of the finest of Giotto's work. They are known as the Poverty series, and Chast.i.ty, Obedience, and S. Francis in Glory.

A fine vestibule at the west end of the nave fronts the Piazza Superiore, and carries the facade of the upper church. This is smaller than the lower church by the width of the side chapels, and consists of a nave, short transepts, and apse. The nave is decorated by a once n.o.ble series of frescoes by Giotto of the life of S. Francis. They are much damaged by injudicious restoration, and comparing them with other works by the same master-hand, it is open to question whether much of the colour from his brush is now on the walls. Above them is the almost ruined work of Cimabue. Alas! that such masterpieces should have been so neglected.

On the way to the upper town one pa.s.ses through the old Roman Forum, now the Piazza Grande. In the square stands the Palazzo del Capitano, to which a fine tower is attached. Further on, as one climbs the ascent, the street opens out into the Piazza Rufino, at the end of which the cathedral is situated. Dedicated to the first bishop of a.s.sisi, who suffered martyrdom in the year 286, the building was commenced in 1140.

The fine facade has three portals, elaborately carved in low relief, and three very good round windows. Grotesque figures of birds and beasts are set on brackets near the centre window, and occupy other places on the facade. The interior was restored and altered at the end of the sixteenth century, and is in no way remarkable. It contains, however, the font in which S. Francis was baptized, and two good statues of white marble, one of S. Francis, the other of S. Chiara.

[Ill.u.s.tration: THE CATHEDRAL, a.s.sISI]

a.s.sisi is distinctly a sun-baked city; and built of local warm-coloured stone, it looks almost on fire when the rays of the setting sun light up its walls, its roofs, and its towers. Thus does the ill.u.s.tration depict the cathedral's facade and Romanesque _campanile_. In the piazza stands, on a pedestal, the bronze statue of the saint which replaced that which is inside the building. The street under the houses on the left leads to the Roman theatre, and on the right one proceeds to the church of S. Chiara. The mummified body of S. Clare still rests in the crypt; and the Crucifix which spoke to Giovanni Bernardone in the church of S. Damiano is in the north transept. To this crucifix was due the change which transfigured the life of the young man, and gave to the world one of its greatest saints. Giovanni was nicknamed Frances...o...b.. his father, who had an extensive trade connection with France, and a name given in jest has become one of the most remarkable in the history of the Church. The country round a.s.sisi is full of beautiful subjects for pen and pencil; and long meditative rambles are within reach of the poorest pedestrian. The spirit of S. Francis dominates all. It is not far to the _carceri_, the little dug-out rock chambers that he at first inhabited with his few followers; and the gorge through which one climbs to reach them is that where he was one night attacked by robbers, who finding their victim clad only in a hair shirt, beat him and left him for dead in a drift of snow. The life of S. Francis has ever been an all absorbing one for the painter's art. One of the favourite subjects connected with it is his marriage with the Lady Poverty. The vows he took of Poverty, Chast.i.ty and Obedience were demanded from all his followers. His rule once established, his disciples were known as the Frati Minori. When preaching to the poor he often exposed to view a representation of the birth of Christ which he carried about, and it was over this _presepio_, or manger, that the first Christmas carols were sung.

SIENA

Siena, the Ghibelline, at one time always at war with Florence the Guelph, no longer disputes with her ancient rival the glory of being the foremost of Tuscan cities. But, though she no longer does this, pride in her Roman origin has never ceased. She still retains the S. P. Q. S. as the head-line of munic.i.p.al notices; and the she-wolf and twins are to be found sculptured on many a column that adorns some of her little courtyards as well as on odd corners about her walls. Nine gates, one of which boasts a barbican, admit the stranger to her dark up-and-down-hill streets. She possesses many fine palaces. She might have possessed the grandest Gothic cathedral in all Italy had funds permitted its completion. As it is, it is one of the most remarkable and is adjoined by one of the most beautiful _campanile_ in the country. If the visitor braves the heat of August, she can show him the very best survival of mediaeval times in her celebrated _Palio_, or horse-race, that takes place every year in the great piazza. In her streets you will hear the purest Italian spoken. Her women, as the month of May comes round, don the most becoming of straw hats, and her people are justly famed for their courtesy. Fortunately for some of us, the tourist hurries on to Florence or Rome. But for him who loves the repose and personal charm of an old-world city, Siena will always open her arms and gather him in an embrace that will hold him for ever enchanted by the fascination of a delightful memory.

Almost in the centre of the city and occupying a s.p.a.ce on the top of the highest hill, Siena's cathedral is to-day a fragment only of what its builders hoped to erect. The west end of the original nave is away at the end of the piazza to the south of the present south transept. The present nave was built as one of the transepts, and when its size is realised the grand scheme that was never completed can be judged. The building was begun in 1229 and the dome over the crossing finished thirty years later. About sixty years after this the scheme to construct the huge nave was commenced. It was only owing to a terrible plague which carried off, it is said, eighty thousand people, that this was abandoned. The tracery of a very beautiful Gothic window remains at the unfinished west end, to make one marvel at the splendid proportions of the intended fabric.

[Ill.u.s.tration: THE CATHEDRAL, SIENA]

The cathedral, of which a fine view is obtained from the church of S.

Domenico on the opposite hill, is approached from the Piazza del Duomo by twelve marble steps. The topmost which forms the platform in front of the facade is inlaid with _graffiti_ designs in black and other colours.

Three crocketed gables crown Giovanni Pisano's facade. Their surface is covered with modern mosaics. Under the centre gable, surrounded by a square frame of Gothic niches filled with half-length figures of saints, is an immense round window devoid of all tracery, but filled with good gla.s.s. A flat black band of marble frames the niches. Elegant turrets with crocketed pinnacles surmounted by saints are on either side of this gable. The two other gables are flanked by towers, each with a solid turret. The purest piece of architecture is the gallery which is between the centre and these two side gables. Below runs a cla.s.sic frieze separating the upper from the lower part of the facade. The columns and pilasters of the three portals are of white and red marble; they are so heavily laden with elaborate sculpture of beasts, birds, and foliage that they seem to lose their _raison d'etre_ and no longer support anything. The capitals of all these are formed of elongated acanthus leaves, and might be likened to a field of waving maize. It is very interesting to note, by the cla.s.sic work which Pisano introduced everywhere on the facade, how difficult it apparently was for him to get away from the tradition of his country's cla.s.sic architecture when designing a Gothic facade.

The whole front is covered with white marble statues perched on every available place. Gargoyles, like _chevaux de frise_, protrude from every angle and corner. On the brackets over the four main columns of the porches are two horses, a winged lion, and a lion _regardant_. The whole of the front lacks repose, a condition which is intensified by the black and white inlay of the flat surfaces. The centre gable overlaps the portal beneath, and the apexes of the two side gables are beyond the middle of the two side portals. This is a good arrangement, and a.s.sists the balance of the composition, which is well restrained by the deep-set gallery and dark shade of the flanking towers.

The pointed windows of the south aisle and transept are canopied. On top of each of the b.u.t.tresses between them is a white marble figure. The magnificent _campanile_ rises above the chapel close to the south door.

Like the rest of the cathedral it is banded in black and white marble.

The lowest of its seven courses is constructed with a solid exterior, the next is pierced by an arch, the third by two arches, and so on, increasing until at the top stage there are six arches. Four turrets with slender spires finish off the corners at the top, and a good hexagonal spire rises from the centre. The dome is supported by an open gallery. The idea of a central tower never seems to have appealed to the Italian in his Gothic work; even at Milan the spire of the cathedral can hardly be said to rise from a tower.

The interior of the cathedral, by reason of the very decided black and white bands of marble, although mellowed with age, is not restful to the eye. The nave consists of five bays on each side. The aisles have round arches. The transepts are double and of unequal length. All the windows are pointed with the exception of the two round ones at the east and west ends. The cl.u.s.tered columns of the nave are of very good proportion; above them is a heavy frieze. Between the numerous consoles of this is a series of terra cotta busts of all the Popes. Executed at one time, they are, like the medallion portraits of the Pontiffs in S.

Paolo fuori at Rome, not authentic likenesses. What gilding there is, is away up in the roof and on the bosses in the soffits of the arches, but it is old and not really obtrusive. The same may be said for the star-spangled blue vault. The ill.u.s.tration shows the cold light from the north transept window striking Niccol Pisano's beautiful pulpit, in contradistinction to the warm rays that penetrate this n.o.ble fabric through the clerestory windows of the nave. Arnolfo di Cambio and Niccol's son Giovanni had a share in the execution of this splendid work, which may be ranked next to the pulpit in the Baptistery at Pisa.

The pavement of the whole cathedral is composed of _graffiti_ in coloured marble pictures. To preserve this unique pavement the authorities have wisely covered the nave and aisles with a wooden floor; and except during the month of August and on great festivals, when this covering is taken away, the only portion in the lower part of the church exposed to view is that under the dome. This is railed off.

The six niches at the top of the cl.u.s.tered columns that support the cupola are filled with colossal metal figures. On bronze brackets, fixed to each pier of the choir, are thirteenth-century bronze figures of angels holding lamps. One admires the good taste that has always left these bronzes ungilded. The same praise may be accorded in the case of the grand bronze candlesticks on the high altar, and the magnificent tabernacle by Lorenzo di Pietro which rests on it. The only note which really jars is the crescent of hideous gilded cherubims that partially surround the east window. The choir stalls, which were exchanged for those in the convent of Mont' Oliveto Maggiore, nineteen miles out of Siena, have extremely good _intarsia_ work of architectural and "still-life" panels.

[Ill.u.s.tration: INTERIOR OF SIENA CATHEDRAL]

In the north aisle is the Piccolomini chapel, with a very fine Renaissance wall of carved arabesques. In niches stand statuettes, in the execution of which Michael Angelo had a hand. The celebrated Libreria Piccolomini adjoins this. Its walls are decorated with the frescoes of the life of Pius II., a scion of this n.o.ble House. In the centre of the library stands the beautiful group of the Three Graces, a Graeco-Roman work which Raphael drew from and studied.

The baptistery, S. Giovanni Battista, is below the east end of the cathedral on a steep hill-side. Its exceptionally good Gothic front by Giacomo di Mino was never completed, and for this reason, as will be seen in the ill.u.s.tration, the roof of the cathedral has a barn-like termination at this end. The interior is a sort of transverse nave with two piers supporting a groined and vaulted roof. The frescoes of the apse, though much faded, still retain some of the rich colouring with which two Brescian painters decorated them. The font is a very beautiful example of Giacomo della Quercia's work, and is adorned with six bronze gilt panels, one of which is by Donatello. Small figures occupy the corners, and are by the same master-craftsman.

Among the many great names on Siena's roll of fame, the two saints Catherine and Bernardino are perhaps the best known. A little way beyond the margin of the first picture of this chapter, to the left, is the house where the former first saw light. The last of twenty-five children born to Giacomo Beninsca and his wife, her childhood was marked by an extraordinary ascetic devotion overwhelming all other feelings, so that at the age of sixteen she entered the Order of S. Dominic. The series of chapels which the Casa Beninsca is now turned into will be for some, from their sacred a.s.sociations, the most interesting spots in all the city. The house has a charming _loggia_ and _cortile_, but otherwise no architectural features worthy of note. On the hill above, and behind the spot from which the sketch was made, is the church of S. Domenico, in which S. Catherine worshipped; it is a huge building in the style of all Dominican churches, with a great nave, no aisles, a shallow choir and transepts. Her life was one replete with visions. In the chapel at the west end S. Catherine took the veil. Little could she have known at the time, that she was ordained some future day to be the prime factor in recalling Pope Gregory XI. from Avignon to Rome.

S. Bernardino was the son of the Governor of Ma.s.sa Maritima, a Sienese town not far from the coast opposite the Isle of Elba. He joined the preaching Order of S. Francis at the age of twenty-two, and was one of those who always drew immense crowds to listen to his eloquent words.

When in Florence he made a bonfire of evil books and vanities, thus forestalling one of Savonarola's great revolutionary acts. So great was his influence considered to be that, while in Perugia, the great bell was always tolled during his occupation of the pulpit. Care of the poor was one of his chief aims, and he established the "Monte di Pieta," for lending money on small pledges, to save those in want from the heavy hand of the usurer.

Of all the palaces in Siena that which stands on the south side of the Campo, the Palazzo Pubblico, is the most famous. Nearly every one who reads these lines must be familiar, through photographs or otherwise, with the magnificent _campanile_ "del Mangia"--a t.i.tle that originated with a figure, nicknamed the "Glutton," that at one time struck the hours on its bells. The ill.u.s.tration gives a view of the tower seen through the Arco di S. Guiseppe. It is three hundred and thirty-four feet high, and is built of brick with a machicolated stone cap and bell-turret above. At its base stands the Cappella della Piazza, a very beautiful open _loggia_, built to commemorate the city's deliverance from the great plague that was instrumental in causing the proposed enlargement of the cathedral to be given up. The Palazzo itself consists of a huge central square block with Sienese battlements--square with hatched mouldings. A couple of turrets rise in three storeys above the two side wings of the block. The lowest storey of the building is of stone, the others of that delightful red brick which charms the painter's eye, and is peculiar to Siena. All the windows of the palace are pointed, with a flat containing-member outside the three lights of each. Two good courtyards give entrance by stairways to the upper floors of the building, which is now used for judicial business. Almost opposite, across the Campo, is the Palazzo del Governo, formerly the palace of the great Piccolomini family. It contains the treasures of Siena, the state archives; and in front of it stands the Font Gaia.

In the Via del Capitano, leading into the Piazza del Duomo, is the Palazzo Squarcialupi. This thirteenth-century building was, in the old days, the official residence of the Judges of Appeal and the Captains of War. The Loggia dei Mercanti was built in the fifteenth century for the use of the City Fathers who a.s.sembled here in their business capacity of merchants to judge trade disputes. So widespread was the fame of this impartial tribunal that foreigners often brought their differences before it for adjustment. The palace is now known as the Casino dei n.o.bili. Many fine residences line the tortuous and shady thoroughfares, and others form parts of the different squares. Most of them have iron rings and brackets let into their walls similar to many of the Florentine palaces and those already mentioned in the chapter on Bologna.

[Ill.u.s.tration: THE ARCO DI S. GIUSEPPE, SIENA]

It is not, however, so much in the individual buildings that the charm of Siena lies, nor in the long line of painters whose works are on the walls of the Spedale in the Piazza del Duomo, in the Accademia delle Belle Arti, and elsewhere. Rather is it in the personal and intimate note of the beautiful old city taken as a whole. For even the sojourn of a single week will captivate and make one feel as if he belonged to Siena, and Siena to him. It may be that the wheeled traffic, which can follow but two or three distinct lines through her streets, shuts off in silence large areas of the city, and that the visitor is left more to himself and his reveries than is the case in most Italian towns.

Whatever it be, it is difficult to define, but the more one knows Siena the more whole-heartedly does one give oneself up to her charm.

Is there anything quite the same, quite so peaceful, and yet so full of history's wars, as the view from the pleasant gardens of La Lizza? Pa.s.s on to the walls of the Fortessa at the end of "the Lists," or old tilting-ground, and what a beautiful landscape unfolds itself!

Undulating ground, covered with vines and orchards, carries us into a middle distance of cypress and pine-clad hills. These stretch away into an opalescent haze, out of which to the north and east rise the peaks of far-distant mountains. To the west but one great ma.s.s soars above the sea of golden mist--Mte. Amiata, always different yet always the same. A solitary mountain, once seen ever remembered; a mountain one can love.

What a land of sunshine and pastoral beauty it is! Always at its best in springtime before the summer's sun has laid its grip on the red earth and scorched it sere, and when the showers of April freshen and draw from the warm soil that scent of Mother Earth, which nothing man has ever made can equal and which no money can buy.

[Ill.u.s.tration: UNDER THE WALLS, SIENA]

ORVIETO

Orvieto, yet another of the wonderful hill towns of Italy, is quite unlike any of those with which this book has. .h.i.therto dealt. It has an absolutely insular position, due to its situation on top of an isolated crag of dark volcanic rock which rises out of the wide valley of the river Paglia. The rock, which crowns the steep slopes of a hill, goes upwards a sheer precipice on three sides. On the fourth, the old road circles and winds in and out of olive groves and orchards, until, having climbed the ascent, it finally enters the city in a bold curve close to where the funicular rail from the station terminates. The princ.i.p.al entrance is the Porta Maggiore at the other end of the rock. It is a gateway hewn out of the solid _tufa_ and built across a very narrow natural gorge. Two other gates pierce the walls. One, at the east end, is close to the old Fortessa--now converted into a charming garden. Like an old eagle that in his declining years cannot trust his wings for far flight, this grim old city, built of black lava, broods over the sweep of country below. Very few places in the country occupied so impregnable a position.

On the northern slopes of the hill there has been unearthed in a peasant's garden one of the most complete Etruscan _necropoli_ in Italy.

One tomb is left exactly as it was found, with the contents--vases, jars, utensils of bronze, &c.--in their original position.